I thought the mise-en-scene had random moments of greatness involving the signage ("no collateral necessary") and others that could've been great with some forethought to the shot structure ("earthquake supplies").
And although the interminable crosscutting to Sin-Dee dragging Dinah up and down Santa Monica Blvd. without motive or consequence is a lot to sit through, the movie is a technical achievement that opens possibilities for other movies and the final act is near great.
Sound design is a different story. Although the dialog is thin, getting it clear on Santa Monica Blvd. is impressive. And despite the clever revival of "Toyland," the music is abused in the underscoring as Sin-Dee and Dinah smoke more crack. It's as if the scene were improvised and they wanted to keep the gestures but not the dialog.
I don't know that attraction or grit has much to do with with the let down. After so much transgression, to end the movie with all races, genders and domestic relationships returning to respective corners snuffs whatever fires of interest started in the final donut shop scene.
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