What I love about Margaret Millar is that you know she’s playing with you but she only lets you get close enough to see the shadows of her deception.
There is a paradox in all great short stories: they leave large marks that bely their stature. Like a tiny comet crashing to Earth, they are brilliantly devastating forces of nature that make a hell of a profound impact.
Dard is brilliant at describing the unspoken tones of noir – the creeping dread, the red-blooded lust and the vein-bulging tell-tale signs of sin’s smothering aftermaths.
Fusing old school grit with contemporary cloth, You Were Never Really Here emerges from an acid trip to the cutting room as one of the most remarkable films of this generation.
As we immerse ourselves in a bracing loss of innocence, we are riveted to the rhythm of this doom spiral.
Often when reading narratives that decide to play with time, jumping back and forth without warning, I wonder if the book would hold up as well if it were rearranged in chronological order.