In the aspect of storytelling and filmmaking, all the bad things are real, all the good things are fake. It still belongs to the one best kind of American contemporary film though, thanks the author and Ron Howard. I do hate how Hollywood has made the relink-the-drama-back-to-real-life a new cliche. It actually got old and sour.
是有张力，有过原生家庭体验的人总能找到熟悉的片刻。摄影机有很多拟态，它会站起、坐下，探出窗外甚至环顾四周，尽管如此，它还是没能伪装成为乡下人，而是拍出了精英姿态。毕竟从小就要看meet the press而不是终结者，那么最终的割断也就不意外了。姐姐才是真正没能出来的人，连剧本都忽视她，而她的视角或许才切中题眼。
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