The film provides no space to explore its relationships, and as a result there’s little friction to the climax.
James Schamus’s screenplay is rich with culturally specific details that deepen these forking moral predicaments.
Lee’s aching study of the “me” generation provides a stunning array of period detail to give distinct form to the social disconnect and discomfort of the Nixon era.
Ride with the Devil appeals more to the ears than the eyes and is more literate than cinematic.
Taking Woodstock fails to immerse us in the visceral feeling of being at the titular iconic event.
And Lee and film editor Tim Squyres tie the film together in the masterful, interwoven tension of the night of the storm.
Change, or the struggle to make change fit into the established system, is Lee’s most familiar chord. He struck it loudest in The Ice Storm.
Ang Lee busts a nut with Lust, Caution.
There’s an assured poise to Hulk, a surprising trait to find in a film about an unwieldy green goliath with a penchant for decimating everything in sight.