I’m hopelessly in the bag for Mcdonagh but I can see finding him a bit remote. The emotional responses he pulls out of me are usually related more to his formal approach--the symmetries, the sharp left turns, the compositional rigor of the dialogue, basically the virtuosity on display--than any kind of human exchange with what the charac…
I’m hopelessly in the bag for Mcdonagh but I can see finding him a bit remote. The emotional responses he pulls out of me are usually related more to his formal approach--the symmetries, the sharp left turns, the compositional rigor of the dialogue, basically the virtuosity on display--than any kind of human exchange with what the characters are feeling. Three Billboards would be the exception, but that is a complicated movie to defend and potentially a dangerous one to connect to. Do any of his movies work better for you than others?
I’m hopelessly in the bag for Mcdonagh but I can see finding him a bit remote. The emotional responses he pulls out of me are usually related more to his formal approach--the symmetries, the sharp left turns, the compositional rigor of the dialogue, basically the virtuosity on display--than any kind of human exchange with what the characters are feeling. Three Billboards would be the exception, but that is a complicated movie to defend and potentially a dangerous one to connect to. Do any of his movies work better for you than others?