136/200

There’s basically no third act, which I didn’t realize until I went looking for clips of it in the essay. It just sort of bends from 2 until the ending, like Kevin Shields changing chords. I kind of admire that. It’s just a sleek train of images that have to end at a place of semi-tragic sub-Hemingway death glamour. Scott went a long time without being this earnest again, I think he learned to mistrust how much he cared…

165/200

Honestly this could have/maybe should have been another hour but nobody does emotional shorthand like Clint. But by splitting it between two equally compelling plot threads he refrains from doing work I know he would have done for both narratives if he was only making one movie, but I wanted more concrete resolution for the Dern/Eastwood relationship and I wanted even more time with Costner and the boy. It’s extremely good, and I wanted more of both. To fit…