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Lori Hoffman Continues Her Trend of Abrupt Endings in “Desperate Dad”

In response to Lori Hoffman’s 564‑word review of Prisoners on Atlantic City Weekly

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Lori Hoffman will confuse and amuse in her latest strange work, “Desperate Dad.” The critic not only spoils the film, but is unable to present the reader with useful information.

Desperate Dad peaks early with the header image. The selection conveys the torment of the lead character, and successfully hooks the reader. Sadly, there is not much else to enjoy.

Hoffman opens Desperate Dad with a statement that is mildly thought-provoking, but ultimately says that a film is more dramatic than a television show. One will likely have the same thought when they watch a film on the big screen.

The next five paragraphs of Desperate Dad contain plot summary, and Hoffman sprinkles in a tiny bit of insight from time to time. It reads well, and one will anticipate a dynamic close where the critic breaks down all of the action.  

By the end of Desperate Dad, well, almost the end, Hoffman offers one sentence to wrap everything up. The phrase “terrific performances” is used to describe the leads, and the critic offers a bit more than one needs to know in regard to Melissa Leo’s character. It all feels wrong.

Desperate Dad continues on with two paragraphs about Hugh Jackman’s thoughts on the film. This space would be a good place for Hoffman to extend her hand to the reader, and perhaps offer a little more sans spoilers.    

Quality of Writing Quality of Argument Spoiler Avoidance Presentation