I get it. I do. It may sound strange to you...but I'm cool with it. It's just how some of us deal with things, I suppose.
See, in a way, I also write letters to the universe. But I write mine because I have kids, you know? This dumpster fire you're currently standing in is a gift for them when I'm gone (Dad, you shouldn't have. Like, for real. Stop.), whatever the circumstances may ultimately be.
Yet, even though no one owes me a response, I'm not gonna lie: I certainly welcome it.
Collateral Beauty is the 2016 bullet point on Will Smith's resume of annual holiday-season/feel-bad movies. Released this past Christmas, the once freshest of princes plays Howard, a father still mourning the loss of his young daughter to cancer. Howard hasn't moved on, and we find him quietly drifting through his life at the film's outset.
Personal tragedies are typically just that - personal - until three top execs at Howard's company have finally had enough of his downward spiral. Turns out, it isn't exactly top form that their former fearless leader spends days in his picturesque office setting up and knocking down dominoes. Oh, it's totally rad, sure, but cost-effective it ain't, and they decide to walk the dangerous path of proving he's mentally unfit to steer the ship.
Knowing their boss has actually written letters to the universal concepts of Life, Death and Time (the former benchmarks of their advertising firm), these three kooks cook up a wickedly deceptive, three-step plan: 1) hire three actors to play Life, Death and Time 2) film their interactions with Howard on the streets of NYC and 3) digitally remove the actors making Howard look like a f--king psycho.
Wait, what?
See, in a way, I also write letters to the universe. But I write mine because I have kids, you know? This dumpster fire you're currently standing in is a gift for them when I'm gone (Dad, you shouldn't have. Like, for real. Stop.), whatever the circumstances may ultimately be.
Yet, even though no one owes me a response, I'm not gonna lie: I certainly welcome it.
Personal tragedies are typically just that - personal - until three top execs at Howard's company have finally had enough of his downward spiral. Turns out, it isn't exactly top form that their former fearless leader spends days in his picturesque office setting up and knocking down dominoes. Oh, it's totally rad, sure, but cost-effective it ain't, and they decide to walk the dangerous path of proving he's mentally unfit to steer the ship.
Knowing their boss has actually written letters to the universal concepts of Life, Death and Time (the former benchmarks of their advertising firm), these three kooks cook up a wickedly deceptive, three-step plan: 1) hire three actors to play Life, Death and Time 2) film their interactions with Howard on the streets of NYC and 3) digitally remove the actors making Howard look like a f--king psycho.
Wait, what?
