on here at Gurewitz's request
Borzage in a lower register of mise-en-scène for the first three-fourths of the film, before the final sequences set in China. I highly recommend the Nick Pinkerton audio-commentary on the Kino Lorber Blu-ray edition to touch upon the nuances of the Borzagean credo and to resurrect astute (though for me partially problematic) remarks from Fred Camper (and, from a contemporary New York Times review, Frank S. Nugent).
One of the best 2010s American films. It's not a pastiche of Agatha Christie any more than, say, BEND OF THE RIVER is a pastiche of WESTERN UNION. It does, however, rejuvenate the whodunnit in a manner akin to STAGECOACH's modernization and modulation on the western. A cross-class group portrait, a social allegory of American heritage (both in the sense of "inheritance" and "the ancestral"), which brings to mind the families Trump, Murdoch, etc...
Rian Johnson wanders the house, or…
A contender for the greatest film ever made. Watched again last night. One note for here: the infamous pool-table sequence: in which the furniture and the chairs seem to stare back at Bill and the viewer, depopulated but haunted by a gaze-"off", which is the dialectic between Kubrick's own POV/world-view/gaze and that of the viewer: a mise-en-abyme of the very Void, or, to quote Morrissey quoting someone else: "I entered nothing / And nothing entered me."