About the only negative thing I can say about this story is that some of its most important elements do require valid inferential reach that is not distracted by the many diverse conventional clue/symbols that are presented but not defined for us, but which doesn't dismiss them either with easy dichotomies.
That's also an asset to those of us, in current electronic media cultural generations, who find ourselves bored to the point of aversion by template driven eye-candy, no matter how putatively "outrageous" its loud choruses be.
A more nutritive eye-candy, The English clearly is, in bare-bone, "calcium" laden, post-post-postmodern, vignettes, the architectures of which emerge as organically derived syntheses of times, places, and persons connected, or not, by y/our more - or - less valid powers of rational inference.
The English's wide open spaces, in an extremely minimalistic frame, bring to mind Cormac McCarthy's sparsely rich and open telling phenomenology in The Road, but with a whisper more of surprisingly complex pattern elements that are left inviolate all of the way through a very great deal of who/what/when/where/how, but, thank goodness, not why, to the end.
The stark consequent right - or - wrong conundrum characteristics of The English keep you viscerally engaged in the risk of inferring from verifiable experiences into true - and/or - false empirically derivative dimensions, without too much help from story tellers handing us infantilizing answers. It's a troubling substance all of the way through to a very satisfyingly atmospheric "end" that leaves viewers watching for more.
That's also an asset to those of us, in current electronic media cultural generations, who find ourselves bored to the point of aversion by template driven eye-candy, no matter how putatively "outrageous" its loud choruses be.
A more nutritive eye-candy, The English clearly is, in bare-bone, "calcium" laden, post-post-postmodern, vignettes, the architectures of which emerge as organically derived syntheses of times, places, and persons connected, or not, by y/our more - or - less valid powers of rational inference.
The English's wide open spaces, in an extremely minimalistic frame, bring to mind Cormac McCarthy's sparsely rich and open telling phenomenology in The Road, but with a whisper more of surprisingly complex pattern elements that are left inviolate all of the way through a very great deal of who/what/when/where/how, but, thank goodness, not why, to the end.
The stark consequent right - or - wrong conundrum characteristics of The English keep you viscerally engaged in the risk of inferring from verifiable experiences into true - and/or - false empirically derivative dimensions, without too much help from story tellers handing us infantilizing answers. It's a troubling substance all of the way through to a very satisfyingly atmospheric "end" that leaves viewers watching for more.