josh lewis’s review published on Letterboxd:
with each watch i am just more impressed by how economical and restrained many of cooper's choices were both in front and behind the camera for material that begs you to go as big as possible. others have said but it is almost eastwoodian. some very simple setups, camera moves and cuts in this with real skill and emotional weight to them. the scene between him and sam in the truck is a good example, just a simple shot-reverse-shot from backseat for entire conversation gives it this casual feeling but it's staged perfectly for that moment cooper drops the scene's writerly bomb at the end and sam pulls into reverse & you get that huge close-up of his teary-eyed reaction without having to compose a new shot for it. just plain simple but effective stuff. and labitque tha god, of course. watching this with HDR you really get a sense of how impressive the lighting situation would've had to have been for those stage sequences. it's kind of insane to me that i think this but the dude bradley really should've won in both categories that year.