Yang’s direction shifts seamlessly with the narrative, from the mural-like Hard Rock Cafe sequence, which introduces most of the characters and relationships (imperiously presided over by a framed portrait of Prince), to the increasingly stark and stylized staging of the movie’s second half. But it is never less than pointed. Films about “how we live today” get a bad rap in the United States, mostly because Americans are inexplicably bad at making them. This is how you do it right.
August 09, 2016