Gerwig is more concerned with performance than continuity (hardly a critique, I know), and I’d be remiss if I didn’t mention there was one casting choice that distances itself from the proper vision of what it ultimately is trying to achieve.

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Gerwig is more concerned with performance than continuity (hardly a critique, I know), and I’d be remiss if I didn’t mention there was one casting choice that distances itself from the proper vision of what it ultimately is trying to achieve.
What results is more of a cat and mouse game than a classic whodunit. And you have an emotional connection to the protagonist to boot!
Rick Dalton and Cliff Booth will go down in history as two of the most remarkably lovely characters ever put to screen.
It teaches exactly what it means to be a hero, the feverish persistence to do what is right no matter the costs.
Were Anima to have a flaw, it would only be that upon first viewing, it is hard to dissect Yorke’s vision, and the storyline linking these visual elements has a tendency to feel disconnected.
With a 3 and a half hour runtime, does it all fit neatly under the thematic umbrella? No. Watermelons and quirky casket dealings can’t all feel like a contemplative journey. But The Irishman is a remarkably reflective experience that people should think about more.