You should watch this efficient little 90 minute doc—because it is uplifting, yes; but also because it is medicine and role-modeling you need. Life can get extremely difficult, a sudden, telescoping gauntlet of challenges. How might you respond? Huge props to David Holmes and his generous soul for showing us one way. And tip of the hat to Daniel Radcliffe for putting this together. Pairs with Hooper because stuntmen. Pairs with The Diving Bell and the Butterfly and Crip Camp because paralysis. See here for a somewhat more downbeat appraisal.
With a logline this crazy, it might seem like the script would just write itself. Far from it--pulling off a parlor trick this neat is no mean feat. I therefore give absolute mongo props to Simon Pegg for cashing in all of his cumulative clout, reputational prestige, and blockbuster bankability--and converting every last pence of it to bringing to life this whimsical, absurd, outlandish yet charming project. What exactly is the logline? Just this: "In 1935, Hungarian-American para-psychologist Nandor Fodor…
Gary Oldman, Tim Roth, need I say more? Okay: Tom Stoppard directs his own 1968 Tony award-winning play, to wit:
Rosencrantz (Gary Oldman): Do you think Death could possibly be a boat?
Guildenstern (Tim Roth): No, no, no... Death is "not." Death isn't. Take my meaning? Death is the ultimate negative. Not-being. You can't not be on a boat.
Rosencrantz: I've frequently not been on boats.
Guildenstern: No, no... What you've been is not on boats.
This time out, after a too-showy, increasingly obligatory, proscenium-exposing, aspect-ratio-flaunting story-within-a-story setup, you’re delivered by train to Anderson’s latest mise en scène: a bleached out 1950s Americana Southwest with mushroom-cloud-dappled skies and a potpourri of quirky characters (aka his troop of regular players, spiced with newbies Margot Robbie, Rupert…
Christopher Nolan’s boldness to trust that we’ll track with him as he parallelizes and jump-cuts between key turning-points across time periods.
Nolan’s utter confidence to explode all of the audience’s anticipation by culminating with the Trinity detonation to end Act II—only to drop his even bigger bomb in Act III with the revelation of Lewis Strauss as…