Written and Directed by Todd Solondz
Poor Todd Solondz. He just can't catch a break. On the outskirts of American thought sits a brilliant, brooding genius with something to say. However, because of the language he uses to express himself, people are instantly turned off and repulsed. If they'd only listen...
A direct sequel to Happiness, Solondz has always had interesting ideas about what constitutes cinema, and here he's back at it again with different actors playing the same roles from Happiness. Solondz proves you don't need Phillip Seymour Hoffman to play that character, the best black actor alive Michael K. Williams can play him with ease. He does the same across the board, with Cirian Hinds resuming the role of Bill for Dylan Baker, Chris Marquette stepping in as Billy and stealing the show in a 5 minute scene, and Michael Lerner as a new character, no less devastating than the rest.
Solondz shows that brilliance transcends narrative structure, actors, and even the plot of a film when done right. Every scene is riveting, but the entire film is centered around long dialogue shots. Some of the best cinematography I've seen all year, it didn't need fancy editing, coloring, or any effects to be one of the best films I've seen since Happiness.
Dark, beyond dark, but anyone even slightly familiar will know that is Solodnz' modus operandi. Stretching the limits of cinema language, he engages the viewer like no other, proving that he has immense talent in bringing to the surface all the dark pockets of American life. The title says a lot, as our lives during wartime are different than we've ever seen in this country, and he even goes as far as mentioning the war as the backdrop for this story, even though it doesn't really need it. And a viewer might ask why, but to those viewers I ask "Why not?".
"I just want my father". - Timmy
Don't we all, Timmy?
9.8/10
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