Don’t Let’s Go to the Dogs Tonight
“Don’t Let’s Go to the Dogs Tonight” still seems aware, with a hint of biting realism, that a prototypical perspective is maintained.
“Don’t Let’s Go to the Dogs Tonight” still seems aware, with a hint of biting realism, that a prototypical perspective is maintained.
It devolves into such a shapeless blob that any effort to pick apart its themes feels like fighting with its creator.
Mahmoud Bakri is splendid as Chatila, setting his jaw hard as he tries to keep his situation together even as his heart keeps getting broken.
Juan Pablo Di Pace’s movie about memory, longing, time, and family is like a set of Russian nesting Matryoshka dolls.
One can tell that the people closest to the victims of the Idaho murders trusted Garbus and Galkin, and that trust is the foundation for why this series works (and it’s why so many similar shows feel like exploitation).