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Oh my god and wonder of wonders, here we have a studio movie — a drama! — starring not one but two actors-of-color. God, what a terrible phrase. Don’t we all have a color? Okay: two actors who aren’t the usual medium peachy-beige of those who typically get to star in studio movies unless their name is Denzel Washington.
Fincher rivets us through what could have been an interminable two-hour-and-forty-minute runtime, by daringly jumping through a crime spree that spanned decades with brisk panache, boiling it down into slices of suspense, drama, and fear, with a bit of media criticism thrown in sideways for spice.
Zellweger brings a flinty steel to Potter, a woman with the faraway imagination of an overgrown child who simultaneously has the enormous backbone…
I swear, homeless organizations could make a killing just standing around outside the multiplex when showings of Happyness let out and asking for donations to help people like Chris Gardner…
Half bitter and harsh, half propagandistic and hagiographic, this is the love child of ‘Saving Private Ryan’ and ‘Pearl Harbor,’ too sentimental to be intellectually satisfying but too tart to serve as melodrama.
Is it just me, or is there something really sweet about Mark Wahlberg? Not to suggest he’s not all manly and muscly and footbally or anything…
Dramatizes a bizarre moment in time with a straightforward aplomb that is devastating. You wish you could laugh at the insanity of it but the only emotional response is overwhelming rage and grief.
Too soon too soon too soon. How can I bear to watch this? I don’t even know which 9/11 conspiracy theory to believe yet. Or maybe not too soon. How can I bear not to watch?
Just wait a minute before you call Godwin on this movie…
I left the screening room on Monday afternoon with Johnny Cash’s voice— no, with Joaquin Phoenix’s where’d-he-get-that-from baritone echoing in my head…
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