Ferrara is my Godard.
How did everyone who read the script get to the wolf cuddling anecdote and NOT say, “Can we just make a movie about this?” I’m taken aback that this is a stealth Cynthia Erivo and Jeff Bridges vehicle — even as Erivo is reduced to something of a one-trick pony. It’s too bad they had to beef up what is already a pretty beefy story — we all knew Gay Talese’s “voyeur hotel” would make for a good movie — with explosions, cultists, PTSD, and (worst of all) monologues. Monologues!!!
I like this movie quite a bit, but why do people keep lying about it?
It’s clear that the problem with this movie is that Bradley Cooper—lead actor, director, co-writer, co-producer—has pushed himself so far into its center that he doesn’t seem to realize he’s not actually supposed to be its star. Buddy, you’re pretty much here to be a tragedy—not even a heroic fuckup, really, but a painful liability. And so many of the film’s other perceived flaws—anti-popness, especially—proceed…
Some of the critiques of this movie have prompted me to give some thought to why we accept and dutifully seek out nuance in Eastwood and Spielberg's aesthetic and ideological conservatism but consistently dock women and POC filmmakers for not living up to some radical ideal we dreamed up to reject our classical forefathers.
Yes, it is a movie mired in and pitched to a distinctly conservative attitude — just like the nation the movie is about, and undoubtedly for…