An umpteenth viewing, this time on 35mm, really helped bolster what I already knew about this firebomb of a movie: The editing is second to none and as a microcosm on American history, it’s one of the only movies to earn its looseness with its ensemble. It doesn’t just show how people went crazy, it shows how every little minute detail in life can change when blood is in the air.
"If you end up seeing this, pay attention to the disparity between that amusement park and the drab apartment building the story fills the final act with. The Safdies are the rare example that use 2:35 widescreen for all its worth, filling the frame not necessarily with things serving the story at the moment but things serving their off-kilter sense of reality."
The rest of my GOOD TIME review for Substream Magazine can be found here.