I... guess? I’m not the biggest Neil Young fan, but I was curious to see what Daryl Hannah’s feature directorial debut looked like. Calling it that may be unfair, as even Hannah has admitted it was more of a lark than a film — and if you see it through the lens of a girlfriend filming her boyfriend on tour and goofing around making a mock-philosophical-environmental-neo-western for kicks, it may not be as interminable. (Maybe.)
I liked the shifting between…
Rather lovely ode to (hu)man’s best friends, full of adorable animation, excellent voice work, heart-on-sleeve fondness for Japanese cinema and pertinent subtext about governments that demonise a segment of society in the name of “public interest” — urging us to look deeper into who profits from such measures.
Initially interesting but increasingly meandering doc-xperiment feels ickier and less ethical as it wears on. What's more, its attack on assumed audience bloodlust is aimed in a way as to fundamentally misunderstand art's role in helping us make some semblance of sense of the senseless.
Strikingly shot, strongly acted, but endless, near-comically absurd survival/revenge drama feels puffed up on its own faux-significance.
