REVIEW: He's given us killer sharks, raging T. Rex's, hissing snakes (why did it have to be snakes?), thrills, spills and chills galore. Now Spielberg turns to his scariest, most exciting subject of all: His own childhood.
), a constant presence in the household and a fellow engineer who Burt brings along on their move to Arizona. While filming a camping trip, Sammy comes across evidence that his mother and Bennie may be close. Quite close.His 24-frames-per-second safe space has now become tainted.
Yet it’s Sammy’s two main relationships — with his mother and with the moving pictures — that are at the bruised nucleus of Spielberg’s film. The film may be dedicated to both of his parents, but the reckoning with his feelings about his mom, Leah, is what provides the emotional resonance, andAngels in AmericaMunich, Lincolncan attest; their professional bond is arguably the third main relationship of this project.
If the movie does adhere to his signature beats, and feature so many recognizable Spielbergisms, occasionally to its detriment, it’s still one of the most impressive, enlightening, vital things he’s ever done. This is someone who has gifted the public with killer sharks, rampaging dinosaurs, alien ambassadors, high melodramas, rollicking old-fashioned adventures, spills, chills and spectacle galore.
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