War Horse is not a postmodern film. Steven Spielberg’s latest offering does not aim for the stylish irony of a Quentin Tarantino film, the melancholic psycho-spirituality of Darren Aronofsky, the stylized editing of David Fincher, the staggering reversals of M. Night Shyamalan or powerful complexity of Christopher Nolan’s multi-layered masterpieces. I’ll publish a review of War Horse on Friday (it opens on Christmas day), but what interests me at the moment is the way in which Spielberg uses modern (and not... Read more