It’s all deeply ugly and silly and reprehensible and preposterous. It’s
also undeniably beautiful, featuring Marra’s best use of blacks to date —
I’m having a hard time tearing myself away from looking at the shadows
on Johnny’s cheeks and chest or Chase’s back and collarbones long enough
to write this post — and paced with precisely the same manipulative
expertise as the genre trash it’s pastiching.