Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

Tato just moved back home penniless. He decides to sell his bedridden mother’s house. Now he must build a replica of his mother’s bedroom to create the illusion that she is still in her home.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
How closely does an actor need to resemble a character or historical figure in order to portray them on the Silver Screen? Seems to depend on color.
Darren Aronofsky’s Caught Stealing is a gritty, darkly funny thrill ride through 1998 New York, with Austin Butler delivering a raw, magnetic turn as Hank Thompson—a washed-up ex-ballplayer turned bartender whose life implodes after cat-sitting for his punk neighbor drags him into a violent underworld of gangsters, crooked cops, and chaos. Brutal yet unexpectedly hilarious, the film blends noir grit with midnight-movie absurdity, proving Aronofsky can reinvent himself while Butler cements his status as a true movie star.
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.
A homeless girl faces depression and uncertainty during the holidays.
It’s the most loving tribute to cinema and to Ingmar Bergman, set in world that feels so habitable that I felt like only re-watching this for eternity, because of how inviting it looks and feels.