I still find him and the producer less gross than certain real-life American news outlets.
Thomas Flight, in observing the way Lou’s camerawork improves and “grows to fill our screens”, notes that we as viewers become complicit in his behaviour, and articulates the feelings and questions the film inspires…
… while Michael from Lessons from the Screenplay asks how, despite the repulsive behaviour of the protagonist, we remain riveted and invested in seeing his story play out:
Related Posts:
Review: Ex Machina (2014) Geometrically suspenseful, methodically haunting.
Review: The Batman (2022) A hot mess.
Review: Parasite (2019) A biting, meticulous flavour, new and strange to the palette.
Review: A Quiet Place (2018) Masterful filmic storytelling.
Review: Annihilation (2018) Unsettling depiction of the alien within us, and the horror between us.
Review: The Departed (2006) Scorcese's The Wire: South Boston Nights
Film School: Memories of Murder (2003) Meticulously staged murder mystery noir.
Review: A Few Good Men (1992) No sex, no violence, no action. All riveting.