Boston Strangler is precisely the kind of media Kilgariff described as cold, one whose immense effort goes toward the tired staples of period recreation and carefully laid out plot beats instead of contending with reality.
A satisfying endpoint must be conjured without losing the absurdity of the hook, a balance Cocaine Bear strikes uneasily.
All the attempts to say anything about abuse gets filtered through the story’s unreal elements, and they reflect back only the most basic ideas on the topic before completely losing the thread.
True crime is not something to be toyed with, and The Staircase, for all the beautiful work put into it, toys with viewers instead of finding the salient truths about the case.
The Batman is, quite simply, a ponderous bore.
Their Tammy Faye is a caricature masquerading as a real person. The assertion that they find out who she really is, or even present a twisted, subjective version, is nothing but a beautiful lie.
In stripping away (or not building upon) the character beats and the hanging existential dread, they produced a lean, mean little thriller, one that satisfies in the moment but ultimately builds to nothing.
I Care A Lot plays a tough game. It’s not an unfamiliar one, not by a long shot, but that doesn’t make it easy to stomach. A tale of greed and capitalism that can’t even be called allegory since it speaks of its themes directly, it’s a story of terrible people doing terrible things, and you’re not supposed to feel good about any of it.