You don’t get to commit sin, and then ask all of us to feel sorry for you when there are consequences.
That’s called a thesis statement, and Kitty tells it to Oppenheimer after finding him gasping in the wake of Jean Tatlock’s apparent suicide. It’s about so much more than that moment however so how do you make a quote like that land? And more so, how do you tell a story in a compelling way when your audience already…
Tons of revelations circle your mind after watching this movie but I’m still thinking about the way violence was portrayed. We’re used to media like JOHN WICK where violence is predictable and forgettable. Yes people die but it’s because they’re getting what’s coming to them, and we’re already on to the next one anyway.
In MENACE violence just erupts, like a covered pot that you turned away from for a second but has now reached a clattering boil. Life is…
To state that an adaptation can stand wholly apart (from anything?) and equally as tall as the original artwork feels a little obvious — and yet — at the present moment, when adaptation is the status quo it might be worth saying a little louder for the people in the back.
Review on rewatch.
Modern life is so very clearly not fair but if the life you live — that doesn’t hurt anyone — can be ended violently, and with little fanfare, and even more depressingly: with the people that loved you and saw you most clearly having to sit there with the knowledge that “that’s life for people like us” — well, that’s beyond fair or unfair.
I feel the same way about this film as I do about the poem Josh Brolin wrote to Chalamet.
There’s no way I’m supposed to be able to see this.
