For all its emotional restraint, Rick Alverson’s film builds to a point of remarkable pathos.
The filmmaker discusses his latest, and his antipathy toward the mass machine of modern pop culture.
The Entertainment director discusses his creative aim of destabilizing an audience and his mounting fear of a sympathetic protagonist.
The film conjures a menacing perspective on how the titular occupation hulls out empathy and cultivates an unsettling strain of cynicism.
Ike and Sean always feel as if they’ve fallen out of the sky just for the film’s setup.
Swanson’s socioeconomic privilege is not unlike that of Lena Dunham’s wayward youths.
The Comedy is continuously in danger of feeling either too cute or too abrasive.
It’s certainly ambitious in its attempt to reveal the dark underbelly of much of today’s comedy.