Something unfortunate happens during the last third of State and Main… Mamet realizes he needs a story.
He goes so long without traditional narrative elements—the film has, at best, a roaming protagonist and Mamet doesn’t do much establish the ground situation as hint at one for smiles. Mamet doesn’t go for belly laughs in the script, he goes for nods and smiles. It works better, since he’s dealing with cynical Hollywood types in small town America.
Of course, it’s small town New England, so...
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