Shadows of the Coen brothers are everywhere. The dark night shootout in "No Country for Old Men", the killer treats his wounds in front of the mirror, the flying saucer in "The Absentee" creates the most indescribable sense of alienation in the film, and the heroine played by Cohen's wife in "Burn After Reading" directly Taken by Dunst to Minnesota in the 1970s.
Still nowhere near the level of a Fargo movie. Everyone has a full stomach of history and worldview. The killer will quote the scriptures before killing people. The police will recall the Saigon retreat in the rearview mirror. Gas station workers who no longer appear in the president, all who appear in the camera will have their foreheads or chests punched. Everything is too rich. There was a small sideline, and I had to make fun of Reagan, and he started to have a bad memory from that point on.
The real charm of Fargo is the stupid crime in barren, boring snowscapes. A person has no money to pay for the personalized license plate, but he does not need money to change his name, so he changed his name to J3L 2404. For a fee of an anti-rust treatment, the sales manager and the buyer tug-of-saw for five minutes of nonsense. The husband of the painter who painted mallards for the three-cent stamp asked the policewoman to buy earthworms for fishing bait on the way back from the investigation.
The snowy Minnesota town could not contain so many gangsters and crimes. Perhaps this is the difference between the movie and the TV series, but the first True Detective depicts the barren wasteland of the Lone Star State with the same TV expression. This is the difference between good works and God's work.
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