Lonergan's project, in both You Can Count on Me and Margaret, is to crystallize the exact moment at which our emotions run aground on the shoals of their expression, made somehow smaller, shabbier, by the very act of admitting them.
PositionFrequent Contributor
JoinedMay 28, 2017
Articles7
Matt Brennan is the TV critic for Indiewire's Thompson on Hollywood! His writing has also appeared in LA Weekly, Deadspin, Slant Magazine, Flavorwire, and Slate, among other publications. He lives in New Orleans and tweets about what he's watching @thefilmgoer.
This is the work of The Leftovers, The Americans, and Rectify, three TV series that treat the total reaction, and not simply the doctrine.
This is the project of The Hours: to spin the same fragile fabric from which Woolf weaves her grand design, here patterned, there random, slipping from image to image, thought to thought.
Zero Dark Thirty is a parable of what happens when you sacrifice so much to win the battle that you forget you've lost the war.
In some sense, Far from Heaven is less a story about living in the suburbs than a story about how we leave them.
To talk about 12 Years a Slave is to talk about how much history has failed us, and we it.
For Nicole Holofcener, a family is made up of the ones who love you. It is the ultimate form of attachment and the most difficult to sever, because to love someone is to know that he or she craves the same understanding you do.