Reviews written by registered user
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"Execution" is, in my humble opinion, one of the weaker episodes of the overall magnificent first season. It deals with the - for The Twilight Zone, at least - familiar and almost common theme of time- traveling and the irresponsible and bizarre consequences this may have. Somewhere in the Far West in the late 19th Century, hoodlum Joe Caswell is led to the gallows for the grisly murders he committed and he doesn't show any remorse whatsoever. As he's hanging by the neck from the oak tree, during his death struggle, Caswell suddenly vaporizes into thin air, leaving the priest and the local Sheriff flabbergasted and suspecting witchery. Caswell wakes up in the laboratory of Dr. Manion who successfully performed his first and long-awaited time transporting experiment and Caswell just happened to be the random guinea pig. Dr. Manion notices the marks of the hangman's noose around Caswell's neck, but it's too late, as he already picked up his old bad habits and fled into the city. Here, however, Caswell quickly realizes that 20th century society is murderously loud and that there criminals more vicious than he is. Although the idea and basic concept of this episode is once again very good, I personally wasn't too convinced with how it got processed. The time traveling aspect, and particularly the random traveler selection, remains quite vague. I do acknowledge, of course, that TZ episodes are too short to provide waterproof details on all plot aspects. The sequences showing our cowboy criminal struggling in the hectic and noisy metropolis are definitely powerful. The ending is original but abrupt, and the sudden dragging in of a third protagonist I found disappointing. I think I would have preferred if they kept it between Joe Caswell and Dr. Manion.
There exist only two types of conditions and circumstances under which
I'm willing to watch a movie like "The Devil's Sword", and that's
either together with a group of friends completely intoxicated by
alcohol or other (slightly more illegal) drugs OR at a special type of
themed festival in a ramshackle theater surrounded by a crowed of
equally over-enthusiast genre fanatics! In this case, it was option
number two, as the Belgian Off-Screen festival scheduled a crazy
Indonesian 80s double-feature with "Lady Terminator" and this "The
Devil's Sword". Now I already knew that the former was guaranteed
entertainment; a completely bonkers and shameless "The Terminator"
rip-off starring an unknown beauty (Barbara Anne Constable) as the
reincarnation of a mythical Indonesian sea-queen on a relentless
killing spree. I didn't know anything about "The Devil's Sword" yet,
but the plot description and still looked equally amusing. Like "Lady
Terminator", the film is also based on national heritage (legends,
) but still grabs every possible opportunity to blatantly
imitate the biggest Hollywood blockbusters. They really must have
worshiped Arnold Swarzenegger in Indonesia back then because here the
main inspiration comes from the Fantasy/Sword & Sorcery classic "Conan
the Barbarian". The story is senseless and I won't bother too much to
summarize, just keep in mind the following key words: atrocious acting,
laughable dubbing, silly crocodile costumes, flying rocks, badly
choreographed swashbuckling and chopped off heads. However, in sheer
contrast to "Lady Terminator", which is truly a masterpiece in its own
and very secluded league, "The Devil's Sword" quickly gets dull,
repetitive and uninteresting. Around halfway through the film, I really
had difficulties staying awake and even the cheerful crowd had tempered
down. The long and tedious samurai/swashbuckling fights are supposed to
cover up that the plot is weak and substantially void, but that
naturally only works for about half an hour. Therefore the first 30
minutes are hilarious, with a crazily yelling freaks flying down a
mountain on a piece of rock, only to interrupt a small town's wedding,
claim that the husband is property of the subterranean Crocodile Queen
and then subsequently slaughter the entire community. The only person
that fights back more or less decently is the bride, whereas the broom
cowardly hides behind his father-in-law. 5/10. Half of the points
because I was entertained for about half of the film.
The most interesting part of the night was actually the introduction. For these two screenings, the festival's organization had invited one of the founders of the Mondo Macabro DVD-label that specializes in fancily releasing this type of globally neglected cinematic trash. This person, and I sadly forgot his name, shared a couple of lovely trivia facts with the audience. For example, Barbara Anne Constable was furious when she discovered via her 14- year-old daughter that "Lady Terminator" was released by the DVD label, because she hoped that the movie would never be shown outside of Indonesia. Another story was about the lead star of "The Devil's Sword", Barry Prima, who was quite a big star in Indonesia during the 1980s, but allegedly hated acting and particularly loathed the films he starred in. During an interview with the label, he stated that he only came to the interview to see the idiots that want to put the rubbish that were his films on DVD.
Based on no less than 3 sequels in the "Wrong Turn" franchise, 1 sequel
in the "Joyride" franchise and 1 bizarre creature-feature experiment
called "Sharktopus", I think it's safe to assume that director Declan
O'Brien will probably never win any Academy Awards, but you can
definitely rest assured that his films deliver lots of deranged
monsters/psychopaths, nauseating gore effects and excruciatingly
painful on-screen death sequences! And, as I'm sure many horror genre
fanatics will agree with me, sometimes those are exactly all the things
you require in order to have a good time! Last weekend, I attempted to
start watching no less than three other (more ambitious and classier)
thrillers, but I was too tired and kept falling asleep. I had almost
given up my desire to watch something, but then "Joyride 3" started on
television. This movie didn't have any problems whatsoever to keep me
awake and entertained, and sometimes that's simply the best possible
compliment you can write about a horror movie!
The plot of "Joyride 3: Road Kill" hardly an imaginative subtitle, by the way is a non-stop spitfire of the most derivative and overused horror clichés. You know, there's even a variation on the good old-fashioned, mad-raving local who tries to warn the dumb kids not to take Highway 17! That scene certainly brought back a lot of fond 80s slasher memories! Every single one of the main and supportive characters are walking & talking stereotypes and the chronological order in which they are most likely to get slaughtered is easy to foretell from the moment they open their mouths. There isn't any tension building whatsoever, lots of stuff doesn't make any sense and there are numerous errors in continuity (unless you're willing to believe that giant cumbersome 18-wheel truck travels quicker than a race car). But the most crucial question to ask here is: does it all matter? No, absolutely positively not!
The simple truth is that "Joyride 3" is about a psycho-trucker who goes after a bunch of amateur street racers because they nearly drove him off the road. Well, in all likelihood he was going to go after them even if they didn't drove him off the road. While the group falls apart, our trucker Rusty Nail cheerfully massacres them one by one. The cool thing is that he uses his truck or assets the truck as murder weapon, so naturally it gets very messy! If you're a true gorehound, there are some marvelous rewind-sequences here. I like your movies, Mr. Declan O'Brien. That "Sharktopus" thing is an insult to the intellect to every living creature, but the "Wrong Turn" sequels are fun and so is "Joyride 3".
In many of the reviews, user-comments and movie blog discussions that I encountered recently, "Don't Breathe" is referred to as one of the most intense, horrifying and genuinely shocking horror/thrillers of the past 10-15 years Is it now? Is it really, or are we simply not seeing enough intense and genuinely shocking thrillers lately? Because, after all, "Don't Breathe" is only a very simplistic and derivative story with stereotypical lead characters, highly questionable plot twists and only a handful of semi-decent jump scenes that you can feel coming well in advance. There's a reasonably uncanny and grim atmosphere throughout, and Stephen Lang puts down a solid anti-hero performance, but aside from that "Don't Breathe" is a very routine and forgettable heist-gone-wrong thriller. Fede Alvarez did a fairly respectable job remaking the almighty horror classic "The Evil Dead", and apparently Sam Raimi thought so too, as he appears on the credits as executive producer for Alvarez' newest and very own film baby. Three amateur teen burglars from the lower Detroit (or was it Chicago?) social middle- class think they have stumbled on the opportunity of a lifetime. They will break into the home of a former Gulf War veteran who allegedly stores a large sum of money from when his only daughter got killed in a road accident. It's guaranteed to be a piece of cake, since the veteran is the sole remaining resident in a pauperized housing area and, moreover, he turns out to be as blind as a bat! Of course it quickly becomes abundantly clear that they made a big mistake, for starters because our veteran owns a vicious Rottweiler dog (that is not blind) and, secondly, he isn't just a helpless disabled person but a genuinely relentless psychopath. The three teen burglars are hopelessly clichéd and cardboard characters. The self-acclaimed leader is tough but typically ruthless and dumb, then there's the overly cautious nerd who only participates because he's got a crush on the leader's cute girlfriend. And, obviously, the girlfriend in question Rocky is basically a good person but she only turns to criminal facts because she desperately wants to offer her little sister a better life, far away from their alcoholic mother. Yawn! Thrillers/horror movies with blind protagonists that can seriously kick ass aren't exactly scarce, neither. Only recently, for example, there also was the sublime movie "Late Phases" in which another blind middle-aged war veteran single- handedly battles a bloodthirsty werewolf. That guy lost his dog at the beginning of the film, but still he was tougher and more narcissist and most of all he didn't do stuff that blind people can't possibly do! Somewhere halfway in the plot of "Don't Breathe", the burglars discover a dark and horrifying secret in the blind man's basement. This initially seems like an inventive and surprising plot twist, but not if contemplate about it a bit further. How on earth a blind person capable of arranging all this, I'd really like to know. "Don't Breathe" certainly isn't a bad film, but judging by the current rating and the numerous praising reviews, I can safely say it's one of the most overrated thrillers of the past years.
I realize this is a fairly short-sighted statement, but generally
speaking you could say there exist only two types of spaghetti
There are the ones dealing with lone and mysterious
gunslingers traveling into small towns to extract some sort of
vengeance, and the other ones dealing with the Mexican Revolution.
Yours truly is definitely more in favor of the first group (and all of
its variations), because they are more grim, filthy and realistic.
Mexican Revolution westerns somehow always seem a bit tedious and are
often also overly idealistic and drenched in a misfit kind of festive
ambiance. Even a brilliant director like Sergio Corbucci (arguably as
brilliant as that other Sergio; - Leone) has difficulties here to turn
a Mexican Revolution scenario into a qualitative and compelling film.
Corbucci delivered a few of the greatest genre efforts ever made, with
"Django" and "The Great Silence", but they neatly fit into the first
family of spaghetti westerns. The constraints in "The Mercenary" are
the too banal plot, the fake and cartoonesque lead characters, the
misplaced comedy and worst of all a vast shortage of mean- spirited
and relentless violence! Franco Nero plays a Polish mercenary who
cheerfully switches sides depending on who pays the most money. At
first he's still transporting silver for a bunch of rich tycoons, but
when the young rebel Guiseppe grabs the power, the mercenary is very
quick to offer his services and teach the inexperienced and
over-enthusiast lad how to become a fearsome revolutionary leader.
Well, in exchange for a royal fee and lots of extras of course!
Naturally there soon arise conflicts, for example when ideologies
collide with fortune or even more clichéd when a beautiful Mexican
fury woman walks into the scene. Franco Nero is great and reliable as
ever, although pretending to look and speak Polish is not exactly the
easiest role of his career. There's still a reasonably vivid chemistry
between him and rebel leader Paco Roman. The most entertaining
sequences, however, are the confrontations between our duo and the
eccentric American gangster Curly. As depicted by the still underrated
Jack Palance, Curly is a kind of megalomaniac and homosexual psycho.
PS: Of course there are some really great spaghetti westerns about the Mexican Revolution, like "Bullet for the General", "Run Man Run" and Corbucci's very own "Vamos a Matar, Compañeros".
"The Longest Night" is the type of film I feel you really can't write too much about You can't state that the script is implausible, grotesque or too far-fetched, because it's based on a true story and allegedly sticks very close to the facts. You can't write too much about the production values, neither, as it's a made- for-TV film from the early seventies without much action or spectacle. It's a more than competent effort, especially in terms of acting performances and direction, and mainly thrives on oppressed tension and family drama. Without using excessive violence, a carefully prepared couple abducts the young daughter of a wealthy businessman and leaves the mother tied up and petrified in a motel room. Instead of locking her up in a basement or isolated cabin somewhere, the kidnappers bury Karen in a meticulously constructed hole in the ground that only provides air, supplies and lighting for a period of five days maximum. Their fiendish plan includes that the girl will in case the ransom demands aren't met in time, or in case they are apprehended or shot by the police first. Unquestionably, the whole dramatic and shocking impact of the film (as well as the news bulletins around the original true crime case) emerges from these miserable conditions the poor girl has to survive in for four long days and nights. We witness Karen's honest and understandably terrified reaction when she's brought to her "grave" by her kidnapper, and during several interludes throughout the film we return to this place only to see how she hears ominous noises, suffers from panic attacks and loses her hope to make it out alive. Meanwhile, her father and the authorities move heaven and earth to confront the kidnapper, but this is less interesting to see, as it's more familiar subject matter. "The Longest Night" is effective and successful because you notice yourself constantly repeating things in your head like: "Oh, that poor girl" and you sincerely hope that her father or anyone else for that matter finds her in time. Otherwise it's a rather anonymous TV-movie, certainly not on par with some of the other classics that ABC released in that same era, and only worth tracking down in case you're a fan of any of the cast members (David Janssen, James Farentino, Phyllis Thaxter) or like me director Jack Smight ("Damnation Alley", "Airport 1975", "The Travelling Executioner" ). Little fun fact, "The Longest Night" is of course a very serious and emotionally heave retelling of the true crime case, but a wildly fictionalized version the same story also got turned into a rancid exploitation flick called "The Candy Snatchers".
I honestly respects everyone's opinion and I will never state that
someone else's thoughts and views are irrelevant, but I just need to
highlight something here
The other reviewer submitted his comment when
only six (out of the ten) episodes got aired on Belgian television and
then already publicly claimed that the series was dumb, predictable and
derivative. That's not fair. If you don't like a series after a few
episodes, just stop watching but don't discourage other people to
watch, because the creators deserve a chance to tell their FULL story.
Admittedly I also wasn't very impressed after the first couple of
episodes of "Beau Séjour", but the concept was curious and compelling
enough to keep watching all ten episodes, and I must underline that
every new episode was darker, more suspenseful and better than the one
The series centers on a teenage girl, Kato Hoeven, who wakes up one morning in a bloody bathtub in a sleazy hotel that has yet to be opened for the public. Kato quickly comes to the painful conclusion that she is dead viciously murdered, in fact but that her "ghost" is still around; presumably to solve her own murder. Five people can apparently still see and talk to Kato, including her alcoholic father, her jealous stepsister, the corrupt local chief of police, her secretive best friend and a handsome but mysterious young lad who recently got released from a psychiatric clinic. As the story unfolds, it rapidly becomes clear that all five of them in some way interacted with the poor girl during the night she got murdered. Is the killer one of these five person or does each of them need to solve their own little piece of the puzzle. The regular investigation is led by two intelligent police women, and they stumble upon several complicating leads, like a drug-trafficking network, previous unsolved murders, cuber-stalking and police involvement.
No, the premise of "Beau Séjour" isn't exactly innovative and the series is definitely modeled after a handful of successful American prime-time series, but you honestly can't blame the makers (who are all women, by the way) for being ambitious. Although I think there's still a number of defaults and illogicalities in the story, the screenplays are very well-written, with professional and excessive use of tense cliffhangers, unpredictable plot-twists and shocking revelations. Especially for a Belgian series aired on national television during prime time, "Beau Séjour" has a very dark and depressing atmosphere, features a fairly large amount of violence and extreme language and it certainly doesn't avoid sensitive subjects that are mostly still taboo. I simply must also mention that the series has a downright fantastic and ultimately moody theme-song!
The acting performances are really good, also thanks to the fact that the cast is allowed to speak in their own local vulgar dialects. Whenever actors and actresses are obliged to talk the so- called "civilized Dutch", like the cast in most films and TV-series originating from Flanders, the performances often suffer tremendously from this. The cast doesn't include Flanders' absolute finest players, but still there are several acclaimed names like Reinhilde Decleir, Barbara Serafian, Katrin Lohman and Jan Hammenecker. The rest of the cast is familiar as well, if you live in Belgium at least, and especially the young cast members give away solid performances. The grand finale at the end of the 10th episode ONLY is bleak and grim but satisfying. In case you think the denouement is far-fetched or implausible, then I suggest to watch the daily news, because horrifying tragedies like these really do happen.
At around the time of the 8th episode, I heard on the radio that the acclaimed company Netflix bought the international rights for airing the series. Here's to hoping it will have some success beyond the Belgian borders as well.
In case you live in The Netherlands (or the Flemish speaking part of
Belgium, like yours truly does) and you're an avid fan of eccentric
horror/cult cinema, well then you simply have to be an admirer of Dick
Maas. He's pretty much the only writer/director of the entire Dutch
region who dares to be different and even a tad bit crazy. After all,
Maas is the hero who during the glorious eighties' decade brought
us the phenomenal horror flicks "De Lift" (about a murderous elevator)
and "Amsterdamned" (about a vicious murderer hiding out in the canal
system), as well as the legendary black comedy "Flodder" (about an
utterly demented dysfunctional family). More recently, in 2010, he also
saddled up thousands of little Dutch children with incurable traumas by
portraying Saint Nicholas (the local Santa) as a relentless monster.
But the ideas behind his newest feature are perhaps the most grotesque
and craziest ones of his entire career
In "Prey", Dick Maas unleashes a male lion evidently an exceptionally large and unusually aggressive species in the city center of Amsterdam; to my recollection still one of the busiest and least rural capitals of Europe. One could go for the so-called "suspension of disbelief" in case the script attempted to explain that the animal escaped from the local zoo or from the private collection of a foolish millionaire or something, but no The lion simply shows up in Amsterdam and damned if we ever find out who or what brought him there. The closest we ever come to a clarification is a dumb piece of dialogue: "In Eastern countries people still keep lions as pets, and when they escape they don't report it to the police!" Yeah sure
But hey, let's at least try to forget for a moment that absolutely nothing in the script of "Prey" makes any sense. If you manage that, you're left with a completely over-the-top but entertaining creature-feature with a massive body count, tons of blood & gore, ridiculous slapstick comedy, a complete cast of imbecilic characters and a handful of cynical observations about the Dutch society. Throughout the opening sequences, Maas still attempts to pay tribute to "Jaws" and creates a moody atmosphere with ominous POV-shots and sinister music, but then he goes straight for trashy and mindless splatter fun. The lion munches his way through the crowded city without being spotted, so naturally the dumb cop and the cute zoo veterinarian have a difficult time alarming the press and the public. And yet, even when it's made abundantly clear there's a dangerous predator at large in town that, by the way, already killed at least a dozen of people by then the public still doesn't seem to be too panicky, as they cheerfully continue to walk their dogs at night, go to restaurants and hang around in the central park! Numerous sequences and plot twists are almost too ludicrous to describe, like when the lion gets on board of a city tram or when a crazy wannabe hunter and his retarded son are hired to ambush the animal in the park. The cute veterinarian eventually has to bring in her former lover, who used to be notorious hunter in Africa. A romance between a veterinarian and a hunter Can it get any crazier? Of course it can, because the "fearsome" hunter turns out to be a driveling alcoholic Brit in a wheelchair!
"Prey" is a pretty bad but immensely entertaining B-movie in every sense of the term! The acting performances are already terrible when the cast speaks in Dutch, but when they switch to English they become downright atrocious. The gore and make-up effects are decent, but look a little too "digital" and like the case in most traditional creature features the lion is most menacing when it remains off-screen. I genuinely hope that Dick Maas stays as stubborn and eccentric as he ever was, and that he continues with making these insane movies. It's not because "Prey" gets a low rating (I just don't have another choice) that I don't love and respect this man tremendously!
Forget everything you learned from Charlie Bronson in the "Death Wish"
film series, as well as in countless of other low and big budgeted
Years and years' worth of sentiments of
unprocessed hatred and rage do not make you invincible and certainly
cannot prepare you to extract the perfect act of vengeance. When you're
an average guy/girl, and fundamentally a good-hearted person, the urge
for revenge will cause for you to make stupid mistakes, make you feel
utmost miserable and is guaranteed to get you severely hurt or even
killed! That is basically the main message/moral of Jeremy Saulnier's
"Blue Ruin" and it's a downright fantastic accomplishment if I may say
so! Never before I've witnessed a film that is so violent and
suspenseful in terms of content, but simultaneously so saddening and
melodramatic in terms of atmosphere. "Blue Ruin" is a very bizarre
indie production, to say the least. Writer/director Saulnier raised the
budget via crowd- funding, and even though he gathered the fairly
admirable sum of approximately $1.000.000 it's still a very rudimentary
and minimalist thriller with few characters, set-pieces, stunts or
make-up effects. What it does feature, and plenty of it, is slow-
brooding tension, in-depth character drawings, long but uncomfortable
and thought-provoking silences and melancholy! Lots and lots of
Dwight lives like an unclean and unshaven hermit in his
ramshackle old Pontiac car since many years. When he hears that the
murderer of his parents is about to get released from prison, the only
thought left in his head is killing him. He waits at the prison gates
for Wade Cleland to get picked up by his family and grabs the first
possibility he gets to stab him to death in a men's room. However, this
wildly impulsive act was so amateurish that Dwight has now endangered
the only family he still has; his sister and her children. The rest of
the film masterfully illustrates how Dwight continues to sink deeper
and deeper into a downward spiral linked caused by the complications of
his urge for retaliation. With all its long periods of nothing really
happening and the shortage of dialogues, "Blue Ruin" is actually a sort
of meditation session. A meditation on violence, bathing in shades of
blue and depicting the true human nature: vulnerable and dumb. As said,
Saulnier definitely makes the most out of the few pieces of scenery and
limited cast of characters that he has available. Dwight's Pontiac car,
for example, is a very significant piece of scenery. It's old and
decrepit and I was amazed every single time that it still drove, but
indeed it is the best vehicle imaginable to fit our protagonist's
persona. The supportive characters are astounding as well, like
Dwight's nihilistic but surprisingly intelligent childhood friend Ben
with his rather disturbing views on gun-ownership, or the entire
Cleland family who are basically quite marginal but also admirably
Last but certainly not least, I feel somewhat obligated to end this user-comment with a personal apology towards writer/director Jeremy Saulnier. When I watched his debut feature "Murder Party" several years ago, I really hated it. That is still okay, I guess, but I also impolitely described Mr. Saulnier as an untalented and uninspired amateur director who probably shouldn't quit his regular job in order to purchase his dream of becoming a famous horror director. Well, I have been wrong before many times in my life and don't have any problem whatsoever with admitting that I judged too soon. Based on the (much larger budgeted) "Green Room", but especially this truly excellent "Blue Ruin", I can safely say that I was wrong.
Unlike the vast majority of the earthly population, I didn't get
instantly blown away when I first saw "Shaun of the Dead"; the first
and much acclaimed collaboration of the golden British trio Edgar
Wright, Simon Pegg and Nick Frost. It really took me 2 or even 3
viewings in order to fully realize it was the greatest things to happen
to zombie cinema since Romero's original "Dead"-trilogy. However, it
only took me a couple of seconds to absolutely love their second effort
"Hot Fuzz"! I was an immediate fan of this film's terrific mix of sharp
humor, absurd but imaginative plotting and outrageous violence. With
these experiences in mind, I couldn't wait to see their third feature
(and supposedly also the final chapter in their own unofficial
movie-trilogy) "The World's End"; especially also because this one
stars a few more excellent guest stars like Martin Freeman, Rosamund
Pike and Pierce Brosnan. Like "Hot Fuzz", "The World's End" opens with
a brilliantly fast-paced and hilariously original introduction of the
main characters. They are five young lads living in a dull and
prototypical British village called Newton Haven, and during their high
school graduation night, the self-acclaimed leader Gary King forces the
rest to undertake the legendary "Golden Mile"-tour passed the town's
twelve local pubs. The evening ends traumatically for the four friends,
and none of them didn't even make it until the last pub (which is aptly
named "The World's End") but for Gary this particular night still
remains the highlight of his miserable life, especially now more than
twenty years later when he's living like a lonely hermit and follows
group therapy. He sets out on a mission to reunite the old gang and
meet in Newton Haven to complete the entire pub-tour once and for all.
He bizarrely succeeds in persuading them, even though all four of them
now lead successful lives and still hate Gary King with a passion for
all the trouble he caused them when they were teenagers. But even
though the town, the pubs and all the old inhabitants still look
exactly the same, something beneath the surface has changed in Newton
Haven. It isn't until their fourth drinking stop, and during a good
old-fashioned fight in the loo, they discover that their hometown has
been struck by an invasion of some sort.
You really have to give credit to Edgar Wright and Simon Pegg for taking a concept that has been done before numerous times already ("Invaders from Mars", "Invasion of the Body Snatchers", "Strange Invaders", "The Stepford Wives" ) and still be able to come across as inventive and refreshingly original! It's best that you don't know anything about the plot from beforehand, so that you can get genuinely surprised and amused by the outcome of the fight sequence in the toilets, and then remain just as unbelieving and confused as the five protagonists during the rest of the movie! Although slightly less overpowering than in "Hot Fuzz", it's the typically dry British humor and the posh/cocky stereotypes that work most effectively, but the duo also once more prove themselves to be masters in penning down the wittiest dialogues, hilarious little inside jokes, tongue-in-cheek references and downright dumb situations that simply make you laugh. I'm convinced that many lines and absurd situations in the script of "The World's End" are actually inspired Edgar Wright and Simon Pegg's own experiences as turbulent adolescents in a stern and uptight British community. What also works really well, and has pretty much become their trademark, are the many repetitive and rapidly edited shots of ordinary stuff (like filling a pint) and recurring punch lines ("Let's go Boo- Boo"), which empowers the fast pacing even more. I really don't want to spoil anything about the plot, but I can reveal it gets very messy, with lots and lots of blood although not necessarily red and violence. Stellar performances all around, but evidently Simon Pegg gives away the most memorable one thanks to his delightfully marginal, foul-mouthed and intolerable alter ego Gary King.
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