Oh no... Did you watch the whole thing, Neil?
a - What is the meaning of "Oh no ..." ?
b - What does watching the whole of something have to do with anything?extra credit only :
c - Can you tell I'm in a prickly mood?
d - Or am I?
e - Actually I'm not. The questions are sincere, if communicated in my typically stunted and easily misunderstood fashion.
f - Love you, man.
g - Detroit is on my bucket list. For aesthetic reasons, you will appreciate.
h - More coffee, warden?
For purposes of clarification, which in my case is almost always a good idea, all I could think of while watching the above is "This is the guy who made SEVEN?" For me, the unavoidable conclusion was that no, it was not. I hated the stupid writing. I hated the unforgiveable use of contemporary expressions which did not exist at the time. I hated the plastic periodicity. I hated the cleverly self referencing period references (remember I lived through this period). I hated the pace. I hated the complete lack of any semblance of chemistry between anybody and anybody else. I hated the ludicrously prurient sex scenes. I hated the callous way in which the narrative exploits historic tragedy. I hated the humor. I hated the way the wonderful Holt McCallany was used to enflesh a comic diminution of human personality. I hated the way Jonathan Groff reminded me of some Frankenstein-esque conflation of Chris O'Donnell (yuck) and James Franco (double yuck). I hated the slap-dash appropriation of classic Fincher production technique. I hated the slap-dash sets. I hated the lack of authentic detail. I hated what appeared to me to be the fact that this production was geared to appeal to a target audience with a very low set of aesthetic requirements. I hated the auto interior rear projections with furious intensity. Enough?Hannah Gross
was excellent. Too bad her character was a simple foil (hello?) to Groff's with very little inherent worth. Ditto for all the female characters. This is a male production to an obvious and uncomfortable degree, so yeah, I hated that too. This was my first exposure to Ms. Gross and makes me very interested in seeing I USED TO BE DARKER, TAKE WHAT YOU CAN CARRY, and UNLESS. And what's the story with this Matthew Porterfield (writer/director of both I USED TO BE DARKER and TAKE WHAT YOU CAN CARRY) guy anyway? He should post here. Maybe I'll look up his Farcebook and drop a hint or three.