The Us writer’s acerbic crispness is ill-served by a new adaptation of her 90s thriller The Last Thing He Wanted – but other Didion works are just waiting to be streamed…
There are certain novels that get widely branded by critics as “unfilmable” – usually only after someone has gone to the trouble of trying to film them. The term is rarely justified: even the most abstract and abstruse prose can translate to the screen with enough interpretive bravado and rich visual imagination. Still, it is more often attached to films that can fairly be regarded as failures, and it’s with a heavy heart that I add Dee Rees’s perplexing new adaptation of Joan Didion’s The Last Thing He Wanted to that list.
The second of Netflix’s fresh-from-Sundance titles to head to the streaming service – after the lower-profile but superior Horse Girl, discussed last week – was raked...
There are certain novels that get widely branded by critics as “unfilmable” – usually only after someone has gone to the trouble of trying to film them. The term is rarely justified: even the most abstract and abstruse prose can translate to the screen with enough interpretive bravado and rich visual imagination. Still, it is more often attached to films that can fairly be regarded as failures, and it’s with a heavy heart that I add Dee Rees’s perplexing new adaptation of Joan Didion’s The Last Thing He Wanted to that list.
The second of Netflix’s fresh-from-Sundance titles to head to the streaming service – after the lower-profile but superior Horse Girl, discussed last week – was raked...
- 2/22/2020
- by Guy Lodge
- The Guardian - Film News
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