Lost Command (1966)

Omaha reminds us of what it can feel like to look at old family photographs.  You sit with the bittersweetness, allowing it to wash over you; not drowning in it, but certainly affected by it. 

Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.

It’s easy to dismiss Joel and Ethan Coen for writing from the world they build from outside the box of overarching Hollywood stereotypes, but their inability to compromise their collective vision is precisely what makes the simplistic nature of their world-building and characters so brilliant. It’s also what led Fargo to collect seven Oscar nominations and two wins for Best Original Screenplay and Best Actress for Frances McDormand’s brilliant portrayal of the sincere, motherly detective whose wholesome demeanor seizes the day over the selfishness, corruption and evil of the men who don’t comprehend that there’s more to life than a little money.

This Netflix series is a remake based on the book series of the same name with a more diverse main cast.

The film blends reality and the supernatural world together, leaving the viewer unsure of what’s real and what’s merely a figment of Michael’s agitated imagination.

Personalities clash and tempers fume in a family-run Chicago restaurant