Take a few affable characters, layer on just enough of plot to take us from point A to B and trust that you've got four or five action sequences stellar enough to carry an entire film. There's something to be said about Brad Bird, rooted in animation, pulling this off so well.
Deeply sad, actually kind of depressing if you think about it but also somehow warm and romantic too-- loved it all, back to front.
It also kinda looks like-- I don't know-- a European studio-era melodrama from the '40s? This is despite being filmed in 1992. Got me thinking of Leos Carax and Guy Maddin specifically. Maddin for sure because of his penchant for aping inexplicable stylistic tropes from bygone eras and Carax 1. because there's more than a little…
Remember the parts in The Big Short where the camera cuts to a celebrity in order to explain financial concepts in layman's terms? That's all the parts. So if you've had dreams about Ryan Gosling parsing the 2007 financial crisis or Steve Carell as a blond then run, don't walk.
The bankers and investors that control our money can and will be crooks, that much we know, but Adam McKay convinces movie-goers like you and I that the only thing…
I'm slowly realizing there's ZERO time for me to write about this so some stray thoughts...
·For one it's so absolutely perfect.
· It features three of the most heartbreaking performances of the year, Isabelle Carré as Charlie's mom all but made me lose it.
· Arnaud Potier!! The photography's jaw dropping and practical in equal measure.
· Guess I'll never listen 'We Are Young' the same way again.
·Sidesteps expectations at every turn. Sarah is so incredibly complicated, so…