lively dance floor, crappy dancers, and the lonely who looked at each other more in the crowd, slowly pushed in and freeze the shot of the protagonist, which was refined and purified. The soundscape, lazy American English with cold and humorous greetings. In this way, the scene at the beginning of the movie looks like you can be sure that it has Sundance certified blood, but it is difficult to tell whether this is the suburban middle class performed by Wes Anderson or Todd Sorenz. It wasn't until our obese protagonist got out of the cabin and returned home. He saw the expressionless parents sitting on the sofa and heard the mother calling "Baby, how are you?". Only then did he realize that he was seriously facialized. Character tags only exist in Todd Solent's images.
Of course, the process of facial makeup can be further extreme, let the older single young man Abel (played by Jordon Gorebe) play games with the house full of toys, and make his dad (played by Christopher Walken) behave from beginning to end. A zombie sits on the sofa watching the Super Bowl final without saying a word, while his mother (Mia Farrow) is always yelling for her baby in the bedroom. At this point, the audience of "The Big Bang Theory" has already seen that the radicalized Abel House is the same Howards in the TV sitcom who has been tied to his mother for the same life. Don’t think that Todd Solentz wouldn’t do that. His previous masterpieces just directed extremes in another direction. They are not hilarious laughter, but the uncomfortable awkwardness that makes you want to laugh in your heart, such as those Whispering greetings to the strangeness of the developmental problems of the boy next door, turning the yellow pages to call the otaku who molested a single woman, and the embarrassment of arranging hands and feet under the dining table after hand in hand before a meal to pray to God...
Of course, this Once, in the new work "Dark Horse", Todd Solentz decided not to do this. The characters may still be weird, but they no longer give them alternative or even abnormal daily behaviors. "In fact, I just want to know, I can I can’t make a movie without rape, pedophilia or masturbation. I think this is a very important self-challenge."
Abel is indeed not an otaku. He gets his father's company to work, but he doesn't have to work hard and earn a living. He has his own pure happiness, and the distance between neighbors of the middle class in the suburbs, and no one makes irresponsible remarks about this continuous dependence. Unfortunately, he has an older brother who meets the standards of contemporary social success. Even if his parents share love equally, he has more or less the perception that he is a social alien. Therefore, he had to have a woman to talk about a love for the purpose of marriage. In this way, the only two aliens on the dance floor that can’t afford to dance were picked up by the camera. Of course, compared to Abel, who has zero love experience, the woman Miranda (played by Selma Blair) appears weird. It's just the nature of its ice beauty. After some foreplay portraying the loser, the director quickly asked poor Abel to propose marriage, frustrated, saw hope, and completely despaired...The
best-selling success studies at the airport, like molds, must have Adult models with social behavior ability that cannot be fitted into the models are regarded as non-conforming failure parts and abandoned in the wilderness of society. The American dream is made for outsiders; and the native beauty who can’t blend into the world’s most democratic system can only eat a pool of hamburgers that can make one slip and never stand up. Oil.
The best example of such an American tragedy that was abandoned by the success school has been reflected in the same-looking Sundance "American Glory." In contrast, the role setting of "Dark Horse" itself is too little possible for dramatic extension. It is a bit weird but not absurd enough. It is just a humble accident in the social high-speed rail driving. It seems that under the determination of self-change, Todd Solentz will face the risk that the audience will not find the director symbols that they already know. This is also the development dilemma faced by writers and directors with strong stylization.
Our protagonist Abel paid a heavy price in his life in his late growth. At the end of the film, with the vision of a wandering soul, he returns to the suburban mansion that has never really been far away. The lens is fixed on the door frame line with the engraving knife to remember the growth rings, the one related to the dream of a dark horse, it is the best childhood memory.
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