I’m sorry but David Robert Mitchell‘s Under The Silver Lake (A24, 6.22), which I saw early this morning, is mostly a floundering, incoherent mess. Yeah, I know — Mitchell wanted it to feel this way, right? Ironically, I mean. Confusion and mental haziness were part of the impressionistic thrust.
It’s pretty much a textbook example of what happens when a gifted, financially successful director without a great deal on his mind at the time…this is