“The longer you spend immersed in the mores of the society Ahmad describes, it begins to seem reasonable that a man could be compelled to kill his own son on an altar, or to seed a child in his handmaiden, or to trick some besotted fool into marrying the wrong daughter – or indeed to murder his own beloved wife as an act of reluctant compassion.” It’s all starting to make sense to Matt Jager.
“The stories of our lives spin along in the currents of love and enmity and vice and virtue, but the jagged teeth of the crocodile have no respect for such narrative threads.” Matt Jager reviews Adam Johnson’s The Orphan Master’s Son.
“With the remembering of these small moments, 1,600 year old men and women become breathing human beings rather than marbled statues in heroic poses. It may or may not be history, but it is life.” Matt Jager asks the question: should the exploits of average people count as history?
“Critics defend the ending as an artistic brushstroke reflecting a genre subversion, but the director shruggingly admits she just plumb ran out of money.” Looking for something interesting in your Netflix Instant queue? Matt Jager recommends Meek’s Cutoff.
“Chaplin stands, then, and with fearless earnesty declaims the wickedry infesting a world that sweeps aside the tenderness of human connection.” Matt Jager applauds Charlie Chaplin’s hopeful spin on a dark moment in history.
“It’s a tearjerker, there’s no denying that.” Matt Jager might not admit he cried while watching War Horse, but then again, he doesn’t admit to not crying either.