There is value in seeing the brothers, well-rehearsed in their verbal paces though they obviously are, in their present-day form, as well during their media peak. . . . There are some decisions I found flat-out irritating: the increasing application of Schindler’s List violin in Paul Saunderson’s score to hammer home the tragedy of it all in the third act, the hand-holding decision to show again, at the end of each act, footage we’ve just seen not five or ten minutes earlier in a new context.
January 19, 2018