“How could the addition of an exceptional sequel have subtracted rather than added to the value that this film has had for me throughout my life? I can only answer this from my own personal perspective, and hope that it might ring true for others.
If I think about the kinds of films that I’ve always championed as examples of brilliant filmmaking, the vast majority have been those that raise questions or proffer ambiguity rather than provide cohesive and reductive answers or conclusions. Films like Andrei Tarkovsky’s Solaris (1972) and Stalker (1979), Kubrick’s The Shining (1980), Kurosawa’s Ikiru (1952), and Rainer Werner Fassbinder’s World on a Wire (1973) are all radically different, but they have one comment trait…. they are cinematic questions rather than answers.”
It’s not that kind of article you need necessarily agree or disagree with its author, however. That’s why I thouroughly enjoyed it.