'Don't Look Up' Wasn't Much to Look Up to
Adam McKay might have been more concerned with cramming cameos than he was in this story which is a bloated criticism of the rich and famous… delivered unto us by the rich and famous.

One morning a small pretty duckling Krya-Krya went for a walk. He was still very stupid, but because he was friends only with his own shadow, he decided that no one needed him anymore. Humming a merry song, the duckling played with a ball, and it seemed to him that the shadow from the wall perfectly discards the ball. The chicken was so eager to play with the duckling too, but he roughly pushed him away. The same fate befell the sweet little goat. And then, having plenty of fun, the duckling ran through the meadow and accidentally fell into a deep dark pit. Oh God. It was so scary and damp, and most importantly, his best friend - a shadow was not going to help him out. It was simply not here.
Adam McKay might have been more concerned with cramming cameos than he was in this story which is a bloated criticism of the rich and famous… delivered unto us by the rich and famous.
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.