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Keith Uhlich Is Eloquently Vitriolic in “Nebraska”

In response to Keith Uhlich’s 732‑word review of Nebraska on Time Out New York 

http://www.timeout.com/newyork/film/cannes-2013-nebraska-and-blind-detective

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The great Oscar Wilde said, “Most people are other people. Their thoughts are someone else’s opinions, their lives a mimicry, their passions a quotation.” This is never more apt than when talking about the world of film critique, whose denizens’ work is generally derivative and whose opinions are too often lifted wholesale from other critics, who have, in turn, stolen their ideas from other critics.

When a heralded film like Nebraska (from the lauded director of The Descendants, Alexander Payne) comes out, critics fall all over themselves to lather him up and be the first to call him the second coming of the messiah.

Not Uhlich. His “Cannes 2013: Nebraska” is a delicious diatribe against the film that isn’t afraid to stand against the tide. And for good reason: he’s got the chops to back it up.

From the Paramount logo to the end credits, Uhlich deconstructs Payne’s latest effort with a skill rarely seen in this world of copycats and it’s an absolute pleasure to witness.

These are some of the most eloquently argued points you’ll ever see in a film critique and they’re delivered with such passion, readers will find it difficult to resist their siren call.    

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