Noir meets courtroom drama and it's a bit of a goofy marriage, a foray into the life of an ethically challenged lawyer that entertains even if it ends so abruptly you'll swear there are scenes missing. The cast rescues this from the ridiculous plotting, a real murderer's row of talent who provide strong performances. Leading the pack is McConaughey, kicking off the McConaissance with a rock star performance that tells you not to take it all too seriously. How this didn't kick off a half dozen sequels is a little puzzling.
The leads have solid chemistry as a couple working through relationship doldrums but that believable rapport is effectively wasted in this dull comedy that walks in the footsteps of similar films. Nanjiani just did one of these "regular people caught up in irregular circumstances" flicks last year with the awful Stuber and even though he's a highlight in both films his involvement does call into question his ability to choose quality projects. That or his agent sucks. Either way, while it's great to see South Asian representation dude really deserves to be in better films than these.
One of the finest examples of guilt and atonement put to celluloid. Harry Dean Stanton wears his shame like a heavy cloak throughout and caps off arguably his best performance in a storied career with an absolutely heartbreaking monologue. Wim Wenders' use of open space is, in a word, humbling.
John Waters (bless him) wrote my favorite blurb about this movie:
"If Ingmar Bergman had committed suicide, gone to hell, and come back to earth to direct an exploitation/art film for drive-ins, Antichrist is the movie he would have made."
Lars von Trier by his own admission wasn't quite sure all the allegory works in this and I tend to agree, although the throughline of feminine subjugation at the hands of men, well-meaning or not, remains my strongest takeaway. Unpacking the rest is probably above my paygrade. Still a gorgeous film - Anthony Dod Mantle got some great shots in this one.