The name of police murder victim Freddie Gray is invoked early, and his fate lingers in the backs of our minds as the movie unfolds. Anthony's cross-cut structure hops among parallel storylines and historical anecdotes, each putting a different frame around the film thematic interests. And this is but one small corner of a warehouse of information, so vast and cluttered that "All Light, Everywhere" often seems to have trouble picking one line of inquiry or argument and sustaining it before having a related thought, then following that for a while before jumping to something else.
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