It doesn’t match the James Cameron Mitchell film’s high notes, but it isn’t really trying to—content, instead, to hit weirder, more intimate beats. This film tells the story of a married couple, whose young son disappeared in a petrol station, right under their noses.
John’s behavior grows wilder and more erratic, including taking bourbon with his coffee in the morning at work in front of anyone who cares to notice, and Cummings shows how the other officers, though concerned and sometimes resentful, cover up for him out of respect to the legacy of Hadley, whose own bad heart is being covered up by John.
Hadley is a poignant fading titan whom John feels he cannot equal, and so the aging man suggests a past version of America, a dream from which we have awakened in order to face a nightmare. Nichols has an easy mastery of pacing and tension, employing a churning sound design (and a pulsing score by David Wingo) that allows moments of occasionally bloody action to arrive with a frightening blast or a deep, quaking rumble of bass, and the film moves with purpose to its final destination.
This month, the Criterion Channel celebrates this wild, weird, and far-out era of genre filmmaking with their ‘70s Horror series. Here, the filmmaker utilizes his command of medium for more individualized purposes.
And yet we’re drawing on all of these imaginations that come from religion, that come from dreams, that come from cinema. arc than any line in the film. Sitting across from one another, talking of their own relationship while pretending to speak of her marriage, Felix (Bill Murray) and his daughter, Laura (Rashida Jones), make for an enchantingly odd couple, their energies redolent of a classic movie duo, merged with the despairing yet droll preoccupations of a filmmaker who appears to be cutting to the heart of her own demons.
Eden slashes her wrists in the kitchen sink, the sounds of children playing emanate from the empty yard, inane talk of the Internet’s funny cats and penguins becomes white noise against Will’s screaming: The question of whether or not to trust his sense of foreboding is perhaps not so open as director Karyn Kusama and company might wish, but against the terrors of continuing on after losing a child, the issue of narrative suspense is almost immaterial. John snaps at his fellow officers pointlessly, sometimes after they’ve asked good questions that conflict with his presumptions, and he has a habit of physical confrontations, sometimes within eyeshot of an increasingly dubious press. The MGM-produced movie was supposed to hit theaters Nov. 20.
But it replaces Lost in Translation’s endless neon-encrusted cityscapes with a deceptively warm aesthetic and cramped hotel kitchens and bars.
Wilde shifts her spacey, cool-cucumber persona into a startling zone of detached vacancy, while Wilson invests his traditionally deliberate, likeably drawling line deliveries with a chilling texture of bitterness that recalls his brother Owen’s best performances. But the further the film moves away from the kids knocking around the neighborhood and toward Mouse and his friends getting drawn into the criminal orbit (those bikes cost money after all), the more rote it begins to feel.
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