Amanda Dobbins

He, Steven Spielberg, kind of the architect of American blockbusters, has been at the center of the conversation for the last 15 years.

I mean, there is a phase where he starts...

trying to break out of just the basic blockbuster genre box, right?

And there are personal themes, but to me, they get more wider and systemic and less kind of here is one sad little boy who wants to make an alien friend.

And, you know, those are sprinkled in, and I think you can't get away from that when you're

An artist of Spielberg's level, like he is always going back to his themes, but he starts wrangling with history a bit more.

I mean, you know, Schindler's List he did as well, but he keeps kind of there's a there's a history one.

Then there is a like technology one.

Then there is a.

The world is opening as opposed to a kid in his room with cameras.

Well, I think, I mean, the one issue with it is the central performance.

Eric Bana, who is just miscast.

And I was, when I rewatched it, because you texted me and said you were watching it.

It's like, imagine Josh O'Connor in this part.

Just absolutely...

Would be lights out amazing.

Yeah, the ideas... And again...

The dialogue, the way those questions of ideology and morality and...

You know, and ultimately, like, is a person doing good or bad?

And what do you owe to yourself, to your family, to the idea of a country?