David Fincher’s Gone Girl immediately announces its intentions to deconstruct everyday images with a deceptive opening-credits sequence consisting of shots of empty houses, “for sale” signs, back alleys, and closed-up storefronts. Sure, there could be a socioeconomic subtext, some “How We Live Now” statement…
Jason Reitman’s latest Oscar shill, the formally inert and thematically overconfident Men, Women & Children, aspires to illustrate how humans — horny high school students and their horny parents, specifically — interact in this new technological world of ours. The characters are all but glued to the computers…
