the list goes on and on. janelle monae is amazing in this movie. how did you decide who should be in this? it s kind of like writing an invite list to a dinner party because in addition to trying to get amazing actors in all these parts you re also going to be spending a lot of time together, and a big part of what makes these movies tick is everyone kind of gelling apds an ensemble and having a good time. these are all movie stars. we were both friends with ricky jay, the illusionist, and he would have called it a deck of aces. yeah. jack s deck. but everybody coming together and taking true joy in working together as an ensemble. i think that s what you feel off of the screen, everybody supporting everybody else and kind of gelling. i think the kid in all of us that wanted to go to summer theater camp, this was like that. it was parents picking you up at the end. it was a really good group.
This is one of those reviews that would probably have been better written double-blind, like they feature in academic journals. As with the films of Terence Malick or Michael Mann, Bob Dylan is just someone I can’t really be objective about. I like the Woody Guthrie-aping troubadour stuff. I like the drunken mid-‘60s Rimbaudian stuff. I like the electric aggro stuff. I like the faux-Nashville crooner stuff. I even like the period in the ‘80s when he was dressing like a pimp on Miami Vice and trying to sound like Dire Straits. Naturally, I like his latest iteration as the wizened ambassador of America’s great folk idioms.
In our era of impermanent, unlovable junk, there’s something life-affirming to these drawers full of engraved spoons, rubber stamps and spools of thread. And admission is free; that’s nice, too.
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