All this time I've been blaming Hollywood for the endless parade of utterly predictable movies it's been feeding us for decades. But based on the U.S. critical response to the endings of several better-than-average Hollywood films this year (No Country for Old Men, Zodiac, There Will Be Blood), I'm thinking it's not just Hollywood's fault: maybe they're simply giving the people, critics included, what they want: consonance and resolution.
Over at Slate they're debating the unwillingness of this year's best films to resolve comfortably, when non-resolution should be a completely valid compositional decision to begin with. Shouldn't it?
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