Scott Pilgrim is a weakling, socially awkward, doesn’t drink, rarely gets a haircut, only wears his favourite T-shirts. If you just read your own bio, this is your new favourite movie. Adapted from Brian O’Malley’s comic-book saga with breakneck stylistic verve by director Edgar Wright, Scott Pilgrim Vs The World is the ultimate geek wish-fulfilment flick. Read the rest of this entry »
Popularity: 4% [?]
Conventional star-ratings don’t apply to INLAND EMPIRE. Yes, David Lynch insists it’s capitalised. No, he’s not saying why. Shot without a finished script over two-and-a-half years, Lynch’s first feature in half a decade is his most ambitious brain-twister ever. Teetering on the brink of his subconscious – as far inland as we’ve ever gone – this epic mystery is a branch of the then-61-year-old maverick’s DNA: strange, familiar and utterly unique.
Fear and desire, paranoia and lost innocence, sex and violence, betrayal and revenge… The mean streets of film noir? Or the school daze of adolescence? Brilliantly spliced and sutured in Rian Johnson’s ultra-cool indie debut, they’re parallel universes with a perfect fit. Teen noir? Could be a gimmick. But Brick’s opening scene of a dead body face-down in the water is the closest it comes to film-nerd shot homage. Johnson’s genre-riffing mystery thriller is much smarter than that.
Every superhero blockbuster needs a Gotta See That Again action sequence. Superman Returns had the plane hurtling towards a baseball stadium. The Dark Knight had the crash’n'smash underpass chase. Even Fantastic Four had the lorry losing a shoulder-barge with Michael Chiklis.

















