In “Hereafter,” three stories of mortality are told. The first one we learn concerns Marie (Cecile de France), a journalist on vacation in Indonesia. The movie has barely begun when she is swept up in a violent tsunami, one that fulfills the bloodless requirement for PG-13, but is otherwise absolutely harrowing. It’s impossible to understand what really happened during the real-life events depicted in the film, but even with computer generated effects, there is a unsettling universal sensation this sequence captures. You share in the fear that Marie, a media figure and woman of privilege, is carrying with her: these are my final moments. I will be powerless to prevent them. As her lifeless body floats to the top of a submerged building, her body stops breathing, but her mind races. Something - whether it be her subconscious, her spirit, her mind - is glimpsing shadowed figures, conversations in progress, a peek into an astral plane. She emerges from this stupor, triumphant against death, but she’s brought something back with her. This is not an M. Night Shyamalan film, so it certainly isn’t ghosts. But that may depend on your definition of “ghosts.” The next section concerns George (Matt Damon), a somber steel worker in San Francisco running from his past. With the skill to pry into people’s thoughts, his mind provides a direct line to recently-deceased loved ones. But after years of prying unpleasant secrets from the dead to shock the living, he’s come to consider this ability a disease and an albatross. That doesn’t stop his opportunistic brother from coming by with “very special clients” who want to talk to the dead. In pursuit of a regular life, he’s joining the singles’ scene, applying for a cooking class in the city. But every touch brings someone’s late partners, siblings, and friends to the forefront. George is, by all accounts, a good man, fair and polite, and even willing to humor his brother, whose entrepreneurial interests in regard to George’s ability is couched in false altruism and hollow guilt. When he develops feelings for a vivacious cooking class partner, he takes great pains to hide his very peculiar baggage, though his reserved body language suggests physical intimacy greatly eludes him, and the prospect of such closeness with her is a rare exciting prospect in his colorless life.
The final portion of this triptych follows a timid English schoolboy who depends on his active twin brother. The older by twelve minutes, Jason is the risk-taker who uses charisma and aggression to make life easier for the two. This ends up being necessary with mum arriving home after hours drenched in alcohol, a practice we are to assume is frequent. When Jason is felled by a car accident, younger brother Marcus becomes the man of the household. But his life is fractured - he has no one to help with homework, no one to turn out the light at night and, inevitably, no one to make Mum more capable to discerning eyes. Soon, he’s taken away for foster care, but further loss only cements the need for the connection with his brother, which he believes is only temporarily frayed Screenwriter Peter Morgan and director Clint Eastwood aren’t making a film about the intangible. Instead, it’s a picture about what people do when they find themselves developing a connection with an outside force. It’s an oddly supernatural detour for Eastwood, a filmmaker with an appreciation for straightforward onscreen action and intimate melodramas, but in a literal sense, the characters are all reacting to the connection with the afterlife in the great tradition of all MacGuffins - Marie is getting it, George doesn’t want it, and Marcus needs it.
Eastwood’s film relies on a number of agreements an audience needs to make before indulging “Hereafter.” First of all, psychics are real. Some are a sham, as Marcus soon learns when he seeks a medium to speak to his brother, but occasionally, there’s one like Matt Damon, a good guy who takes his work extremely seriously. Because of this, the afterlife is also real, an ethereal place where our spirits commiserate after death. A few special effects sequences don’t exactly turn this into an intriguing visual concept (“X-Men” fans will be reminded of Cerebro), but it capably renders the non-judgmental next destination for all of us. As the story evolves, Marie sees the same murky hereafter that George does, but its uncertain how she’s affected by it. This new connection with ghosts shakes her, but her in-articulation combined with her personal and professional details - her boyfriend/boss gives her a foreboding “vacation time” - keeps the audience at a distance. She pools her resources into a new project, but remains afflicted by what she encountered upon resurrection, instead penning an account of what lies beyond. This book remains the best opportunity for the audience to understand what she’s going through, but we hear only snippets taken out of context, and its entirely unclear what epiphany she is meant to come to. There’s no tension regarding her easygoing boyfriend of indeterminate seriousness, and she has the type of job that allows for an extravagant apartment with the option of weeks off at a time, so what’s at stake remains a mystery.
Young Marcus’s storyline is more than a bit stronger, the boy grasping at straws regarding the afterlife, a concept he’s never considered. Like each character, he is in the process of finding his identity, but he cannot move forward unless he comes to terms with the loss of his brother. Gradually, this becomes a fascination with George, who inexplicably left his own website up despite fleeing from his profession. George has met someone special, and unlike other people at his station in life, he seeks not marriage, or longtime friends, just a connection. But is he going to be able to connect with this girl without his second sight in the way? There’s an element that sabotages each story. In Marie’s narrative, Eastwood can’t seem to get viewers into her headspace, so an internal conflict is rendered opaque. With Marcus, his is a story of immediacy, but the cross-cutting format limits the emotional resonance of his journey, so dramatic changes - his mother ending up in a clinic - aren’t given the proper gravity. And George’s courtship can only end badly, since his paramour is played by Bryce Dallas Howard, an actress of no conviction who appears willfully dense whenever carrying a serious conversation. With her bubbly head bobbing and manner of phrasing statements as questions, she comes across as a dolt, and its unclear what George wants with her. Which isn’t to say “Hereafter” isn’t a film of notable achievements. As per producers Steven Spielberg and Frank Marshall, the opening tsunami is a breathless wonder, edited for maximum unease and terror, so much so it’s a disappointment when it merely serves as a catalyst for a rich journalist to discover she’s a writer. Damon is quite good in a subdued role where his body language and squished face are necessary to reflect a young man dealing with pain and suffering beyond his years, yet another in a career of pleasant surprises from the Oscar winning screenwriter. And as Marcus, Frankie McLaren has the film’s most affecting moment, in which he makes a fulfilling spiritual connection, one that he doesn’t realize is severed by a lie. It may be what Clint and company are trying to tell us: a little B.S. goes a long way. [C+]
Will Matt Damon star in "The Bourne Legacy"? That's the million dollar question on everyone's minds.
Some clarity has arrived from Tony Gilroy himself who called Jeffrey Wells this morning (dude, our lines are open 24-7). Part of the impetus for the call was Gilroy wanting to clear up some information stated in Deadline's original piece about Gilroy signing on to direct the script and the 'Bourne' Bible he's been writing these last few months.
For starters while the title of this new film comes from a Robert Ludlum book Gilory told Wells, "[it] will not use [that] story. It's a completely original screenplay." Gilroy also confirms something that Universal told us months ago. "This is not a reboot or a recast or a prequel." So that million dollar question: will Damon star? "No one's replacing Matt Damon. There will be a whole new hero, a whole new chapter...this is a stand-alone project," Gilroy said trying to explain the new universe of his film, which sounds like it exists in the same timeline as Jason Bourne's, but revolves around another Treadstone-like agent. Which is what we've been speculating all along. "The easiest way to think of it is an expansion or a reveal," Gilroy said "Jason Bourne will not be in this film, but he's very much alive. What happened in the first three films is the trigger for what happens. I'm building a legend and an environment and a wider conspiracy...the world we're making enhances and advances and invites Jason Bourne's return [down the road]."
"Everything you saw in the first three films actually happened, and everyone who got into them will be rewarded for paying attention. We're going to show you the bigger picture, the bigger canvas. When you see what we're going and see what we're doing it'll be pretty obvious....but Jason Bourne's activities in the first three films is the immediate trigger."
Sounds like not only an intriguing idea, but the kind of plausible one that someone like screenwriter Gilroy would dream up (he's been the central architect on all the 'Bourne' films, writing all three, though it should be noted that several people share credit with him for the latter two films including Scott Z. Burns and George Nolfi).
Note the "invites Jason Bourne's return [down the road]" part of Gilroy's clarification which is key. Clearly, Universal doesn't want to close the chapter on Matt Damon's return — this is their showpony franchise — but by stating that Jason Bourne is "alive" he's not ruling out some sort of appearance either. Sources tell us that Jason Bourne is not in the script at all currently, but he could be if Damon was inclined to return.
You'll recall we originally broke the news that Paul Greengrass was leaving the franchise and while Damon says he's loyal to the director his agent Patrick Whitesell is already very anxious to get him a hit since there hasn't been one in a while, arguably since, "The Bourne Ultimatum." "Green Zone" was a total bomb, Clint Eastwood's "Hereafter" has already been savaged by critics and is about to go DOA in theaters, "The Adjustment Bureau" has been rescheduled several times and will likely be another dud when it arrives in theaters next year and that leaves the Coen Brothers' "True Grit" which doesn't have "hit" written on it at all, but it could become successful if it takes during Oscar season (though as "The Hurt Locker" can attest, Academy Awards wins and box-office success can be mutually exclusive).
When you think about it, all Damon need to convince him to appear in another 'Bourne' film (this one or any future ones) is a good script and Greengrass' "blessing" and no one will fault him for taking the gig. However the actor is a man of integrity and he's likely not going to do it if it doesn't feel right.
Ben Affleck recently was offered the Warner Bros. crime flick "Tales Of The Gangster Squad," but a "yes" wasn't immediately forthcoming. Now we know why. The actor/director is teaming with his brother Casey to rewrite the Yankees wife swap pic "The Trade."
The project was first announced as a starring vehicle for Ben Affleck and Matt Damon last winter. The story is based on real-life players Fritz Peterson and Mike Kekich, who in 1973 revealed that they had been swapping wives and fell for each other's partners. Peterson and Kekich's ex-wife are still together today, while the other couple has since split up. Affleck is eyeing the role of Peterson with Matt Damon playing Kekich.
Shortly after the news surfaced, Damon said a script for the film "didn't exist" but that's not necessarily true. It was written by Dave Mandel was and ranked #35 on the 2009 Black list.In addition, screenwriters Brian Koppelman and David Levien ("Oceans 13,” “Rounders”) have been clocking that story for years and collecting information so they could eventually end up writing the film. But Damon, someone who generally wants a solid script in hand before signing on to anything -- Doug Liman playfully called him a "script whore" recently -- most likely didn't like the draft and wants to see something different. Enter Ben and Casey. Of course, it doesn't need to be mentioned that Affleck and Damon have been fast friends since childhood, and both broke through in Hollywood in a huge way thanks to "Good Will Hunting," which they both wrote and starred in.
As for who will direct, that remains a bit of an open question with Affleck saying, "I don't know how it will come together — acting, directing, who will do it, but Casey and I decided to write it," he said. "It's one of those things where we don't jump in and go, 'I'm going to do this, you're going to do this.' Let's write it. Let's get it to a point. Dave Mandel did a good draft. Casey and I are going to fool with it and get it to a place we want to get it to. Once the script is ready, then it's, 'Who's doing what, what's the time frame, Matt, me, Casey, directing?' "
But Ben Affleck was said to have shown some interest in directing the film since last spring, and if he feels strongly about the finished script, certainly Warner Bros. will be eager to please the man who landed them a big fall hit and possible Oscar contender in "The Town."
"Hatchet II" had the potential to mark a new era of cinema when the slasher sequel, which failed to gain an R Rating from the MPAA, was picked up for limited release by AMC. But, after just days on release, it was unexpectedly pulled, without AMC expressing any meaningful explanation as to why they made the decision. Adam Green, director of both "Hatchet" releases has reacted to the decision, issuing a statement of his own.
“I first heard of Toronto and Montreal pulling the film via Canadian fans on Twitter on Saturday morning saying that the movie was pulled without reason and they wanted to know where it went. If you look at my twitter you'll see that I mentioned 'Hearing the film has been pulled from Montreal and Toronto- but don't hate the theaters, they tried.' Which leads me to believe that after Friday the movie was yes, gone. Calling the theaters can confirm that.
All signs would point to AMC being unhappy with how vocal I was about the MPAA and not wanting to deal with the controversy -- which if the case, is their given right. Had the film grossed millions, maybe it would be a different story with them, but given the size of our release and the nature of what this is, all we ever could have hoped for was a few grand per screen in a realistic scenario.”
The confusion felt by fans attempting to watch a screening at AMC is understandable, considering that Green had previously said to Entertainment Weekly that AMC had volunteered to show the unrated cut. "It turns out the people who make the decisions at AMC were big fans of the original "Hatchet" and loved the sequel," the director revealed."I think the quote was that they thought it was 'the best slasher sequel they'd ever seen'. " Yet, AMC's decision to put an unrated film in cinemas was controversial. This has not happened for a film in this genre in a quarter of a century and so the announcement coincided with a wave of public criticism. Importantly, this decision presumably did not escape the attention of the MPAA. While Green has come out in support of the AMC chain itself, he has never pulled his punches when it comes to criticism towards the MPAA. This accumulated in a tasty outburst towards the ‘evil’ MPAA about their handling of not only "Hatchet II" but also the original "Hatchet." But, Green’s outbursts may have backfired and inadvertently set the MPAA's hand in motion to apply the pressure to get this film pulled so that their authority as regulator was reaffirmed. A spokesperson for AMC has come out on the defensive on this issue. Commenting on the chain's decision, it was confirmed that "Hatchet II" has been removed from all cinemas and was followed by a written statement that reads: "At AMC theatres, we review all films in all of our theaters every week and then make our business decisions based on their performance."
But, just as Green stated, given the size of the release what did they expect? They chose to pick up an unrated slasher film with a limited release; did they expect comparative box-office receipts to say, the "Saw" franchise, which is over-exposed and given full release? No matter how defensive Green is to AMC, It appears a near-perfect marketing coup by the chain; having gained exposure and notoriety, they pulled the film, blaming the film's performance that never had a chance of succeeding. An easy out if there ever was one.
The vagueness behind the film's withdrawal has not escaped the attention of Green, talking to Cinematical he said: "The sad truth of the matter is that no one at Dark Skies (the film’s distributor) has been able to tell me the exact reasons behind why the film was pulled... AMC's response to the press of 'we base our decisions on performance' does not add up given that we know of at least two theaters that had pulled the film after just 24 hours and given the grand scheme of things, other genre titles performed worse per screen ("Chain Letter") even though they had bigger budgets and traditional spends on marketing campaigns as opposed to ours."
To conclude, Green has insisted that it is highly doubtful that "Hatchet II" will return to the big screen, in its current state or in an edited state that meets the MPAA regulations. However, he did have a positive note to fans. "The good thing is that the biggest audience for this movie, because it was for the first one, is going to be with on demand and DVD," Green says. "I know that Dark Skies, in light of it being pulled prematurely, is going to do everything they can to get it to the fans as fast as they can." -- Matt Richardson
There's been a new addition to Cameron Crowe's upcoming adaptation of Benjamin Mee's novel, "We Bought A Zoo" which already stars Matt Damon in the lead role.
Variety has reported in bare bones fashion that Thomas Haden Church had joined the film, but have provided no details on what role he might play.
Earlier today we heard news that Amy Adams was weighing an offer to play the female lead role, but apparently she's on a shortlist of actresses, so if she passes — maybe to play alongside Jason Segel in the new "Muppets" movie — there could be many other contenders (we're thinking Zooey Deschanel as her second-ever film role ever was in Crowe's "Almost Famous.") The trades don't mention Adams at all and we suspect it's because she's still mulling over the role and it hasn't hit the negotiation stage. Production on "We Bought A Zoo" is expected to start in early 2011.
The script adaptation was originally penned by"The Devil Wears Prada" scribe Aline Brosh McKenna, but reports a few months ago said Crowe was rewriting to fit his style. Mee's story follows the English author (Damon's role) as he uproots his family into the countryside on a property complete with a dwindling zoo, home to over 200 exotic animals. Once there, the family is struck with the tragic cancer battle of the wife and mother (the role Amy Adams is being sought for) , whose unfortunate passing goes on to inspire the family to rebuild the zoo. Their relationship to the animals grows, ultimately healing the family's wounds and allowing them to move forward. The Amazon description of the novel says that the zoo contains "an eclectic staff" and new hires have to be made, so presumably this is where Church's role fits. The film is already set for a December 23rd, 2011 release date which fits with its sentimental, but hopefully not mawkish sounding tone that's ideally made for all families, yet won't pander too hard. It's been five years since Crowe's unfortunate, "Elizabethtown" so we're hoping the film finds him more surefooted tonally. The director is also working on an Untitled Pearl Jam Documentary that will center around the band's 20 year anniversary which just passed this year. At one point it looked like his next feature would be the romantic comedy set in Hawaii "Deep Tiki" with Ben Stiller and Reese Witherspoon, but the project was postponed and it feels like its time has passed.
Well, if the teaser was minor and haunting, the full length trailer for the Coen Brothers' "True Grit" turns the volume way up and increases the number of gunshots. But no worries, the film still looks great and the new trailer is obviously a much more broadly appealing piece of marketing material.
In the new spot, we get far more time with all the principal players, and Matt Damon is still not quite convincing in his role as Texas Ranger La Beouf. That said, in the script we read, his character provided a lot of comic relief and ended up being one of our favorites so we're still curious and hopeful. Hailee Steinfeld and Jeff Bridges look like a formidable duo as they hunt down Tom Chaney (a menacing Josh Brolin), the man who killed the young girl's father. So yes, we're still very excited for what should be a late Oscar season player.
The song in the trailer is Johnny Cash's "God's Gonna Cut You Down" and the film hits on Christmas Day.
Amy Adams is a wanted woman and we can't say we blame the filmmakers and producers who covet her talents. After taking off almost a year to have a baby, the actress is ready to get back to work and now has to weigh some serious offers.
The first one, and perhaps the most enticing as it could endlessly enjoyable, is one from Jason Segel and Disney regarding his 'Untitled Muppets Movie' (sometimes known as simply, "The Muppets," formerly known as "The Greatest Muppet Movie Of All Time") which is due Christmas 2011. Segel want Adams to co-star next to him in the picture which needs to start shooting soon if it wants to make its targeted release date. Having already worked in the realm of animation — "Enchanted" — she more than demonstrated that she could carry a tune (the 'Muppets' film will surely have songs in it and Segel is a songwriter as well), Adams seems like a perfect fit for the material, but she does have other gigs to consider.
Cameron Crowe — who is getting divorced from his wife of 22 years, Nancy Wilson, bummer — wants Adams to play the zookeeper role alongside Matt Damon in the adaptation of "We Bought A Zoo" which is also scheduled for a Christmas release in 2011 which essentially means it too is vying for her attention. Damon plays a widowed man who buys a dilapidated zoo as a condition of purchasing a beautiful country estate. Lastly there's Dreamworks' "Welcome To People," which is the directorial debut of Alex Kurtzman, one half of the writing duo (along with Roberto Orci) responsible for the "Star Trek" and "Transformers" films thus far. The Dreamworks family drama recently picked up Chris Pine for the lead — a man who loses his father to cancer and then must deliver the $150,000 inheritance to his half-sister — and they're eying Adams for this sibling role; a struggling mother and recovering alcoholic. EW reports that her participation in 'The Muppets' movie seems optimistic, but nothing has been set in stone yet. Adams is apparently on a short list of women who are also contenders for the "We Bought A Zoo" gig.
Just when it looked like "The Social Network" was going to hog the Oscar buzz until the end of year, along comes the Coen Brothers with the teaser for their upcoming "True Grit" and if the film even remotely resembles what this early footage promises, it looks like the directing duo will be another powerhouse to contend with.
To refresh your memory, the film stars Jeff Bridges, Matt Damon, Josh Brolin, Barry Pepper and newcomerHailee Steinfeld and follows a young girl (Steinfeld) who acquires the assistance of aging, drunken U.S. Marshal Rooster J. Cogburn (Bridges) and young Texas Ranger, La Boeuf (Damon) to track down her father's killer, Tom Chaney (Brolin), who has taken to a gang led by "Lucky" Ned Pepper (Pepper).
And everything in this teaser is ace. Right off the bat, we're immediately impressed with Hailee Steinfeld whose narration and presence pretty much prove why she was hired in the first place. The cinematography by Roger Deakins is top notch as usual, and the music is downright haunting (the song in the trailer is "Where No One Stands Alone" by The Peasall Sisters). Tonally, it looks to fall in their direct matter-of-fact atmosphere in which the truly desperate and strange situations leave room for sardonic humor.
"True Grit" will hit theaters on Christmas Day. Watch the trailer after the jump or in HD over at Apple.
While we were we pleased to see a director seriously tackle issues ofspirituality without necessarily addressing religion as Clint Eastwood does in "Hereafter," we ultimately called the film a "compromised effort" after seeing it at TIFF.
The film, which Eastwood calls his "chick flick," was written by Peter Morgan ("The Queen," "Frost/Nixon") and follows three plotlines: Matt Damon plays a psychic in San Francisco who can't connect emotionally with his girlfriend (Bryce Dallas Howard) and wants nothing to do with his powers; Cecile DeFrance plays a French TV journalist/talk show host who has a near death experience in the 2004 Tsunami and the third character is a young boy whose twin brother dies in an accident (played by unknowns Frankie and George McClaren). Slowly as the script evolves, their lives interconnect.Lyndsey Marshaland Richard Kind round out the cast.
We now have our first look at the poster for the film and it's pure cornball. We suppose marketers are really trying to amp up the otherworldly aspects of the story but it pretty much looks like a one sheet for a forgotten M. Night Shyamalan film.
"Hereafter" will play as part of the upcoming New York Film Festival starting this Friday and will hit theaters on October 22nd. [Apple]
In “Hereafter,” three stories of mortality are told. The first one we learn concerns Marie (Cecile de France), a journalist on vacation in Indonesia. The movie has barely begun when she is swept up in a violent tsunami, one that fulfills the bloodless requirement for PG-13, but is otherwise absolutely harrowing. It’s impossible to understand what really happened during the real-life events depicted in the film, but even with computer generated effects, there is a unsettling universal sensation this sequence captures. You share in the fear that Marie, a media figure and woman of privilege, is carrying with her: these are my final moments. I will be powerless to prevent them.
As her lifeless body floats to the top of a submerged building, her body stops breathing, but her mind races. Something - whether it be her subconscious, her spirit, her mind - is glimpsing shadowed figures, conversations in progress, a peek into an astral plane. She emerges from this stupor, triumphant against death, but she’s brought something back with her. This is not an M. Night Shyamalan film, so it certainly isn’t ghosts. But that may depend on your definition of “ghosts.”
In pursuit of a regular life, he’s joining the singles’ scene, applying for a cooking class in the city. But every touch brings someone’s late partners, siblings, and friends to the forefront. George is, by all accounts, a good man, fair and polite, and even willing to humor his brother, whose entrepreneurial interests in regard to George’s ability is couched in false altruism and hollow guilt. When he develops feelings for a vivacious cooking class partner, he takes great pains to hide his very peculiar baggage, though his reserved body language suggests physical intimacy greatly eludes him, and the prospect of such closeness with her is a rare exciting prospect in his colorless life.
Screenwriter Peter Morgan and director Clint Eastwood aren’t making a film about the intangible. Instead, it’s a picture about what people do when they find themselves developing a connection with an outside force. It’s an oddly supernatural detour for Eastwood, a filmmaker with an appreciation for straightforward onscreen action and intimate melodramas, but in a literal sense, the characters are all reacting to the connection with the afterlife in the great tradition of all MacGuffins - Marie is getting it, George doesn’t want it, and Marcus needs it.
As the story evolves, Marie sees the same murky hereafter that George does, but its uncertain how she’s affected by it. This new connection with ghosts shakes her, but her in-articulation combined with her personal and professional details - her boyfriend/boss gives her a foreboding “vacation time” - keeps the audience at a distance. She pools her resources into a new project, but remains afflicted by what she encountered upon resurrection, instead penning an account of what lies beyond. This book remains the best opportunity for the audience to understand what she’s going through, but we hear only snippets taken out of context, and its entirely unclear what epiphany she is meant to come to. There’s no tension regarding her easygoing boyfriend of indeterminate seriousness, and she has the type of job that allows for an extravagant apartment with the option of weeks off at a time, so what’s at stake remains a mystery.
Young Marcus’s storyline is more than a bit stronger, the boy grasping at straws regarding the afterlife, a concept he’s never considered. Like each character, he is in the process of finding his identity, but he cannot move forward unless he comes to terms with the loss of his brother. Gradually, this becomes a fascination with George, who inexplicably left his own website up despite fleeing from his profession. George has met someone special, and unlike other people at his station in life, he seeks not marriage, or longtime friends, just a connection. But is he going to be able to connect with this girl without his second sight in the way?
Which isn’t to say “Hereafter” isn’t a film of notable achievements. As per producers Steven Spielberg and Frank Marshall, the opening tsunami is a breathless wonder, edited for maximum unease and terror, so much so it’s a disappointment when it merely serves as a catalyst for a rich journalist to discover she’s a writer. Damon is quite good in a subdued role where his body language and squished face are necessary to reflect a young man dealing with pain and suffering beyond his years, yet another in a career of pleasant surprises from the Oscar winning screenwriter. And as Marcus, Frankie McLaren has the film’s most affecting moment, in which he makes a fulfilling spiritual connection, one that he doesn’t realize is severed by a lie. It may be what Clint and company are trying to tell us: a little B.S. goes a long way. [C+]
