quinn

> *"Emptiness under the moon."* Nothing like I expected. Way funnier than I thought it would be, which, importantly, makes it less self-serious - which it threatens consistently but manages to hold the line. Stunning, beautiful blocking and some of the best black-and-white cinematography I've ever seen. The quiet, contemplative moments feel genuine and really hold the emotional core together - there are no pretentions there, at least, and it keeps this grounded, especially in contrast to the more spiritual elements. I still find this to be a bit overwrought, be it in concept or presentation, but there are several provocative, moving scenes that give this power, so I hardly even care. Where do we find peace, knowing death and not knowing God? In life itself, and the daily intricacies we take for granted. > *"Is it so terribly inconceivable to comprehend God with one's senses? Why does he hide in a cloud of half-promises and unseen miracles? How can we believe in the faithful when we lack faith? What will happen to us who want to believe, but can not? What about those who neither want to nor can believe? Why can't I kill God in me? Why does He live on in me in a humiliating way - despite my wanting to evict Him from my heart? Why is He, despite all, a mocking reality I can't be rid of?"*

> *"Water polo? Isn't that terribly dangerous?" > "I'll say. I had two ponies drowned under me."*

This is really beautiful and sweet and I loved basically every part of it, but while the obvious throughlines of humour and connectivity mostly hold it together, there's a bit too much of a tonal disconnect between the first and third vignettes, specifically, for this to feel quite cohesive enough for me. The first moment is my favourite; I just live the quiet peace and humour it embodies, the drifting portrait of love and togetherness that practically radiates simply beauty. The third is hilarious, but it feels so totally different from either of the other parts that it's honestly a bit jarring. Ultimately it still mostly works, and the little formal tricks are just simple enough to unobtrusively keep this nice and tight. My feelings on this definitely cooled as the runtime passed, but I can't help but love the contemplative feel.

Many would have you believe that Sorkin directing is the real crime here, but honestly the whole thing is so bad I think it's just unsalvageable, and every part of Sorkin is to blame. It’s just mind-melting sludge from start-to-finish, a story that is probably worth telling but is done with all of the subtlety and emotion of a Wikipedia article. Painfully preachy and endlessly expository, but equally way too focused on the human concerns of all of its characters, especially since we only ever hear them talk about it and never see it. It's barely coherent, even; random things just happen at random times, it feels totally ripped to pieces in post, and half of everything that happens feels totally unnecessary - kind of like a fever dream of bullshit. Probably could have worked as a 50-minute special or something. Miley Madison rules the world, but even that is tempered by her being weirdly sexualized the entire time for the most easily dispensable “plot reasons” I have ever seen. Despite all that, though, the biggest crime is simply being extraordinarily boring. [2026](https://letterboxd.com/quinn10/list/2026-ranked/)