Writing

I’ve watched a few things recently which I haven’t got round to writing about yet, so here they are in one whole document. Also, I had to hold down the fort for several days, so here are some of the enthralling activities I’ve engaged in.

Continue reading “Review Round Up + Stuff I Did”

There are montages, and then there are Breaking Bad and Better Call Saul montages. They’re not style over substance, they’re meaningful, and every image makes an impression. It’s tough to whittle down the many genius examples in Better Call Saul to just one standout, but one of my absolute favourites has to be the depiction of Jimmy and Kim’s slowly diminishing relationship in Season 4’s ‘Something Stupid’.

Continue reading “Minimalist Moments: Better Call Saul”

Now, it’s time for an impromptu poem. Of sorts. Also, WordPress doesn’t let you click enter without including a space, so it looks a bit odd. Anyway…

Continue reading “Review: Past Lives”

I wasn’t aware that Tobe Hooper had directed this one and not Spielberg, although the latter appears to have played a significant role in the production through other roles. I also didn’t know that the film originally received an R rating in the States that got pushed down to a PG thanks to appeals from both individuals. Tobe Hooper didn’t manage to get that same leniency when it came to The Texas Chainsaw Massacre, funnily enough, but Spielberg’s star power probably helped a decent bit here.

Continue reading “Review: Poltergeist”

‘A lot can happen in the middle of nowhere’

The tagline of the Coen Brothers’ sixth film creates a genius little bit of intrigue in one short sentence. It doesn’t give away any specific details yet nonetheless grabs the viewer’s attention; we have no idea about the myriad possibility of events that could take place, and we don’t know the specified location where these happenings will occur. Unless you knew about Fargo before the film, and also knew where precisely in the world it was. In which case, congrats. But even if you did, that’s immaterial, because not a single scene was actually filmed in Fargo, with most of the film being shot in Minnesota. The more you know, eh? The tagline also neatly summarises the film’s outstanding opening sequence, where the slow journey of a car through snow is complemented with a majestic, Odyssean grandeur through the use of the powerful orchestra of regular Cohen collaborator Carter Burwell.

Continue reading “Minimalist Moments: Fargo”