Kunga Sagar’s review published on Letterboxd:
Had a feeling this would be a gut punch. A Spielberg movie is as much of an event as Lucas, Cameron or Nolan, but his most successful outings in the 21st century had been smaller, quieter political dramas. Munich and Bridge of Spies suggest a seasoned veteran delivering the goods for adult audiences, while Ready Player One suggests a legend out of touch with the increased cynicism and tech use of the 2010s. I didn’t think I’d learn that much more about his upbringing and path into the business that I didn’t already know from reading his biography or watching the recent HBO documentary about his career. That said, not only did this provide a glimpse into the early life of maybe the most important filmmaker in modern cinema, it stands as its own fully formed work.
Arguably the most melancholic and somber film he’s made, giving A.I. a run for its money (A.I. has the bleak, dystopian sci-fi backdrop which adds to the tragic central story whereas this is pure heart and passion for this particular medium of art). Michelle Williams and Paul Dano’s respective “Oscar moments” are in total service to the story, it’s as much about the, at times painful, life of his mother as it is a rediscovery of passion. It’s hard not to see myself in young Sammy, I too loved trains, had a camcorder for much of my young life, and suppressed my passion due to high school hierarchies and societal expectations. Judd Hirsch and David Lynch are each given one scene and they knock ‘em out of the damned park; they certainly would’ve elicited laughs had people actually showed up to theaters (hate when those complaining about the current state of movies turn down the chance to see a film as special as this). A devastatingly gorgeous film that I didn’t want to end.
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