Horror isn’t exactly my genre of choice, but I’ve been delving into more psychological-based horrors in recent years. And one of my recent favourites of those delvings (not a word, I know, but please continue) was A Quiet Place. Watching it at the cinema was an amazing experience, and rewatching it back at home provided a different vibe, but it was nonetheless an engaging session. But in order to provide a cathartic release following the viewing in the form of some comedic genius, Hot Fuzz seemed like a safe retreat. And it was. I’ve seen it a few times already, and don’t quite get the excessive fanfare in comparison to Edgar Wright’s previous work Shaun of the Dead, which I feel is superior. But each to their own, I guess.
Continue reading “Rewatch Double Bill: A Quiet Place, Hot Fuzz”Minimalist Moments: Up
If you want a nice, fluffy, happy animated narrative, then the key to that often involves including something not so nice or fluffy. Like infertility and death.
Continue reading “Minimalist Moments: Up”A Few ‘W’s: The Whale, Women Talking, Extraordinary Attorney Woo
Minimalist Moments: Inception
528491. A random sequence of numbers, right? Yes and no. They happen to be the sequence of numbers that come to the mind of Robert Fischer when he is being interrogated by Arthur and Dom’s masked captors and is commanded to provide a code to a safe. Do the numbers have any meaning outside of this cinematic context? Apparently, 528 is a harmonic sequence that was developed in the monasteries, with this particular combination signifying miracles. Others have speculated that the 491 refers to the unforgivable sin, ‘The Lord will forgive you 7 times seventy times’ (Matthew 18:21-22). Some have interpreted the sequence used as practical dates, with ’52’ referring to 1952, the year in which Robert’s father Maurice was born, ’82’ as the date in which Robert himself was born, and the final ’91’ as the date Robert’s mother died.
Continue reading “Minimalist Moments: Inception”Minimalist Moments: Return of the King
Howard Shore is a frequent collaborator with David Cronenberg. He’s scored every single one of his films apart from one since 1979. He’s composed an opera, and he’s composed for television, working as the musical director for SNL for five years. Shore has established a glittering and varied career, but the composer will inevitably be most known for his work on Peter Jackson’s Lord of the Rings trilogy, with his music playing an essential role during scenes with minimal dialogue, or no dialogue at all.
Continue reading “Minimalist Moments: Return of the King”