The Stop Button

Two major things about Soderbergh’s approach to a memoir adaptation. They’re somewhat connected, so I might not manage to separate them out. King of the Hill has no frame, it has no narration. It has no context. It does not feel, at all, like a “true” story because there’s no attempt to classify itself as […]

When my friend saw Flags of Our Fathers and I asked him about it, he described it–I’m paraphrasing–as an unexciting four. Seeing it, I can fully understand. It’s a great film, but its greatness is somewhat inevitable and uninteresting. Clint’s way too good of a filmmaker at this point to turn in something less, especially […]