![]() I guess I'll never know.īut seriously, we live in the era of the "twist ending," (The Sixth Sense fucked everybody up) and romantic comedies driven by gimmicks and device. I'm not picking on Nick and Norah-perhaps it got better after the friend earled in the toilet, and then dropped her phone in. I like the lead actors, but like a lot of film and television, I thought the plot was overpowering, the MacGuffin forced, and the whole exercise artificial. My general sense is that if you find yourself calling out scenes before they happen, you're in trouble. Right before we watched Cadillac Records, me and Kenyatta tried out Nick and Norah's Infinite Playlist, and we cut it off, mostly because we could see the plot unfolding. I wasn't so much interested in what was going to happen, or how it was going to happen, as I was captivated by the chemistry of Wright, Gabrielle Union and Short. The movies and TV shows I hate are the ones where I can feel the director reaching in and steering events in a particular direction or because the formula calls for a "twist." I'm much more interested in something more organic-watching actors inhabit interesting characters, and then watching those characters bump off of each other. It's weird, but the older I get, the less attuned I am to plot, and the more interested I become in character. But I was most surprised by Columbus Short's take on Little Walter, mostly because I'd never seen the kid. ![]() Jeffrey Wright was Jeffrey Wright-which means he was not even himself, nor was he playing someone else, so much as he was walking in someone else's skin. Mos Def played Chuck Berry with a perfect mix of humor and pride. I need to see The Dark Knight again, mostly because I feel like I couldn't pay attention to the movie because of the sheer volume.) but I really regretted not seeing this one, especially because it apparently didn't clear budget. I've generally avoided movie theaters lately (Too damn loud. I finally saw this flick while I was on vacation in Chicago this weekend.
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