Ricochet is the best place on the internet to discuss the issues of the day, either through commenting on posts or writing your own for our active and dynamic community in a fully moderated environment. In addition, the Ricochet Audio Network offers over 50 original podcasts with new episodes released every day.
It was bound to happen, he’s been looking more and more like a conservative for a while now. So now they’re coming for David O. Russell, quite possibly America’s best working movie director. Russell has made some of the most beautifully twisted motion pictures, and just like Louis C.K. people are shocked to find that such essential creators are, or at least have been, pretty twisted themselves. C.K. makes jokes about the ugly thoughts most wouldn’t dare utter, David O. makes movies about an America off its rocker.
My purpose here isn’t to get into the thing that the director of The Fighter (2010), Silver Linings Playbook (2012), American Hustle (2013), and 2015’s Joy (possibly the most emphatic ode to Capitalism since Whit Stillman’s Barcelona) did a decade ago, nor do I care much to ponder on why the journalist Laura Bradley has decided to make it the public’s business; I’d rather just write a bit about a filmmaker whose movies deserve more attention from a justifiably Hollywood-weary right.