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Post by JangoB on Feb 16, 2018 16:14:38 GMT
Because even our favorites have flaws. Or is your list filled with pitch perfect movies?  There will be some spoilers so don't read about the films you haven't seen. I mean, come on, I specifically made the titles bold and large so that you could be more careful): 1. Phantom Thread - nothing I can think of really...Just maybe one tiny thing - in the beginning when Reynolds takes Alma to his country home, where do the dogs come from? Who takes care of them when Reynolds is in London? Do they just hang around inside the house? That's about it for me, and even that does not affect my love for the film at all. I think it's pretty funny actually. I guess maybe there is some logical explanation like a groundskeeper or something but I don't remember anything about that being mentioned in the film. 2. Call Me by Your Name - again, can't really think of anything significant. I suppose I didn't feel that the love between Elio and Oliver was as super intense as many have felt about it but for me it's a movie about Elio's perception of it as such and that's the most important thing, and I think the movie does a great job of convincing me that HE felt it was so super intense. I kinda felt similarly about my last year's #2 which was "La La Land" - I didn't feel that the love between the two characters was 100% sizzling but that was kind of the point for me which made the film even a tad richer. 3. Dunkirk - the boat storyline is a tad weaker than the other two, and although I understand the intention with all that drama about the kid hitting his head (the madness of war can affect people beyond battles and bullets), I don't think it was entirely necessary. And his line about Rylance and his son being the best thing that ever happened to him...maybe the ONLY time in the movie where I'd have loved to know a bit more about their past because that felt slightly unearned and even funny. 4. Lady Bird - the way she finds out about Hedges being gay is quite contrived. She has to go in a men's bathroom, has to specifically enter the very last stall although there're plenty of free ones there. But the most difficult thing for me to believe is that the two kissing dudes didn't lock the door! I mean, later Hedges cries to her pleading not to reveal his sexuality and yet they didn't bother to lock the door in a dude's bathroom before they almost fucked? I'm not convinced. 5. The Florida Project - I don't think it was entirely necessary to film the last scene on an iPhone. I get that it's a nod to his previous movie and that it's probably meant to underline how much of a dive into fantasy that ending was as opposed to the rest of the movie (it's the only place in the film that is scored, the scene itself is quite a flight of fantasy and because of this iPhone photography it looks nothing like the rest of the film)...but still I wish Baker found a bit of a different way to showcase that. Enough with the iPhones, especially when the rest of the movie is so beautiful. 6. Star Wars: The Last Jedi - I like what Johnson did with Luke and Snoke but part of me still wishes their place in this trilogy had been a little more...significant. Also, I like the Canto Bight stuff and how it helps develop the characters but it is the weaker part of a great movie. 7. Blade Runner 2049 - the film is great at showing a fully living and breathing world, at creating great mood and atmosphere, at sweeping you off the ground with its visuals...but I wish it had a little bit more of a mysterious strangeness to it. That's the aspect I love most about the original film and that makes me come back to it once in a while - on paper its story is straightforward but Ridley tells is so unconventially and it's filled with moments of such beautiful and haunting strangeness. Villeneuve is more straightfoward. 8. The Shape of Water - I'm still of two minds about that sex scene with Shannon. It works in many ways but I still wonder if we could've done without it. Although it does establish a great trait for Shannon's villain that he's sexually attracted to Elisa. But somehow it feels out of place. Also Stuhlbarg revealing who stole the creature at the end to Shannon is very movie-like and I didn't mind it that much but on the other hand I kinda doubt his character would do that. 9. Loveless - some scenes criticizing modern young people and 30-somethings at large are a little too on the nose. I don't mind when our main characters are depicted with their head in mobile phones constantly, but when Zvyagintsev goes for critiques of entire groups of people he can seem like an elderly man who gets his ideas about modern life from bad TV shows. Thankfully, such moments are rare in the film. 10. Baby Driver - the scene in which Paul Williams describes weapons as if he were a gourmet chef is the only moment in the movie I want to skip if I watch it. There are lines in the film that are quite show-offy and that seem like Edgar Wright wanted to sound like Tarantino or something but I'm fine with most of them. This is the only showoff moment like that that I find uninteresting and a little stupid. |
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Post by stephen on Feb 16, 2018 16:17:15 GMT
1. Phantom Thread - nothing I can think of really...Just maybe one tiny thing - in the beginning when Reynolds takes Alma to his country home, where do the dogs come from? Who takes care of them when Reynolds is in London? Do they just hang around inside the house? That's about it for me, and even that does not affect my love for the film at all. I think it's pretty funny actually. I guess maybe there is some logical explanation like a groundskeeper or something but I don't remember anything about that being mentioned in the film. I reasoned that they had groundskeepers/housesitters who looked after them. |
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Post by JangoB on Feb 16, 2018 16:24:20 GMT
1. Phantom Thread - nothing I can think of really...Just maybe one tiny thing - in the beginning when Reynolds takes Alma to his country home, where do the dogs come from? Who takes care of them when Reynolds is in London? Do they just hang around inside the house? That's about it for me, and even that does not affect my love for the film at all. I think it's pretty funny actually. I guess maybe there is some logical explanation like a groundskeeper or something but I don't remember anything about that being mentioned in the film. I reasoned that they had groundskeepers/housesitters who looked after them. That's my take too, even though we don't see them. Again, I had to look hard to find a flaw in that one. Waiting for your list! |
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Post by stephen on Feb 16, 2018 16:27:14 GMT
I reasoned that they had groundskeepers/housesitters who looked after them. That's my take too, even though we don't see them. Again, I had to look hard to find a flaw in that one. Waiting for your list! Just so's you know: I won't be able to do a list until I see The Death of Stalin or You Were Never Really Here, because they are 2017 releases in my eligibility. So we're looking at May by the earliest. |
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Post by Deleted on Feb 16, 2018 16:47:25 GMT
Baby Driver - I can’t think of any particular flaws, really.
The Florida Project - Halley is too insufferable to feel sympathy for.
The Shape of Water - Certain bits not pertaining to the main story, like some stuff with Strickland, could’ve been cut out.
Star Wars: The Last Jedi - Substantial lacking in Maz and Phasma.
Coco - Drawing blanks here. I found very little to pick at.
Get Out - Like one article I read stated, it could have benefited from a stronger presence of black female leads, other than Georgina.
Logan - I liked Boyd Holbrook but he could have had more of a presence as a legit threat to Logan, Charles, and Laura.
The Big Sick - Get rid of Bo Burnham.
Wonder Woman - The one Amazon that acts with her mouth after a major character’s death.
Lady Bird - Perhaps a tighter narrative could have helped.
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Post by urbanpatrician on Feb 16, 2018 16:58:55 GMT
I only really am fond of 3 that I've currently seen.
Movies I really liked:
1. Sleep Has Her House - Would've preferred a character in there, that adds an extra existential dimension to an existential-rich backdrop. But this is fine in itself, but it won't get analyzed in the same way Dog Star Man would, and makes it a little bit easier for people to call it a pale Dog Star Man. Sleep is a better movie though.
2. Three Billboards Outside Ebbing, Missouri - Maybe it lags a little bit in the middle, but the destruction of the police station picked it back up. Might've cut a few scenes here and there, to make way for an extended segment at the end. Also, McDonaugh might be in danger of his formula fading once it loses originality. Make no mistake, Three Billboards should always be considered a great movie, but I'm talking about his further work in the coming years. He might be in danger of not creating anything too innovative living in the shadows of Tarantino and the Coens. Even though he made the better movie than any Tarantino since Inglorious Basterds, and any Coens since True Grit.
3. Goodbye, Blue Sky - Excellent start, but it has a sense of early-ness to it. But has great room of further development for the director.
Movies I Only Kinda Liked:
1. The Last Jedi - A heck of a lot of flaws, but at least it's better than The Force Awakens and Attack of the Clones.
2. The Beguiled - Rewatch pending, Coppola has hit a slightly dryer spell. Doesn't have the gazey aura of Somewhere, much less Lost in Translation.
3. Song to Song - Good and simple, but doesn't ring any greatness.
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Post by Deleted on Feb 16, 2018 17:18:18 GMT
The Killing of a Sacred - there could've been a bit more humor
Good Time - can't think of anything
The Square - very messy all around, but that's part of the reason I love it
Dunkirk - a bit more character development would've been nice, I guess
Endless Poetry - can't think of anything
Lucky - again, can't think of anything. I would say I wish there was more to it, but its charm is in its simplicity.
Call Me by Your Name- half the emotional scenes didn't work for me. But, oh boy, when they did...
The Meyerowitz Stories (New and Selected) - Marvel should've had a bigger role
Faces Places - the beginning could've been better
Three Billboards Outside Ebbing, Missouri- the pacing was a bit off
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Nikan
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Post by Nikan on Feb 16, 2018 20:13:01 GMT
3. Dunkirk - the boat storyline is a tad weaker than the other two, and although I understand the intention with all that drama about the kid hitting his head (the madness of war can affect people beyond battles and bullets), I don't think it was entirely necessary. And his line about Rylance and his son being the best thing that ever happened to him...maybe the ONLY time in the movie where I'd have loved to know a bit more about their past because that felt slightly unearned and even funny. It was embarrassing. |
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Post by Christ_Ian_Bale on Feb 16, 2018 21:37:47 GMT
Three Billboards Outside Ebbing, Missouri- The flashback
It- The rock war, mainly the music choice and the slo-mo
War for the Planet of the Apes- Some clunky exposition to catch people up on the events of Dawn
Baby Driver- The love story. It's nice overall but needs a much stronger actress than Lily James.
Wind River- The scene where Renner lays out his backstory for Olsen, long after we've learned all of it through context clues. It also has that shaky look for no reason, like Richardson's hands got tired while holding the camera.
Get Out- A little too much focus on Rod, especially towards the end.
The Florida Project- Even if that's their purpose, many of the characters can become grating.
Personal Shopper- That ghost that would be more at home in Jan de Bont's The Haunting.
It Comes at Night- The "jump" scenes that seem totally out of place within the rest of the movie's style.
Only the Brave- The generic-ass title.
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Post by jakesully on Feb 17, 2018 4:04:13 GMT
Blade Runner 2049 - not enough interaction between the Gos & Ford
Wind River - Olsen didn't get naked in it. damn
War for the Planet of the Apes - too much of a Jesus complex
Brawl in Cell Block 99 - could have trimmed off 20 minutes
Logan - Boyd Holbrook 's character could have been more of a scene stealer since he was one of the main villains .
Mudbound - the voice over narrations were uncalled for imo .
Hostiles - Cooper didn't flesh out the Native American characters at all
Only the Brave - ditto what Christ_Ian _Bale said, it was such a shitty cringeworthy movie title change. Should have kept it as it was (which was the Granite Mountain Hotshots)
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Post by idioticbunny on Feb 18, 2018 6:54:02 GMT
It's still possibly due for changes as I try to catch up on the year before I vote in any awards things, but here's what I've got: Blade Runner 2049 - I think it's practically perfect, but I almost kind of wish it were longer. I feel like Ford shows up and then twenty minutes later the movie is over. I wanted more time spent between he and K. Also - I know this is two things - but I do wish Bowie played Wallace instead of Leto, but even then the writing was what kind of ruined the character on that one. The Work - It's hard to judge documentaries in the same way as you can't just wish life happened differently, but I guess I'll say I wish that we got to see even more stories of other inmates or volunteers just to widen the scope rather than be pinpointed to the small circle we watch, but that's only because I wanted more. Good Time - The abruptness of the ending. It was such a non-stop thrill ride for an hour and a half and then suddenly it was over which was pretty disappointing, but maybe I just wish there was a bigger or more fulfilling climax than we got. The Big Sick - Maybe wish there wasn't so much time spent on the stand-up producer guy who was recruiting them, but only because it seemed like a minor plot device to add conflict when the film already has a heaping pile of conflict as is. Ingrid Goes West - I loved the ending and what it represents with society today in general, but I kind of wish there was a bigger showdown between Plaza and Olsen at the end. I know Plaza was clearly troubled, but they just kind of threw her aside and she hardly even got a word in. Was pretty frustrating, but then again that's life so maybe that's just a personal thing for me. Hounds of Love - Maybe that I wish more people watched it  In all seriousness, I wish there was more depth to Cummings' character. For it being a real-life incident, it seemed to spend a bit too much time focused on Booth and Curry's characters and their lives without giving that same attention to Cummings'. Raw - It got a bit too out there toward the end so maybe I wish it had stayed as subtle as it played itself out to be in the first half. Get Out - I wanted a bit more time spent on the relationship between Chris and Rose. It felt like their story was a bit rushed in order to get to the good stuff when we meet the parents. Baby Driver - Honestly the writing was a big issue for me. Which is hard to say as Edgar Wright has always been one of my favorites, but I'm starting to think Simon Pegg might have been the mastermind on the writing side of things. I just felt like outside of Baby and Jamie Foxx's character, the rest were super paper-thin or just poorly written - like Jon Hamm. Lose Jon Hamm and leave Jon Bernthal (who I typically dislike as an actor, but I wanted more of him here amazingly) and it would have been ten times better in my opinion. War for the Planet of the Apes - Woody Harrelson. He wasn't bad, but his villain was just so lame. Especially for the big third entry, after having Koba as such an amazing villain, it just felt like a huge step down. Honestly I enjoy all these movies a lot, and it's not as though these issues are that big of a deal, but it's a fun idea! |
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Post by Miles Morales on Feb 18, 2018 7:32:01 GMT
1. Coco - No problems, really.
2. Blade Runner 2049 - Needed more screentime for Ford, perhaps.
3. The Shape of Water - More interactions between Eliza and the Asset would've been nice.
4. Lady Bird - Could've been longer.
5. Dunkirk - The kid who gets hit on the head was wholly underdeveloped.
6. Newton - Again, no problems.
7. A Ghost Story - The nihilist monologue at the party is overdone.
8. Call Me by Your Name - Needed more interaction between Elio and Oliver.
9. Star Wars: The Last Jedi - Far too twist-laden for its own good.
10. Logan - Moves a little too quick at times, some bad ADR moments.
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Post by Sharbs on Feb 18, 2018 15:22:20 GMT
Blade Runner 2049 - Robin Wright's character. On 3 different occasions, we see this brilliant sequence and right after it cuts to her explaining exactly what we just saw in a one sentence summary.
Phantom Thread - hard-pressed to come up with one, maybe could've ended a couple of minutes earlier
The Shape of Water- Slightly underdeveloped the main romance
Dunkirk - SOUND MIXING was pretty horrid. There about a half dozen times my dad asked what someone said, and most of the time I was guessing and kinda making shit up. That was my fourth time watching it.
Lady Bird - I didn't really feel that Lady Birds mom was all that upset at the end or at least there wasn't that big of reason to be that upset
Call Me By Your Name- Nothing I can think of
Thelma - I sorta wish there was a slight bit more exploration with her life at home towards the end. Religious influence from parents to kids always interest me. Needs rewatch asap
The Florida Project - the fact the last scene was shot on iPhone bugs the living daylights out of me. Tangerine looked like pure garbage, and to even think going back to something similar is mind-boggling. Loved the last scene and what it did for the film just not how it was done.
A Ghost Story - too slow, too methodical even for the point was. The party mombo jumbo was terrible to listen too. Maybe this shouldn't be in my top 10, oh well
Baby Driver - Kevin Spacey's character had all sorts of backwards actions to what was happening. "I don't hire anyone twice" oh look there everyone is again. The sudden change of heart was terribly executed as well.
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Post by DeepArcher on Feb 18, 2018 17:35:33 GMT
Phantom Thread: The narrative is fairly disinteresting before Alma is introduced. Which is hardly a problem, considering that portion of the film is only its first five or ten minutes, but those opening scenes do make for an underwhelming early-going. Still, I appreciate the fact that the film actually takes the time with establishing necessary set-up, so it's not much of an issue at all. It's really the only thing that's bothered me either time I've seen it; it's virtually perfect otherwise.
Blade Runner 2049: Luv is a great villain, but there are times when her ruthlessness becomes sort of grating. Every scene in which she resorts to excessive violence feels tonally out-of-place with the rest of the film, and is honestly bothersome in how unnecessary her actions often are. I suppose the point of her behavior is to reflect Wallace's uncompromising nature, but nonetheless I always find those scenes a tad off-putting in a film that is otherwise flawless.
The Florida Project: The ending still feels like it gives off a message that is intrinsically contradictory with the aims of the rest of the film.
Lady Bird: I honestly can't think of anything. I suppose some of its overly-familiar elements are bothersome, but considering the way that Gerwig subverts the tried cliches is all part of the film's charm, it's hard to even cite that as a flaw.
The Shape of Water: Between the escape and the night at the docks, Strickland isn't given anything to do. It would have been far more interesting if his investigation had been explored in more detail, and it would've helped create additional tension leading up to the film's finale. The characters only ever really feel like they're in danger for about five minutes near the end.
Columbus: I'm not totally sure. I suppose it can get a bit repetitive in the second half. But I really didn't have any gripes with this one.
Dunkirk: It could probably at least be twenty minutes longer; I mean, I'm glad that the movie isn't bloated, but surely there are additional events that could have been added in without ruining the film's tightly-knit pacing. As is, it's just a tad too short for the ending to feel earned.
Logan: The villains.
Get Out: It's hard for me to take things like a cellphone getting unplugged as serious conflict-building.
T2 Trainspotting: The novelization subplot is super on-the-nose.
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Post by notacrook on Feb 18, 2018 21:30:50 GMT
1) Phantom Thread - Reynolds could get a little grating at times, but otherwise this is flawless.
2) Lady Bird - absolutely nothing.
3) Call Me by Your Name - I mostly love the film's meandering, Summer-sleepiness quality, but it can get a touch too slow at times.
4) Blade Runner 2049 - Leto's character and much of that side of the story.
5) The Florida Project - the ending is riveting in the moment, but feels like it clashes with the rest of the film.
6) Columbus - I didn't care much for the characters that weren't the two leads. But then, it really is a two-person piece, so it's not much of a flaw.
7) Dunkirk - could have fleshed the characters out just a little more.
8) Good Time - haven't really got anything.
9) War for the Planet of the Apes - the final battle is absurdly abrupt.
10) Logan - weak villains, but still way above the usual Marvel foes. This film was weirdly forgettable to me as well, as I haven't had the chance to re-watch yet and am mostly using the memory of loving it the first time. Must get round to seeing it again soon.
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Post by theycallmemrfish on Feb 18, 2018 23:01:17 GMT
I'll just do the four four-star films from the year so far... 1. Wind River - Literally just the one sheriff's deputy saw the security team surrounding them. Even I was going "BITCH THEY OUT TO GET YOU!" in the theater. 2. Three Billboards - The very end. Should have ended it just a taaaadddddddd sooner. Minor thing and very nitpicky, I know, but there was a particular shot I was super fond of that I thought it should have cut to black on (for the life of me I can't remember what) but there was just a little bit more before it actually does so. 3. Dunkirk - the Churchill speech. 4. Blade Runner 2049 - "It's the most human thing you can do" (paraphrasing there) being replayed when K makes his decision. Bugs the ever living shit out of me. |
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Post by theycallmemrfish on Feb 19, 2018 3:19:49 GMT
Because it didn't need to be said (again). |
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Post by stephen on Feb 19, 2018 3:23:21 GMT
2. Three Billboards - The very end. Should have ended it just a taaaadddddddd sooner. Minor thing and very nitpicky, I know, but there was a particular shot I was super fond of that I thought it should have cut to black on (for the life of me I can't remember what) but there was just a little bit more before it actually does so. I think it should've ended with Mildred thanking Dixon over the phone for giving her that shred of hope. The ending we got was fine, but the phone scene here felt much like that silhouette shot in Lincoln: the perfect ending. |
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Post by stephen on Feb 19, 2018 3:28:06 GMT
I think it should've ended with Mildred thanking Dixon over the phone for giving her that shred of hope. The ending we got was fine, but the phone scene here felt much like that silhouette shot in Lincoln: the perfect ending. What did you think of the flashback? was it unnecessary I'm not crazy about it, but I actually rationalized it in my mind that it wasn't a flashback so much as it was Mildred perverting what actually happened in her own head. The "I hope you get raped" line sounds really bad when played straight, but I think it actually works if you take the whole scene to be Mildred blaming herself for what happened, and warping the events in her own recollection to fit that grief and guilt. |
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Post by theycallmemrfish on Feb 19, 2018 3:31:59 GMT
2. Three Billboards - The very end. Should have ended it just a taaaadddddddd sooner. Minor thing and very nitpicky, I know, but there was a particular shot I was super fond of that I thought it should have cut to black on (for the life of me I can't remember what) but there was just a little bit more before it actually does so. I think it should've ended with Mildred thanking Dixon over the phone for giving her that shred of hope. The ending we got was fine, but the phone scene here felt much like that silhouette shot in Lincoln: the perfect ending. I don't mind them in the car, but I definitely think it was a bit too long to end the film. I really wish I could remember the exact moment I wanted it to end on, but I will have to wait for a rewatch to catch it again. The phone call would have been a great ending too. Definitely think it could have left it on a slightly different note. |
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Post by theycallmemrfish on Feb 19, 2018 3:33:40 GMT
Because it didn't need to be said (again). Also would Sam Neil have made a better Wallace, maybe William Hurt? It would have been a very different take and would have made more sense in the "father"/"savior" figure Wallace saw himself as to have an older actor. |
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Post by stephen on Feb 19, 2018 3:38:05 GMT
Also would Sam Neil have made a better Wallace, maybe William Hurt? It would have been a very different take and would have made more sense in the "father"/"savior" figure Wallace saw himself as to have an older actor. I still wish that Harry Dean Stanton had played Deckard in the OG film. Imagine him in the sequel as his swan song. I actually quite liked Leto's take (especially if you view him as a man with a huge messianic complex; the themes of Luv being Lucifer and Wallace being God are compelling), but if you have to skew to an older actor, might I suggest Mark Rylance? |
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Post by stephen on Feb 19, 2018 3:40:55 GMT
I still wish that Harry Dean Stanton had played Deckard in the OG film. Imagine him in the sequel as his swan song. I actually quite liked Leto's take (especially if you view him as a man with a huge messianic complex; the themes of Luv being Lucifer and Wallace being God are compelling), but if you have to skew to an older actor, might I suggest Mark Rylance? Imagine Robert Mitchum as Deckard. sadly he was too old by then as well. Mitchum would've been a great Deckard if Blade Runner had come out a decade earlier. |
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Post by JangoB on Feb 19, 2018 21:05:27 GMT
Have a new addition to the list - The Post goes straight at #3, and the only flaw I can find (and even this one is a stretch) is that I wanted more of John Williams's wonderful score! It's used excellently but sparingly and I always need more Johnny. Although when the music is absent from the film, it's role is beautifully played by the dialogue and the business of the paper offices and all that is done really well.
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AKenjiB
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Post by AKenjiB on Feb 20, 2018 19:50:59 GMT
Great question!
1. Three Billboards Outside Ebbing, Missouri- Mildred's speech with the priest is kinda weird, especially since priests otherwise have nothing to do with the film. I feel the scene would've worked better if a cop had come to talk to her and she used the same gang analogy. Also, while it’s a nice scene, Red and Dixon being placed in the same room in the hospital felt really convenient.
2. Good Time- The section at Crystal's apartment feels a little bit slow.
3. Lady Bird- The arc with Lady Bird rejecting Julie to hang out with the "cool kids" was pretty predictable
4. Phantom Thread- It would've been nice to get at least a small snippet of Alma's backstory, especially since she's apparently an immigrant
5. The Florida Project- As many seem to agree, the ending feels a bit stylistically out of place.
6. Call Me By Your Name- Mariza forgiving Elio feels a bit too easy
7. Blade Runner 2049- Since the original was notable for its grey morality, the fact that the villains are so unambiguously evil in this one is a little disappointing
8. The Killing of a Sacred Deer- The Alicia Silverstone scene was entertaining but in hindsight feels kinda pointless
9. The Shape of Water- The scene with Giles coming onto the pie maker and getting harshly rejected in a homophobic way worked fine to remind us that this is the 1960s. But then having the black family come in right as the pie maker has already shown his bigoted colors just to reemphasize once again that yes, this man is a bigot, felt super unnecessary.
10. Wind River- Jeremy Renner's character apparently identifies as an Indian because he interacts with the community and his ex-wife is Indian, even though he's white and doesn't live on the reservation. This is only addressed one time by the murder victim's brother and that scene was more about the brother making a shitty comment about Renner's dead daughter rather than actually trying to explore any kind of deeper implication to this white guy identifying as an Indian.
HM: Get Out- The ending is entertaining and all, but when Chris asks how Rod finds him, he simply says that he's "TS, motherfucking A". It's a funny line but doesn't explain anything. For a script that did such an excellent job at foreshadowing, you'd think a bit more effort would be put into justifying Rod's surprise appearance.
HM: Logan- "Hey, I know we're on the run from very powerful people but let's take our time and chill at this family's farm. There's no way we could possibly foresee this putting them in danger."
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In all seriousness, I wish there was more depth to Cummings' character. For it being a real-life incident, it seemed to spend a bit too much time focused on Booth and Curry's characters and their lives without giving that same attention to Cummings'.
