As Manny Farber famously observed, there is “termite art” and there is “white elephant art.” But what Farber failed to note is that there is also “defecating elephant art.”
never feels like a condensed TV show. If anything, it’s cinematic to a fault, CINEMATIC in black capital letters on an old-style movie marquee. The camera enters the movie’s opening party on a sinuous, elaborately choreographed long take that’s a conscious homage to Paul Thomas Anderson’s—another movie about a dying industry that’s structured around a series of increasingly sordid parties.
Not to wear out this useful critical category by overuse, but I’m afraid there are “manic pixie dream girl” elements to Nellie’s unflagging come-at-me energy and unwavering hotness. Some scenes stress that she is also an acting prodigy, able without training to cry on cue to the fraction of a second, but rather than investing her character with an inner life we hadn’t suspected, that ability remains on the surface, another of Nellie’s inborn superpowers.
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