April 2nd, 2016
Mister Attack: So, Illogical Volume and I concur that High-Rise was excellent. I have to confess to not being familiar with Ballard or Wheatley, but this was pretty much up my alley. (As someone currently spending far too much time painting up a flat of his own, and discovering more and more problems, I can relate. Well, that and living in a classist nightmare of horrible bastards with ‘good’ intentions).
It took me a while to unpack that the satire is at once broad as fuck, but has these layers. It’d be fair to say I was not all in the building at work on Friday, I was off in Royal’s tower. Every bit points to something, although perhaps some of that was the damaged foundations I brought into the cinema with me. Sometimes it’s subtle, as with our protagonist’s namesake not being immediately to hand, and with others it’s screaming from the rafters.
There’s this British sitcom going very wrong feel – like someone should be watching this in the background of The Filth. A comedy of manners, except the manners devolve to the best way to lie in wait to bludgeon the neighbours. Hiddleston plays straight man to a mix of sitcom and soap opera grotesques, trying to act like all this is normal, with his own mania creeping around. A hollow man with a shallow inner life he’s trying to create for real. Except, well, he’s not that straight. Illogical Volume mentioned Brazil as another touching point. He’s not wrong. The conflict of hierarchies and shallow men trying to fill the void with what they think they need is the same, but the farce is played straighter, less panto. The difference is manifest in the likes of Bob Hoskins yelling about tampered ducts for the benefit cheap seats, versus Reece Sheersmith tetchily complaining that people aren’t following the rules about the bin chutes. That said, both movies feature protagonists who are at odds with their surroundings, but Hiddleston’s Laing embraces the new paradigm, whereas Pryce’s Lowry is engaged in defiance by ineffectual escapism.
At the time, we immediately talked about the Garland/Travis Dredd, due to some of the establishing shots, I mentioned World On A Wire as a similar 70′s futurist meltdown, although mostly tonally opposite. At some points High-Rise’s camerawork emphasises a static, clinical detachment, and at others a drunken wooziness that compliments the mental state of the characters. Same with the soundtrack, which is more of an audio landscape to compliment the location. Laing’s poise is only a surface.
May 25th, 2011
Turns out it’s easily the most enjoyable new movie I’ve seen all year – a creature feature that’s as tight and energetic as Edgar Wright’s cinematic efforts, if less overtly referential.
According to writer/director Joe Cornish, the idea was to take kids who would be described as feral and heartless by the tabloid press and put them up against creatures that actually exemplify these traits. This theme is flagged up in an unsubtle line of dialogue near the start of the movie (courtesy of an obligingly distressed old lady no less!) but judging by some of the reviews this approach wasn’t blatant enough.
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Aww, fuck. Might as well start off with a quote from Millar, the Instigator:
“But I love that Kapow! is sold out. I want people to turn up, find that out and think: ‘Damn, I’m definitely going to get my ticket next year.’ There is something cool about that.”
(Kapow! Superheroes come to Britian – man, this even willingly leans in to those Zap! Pow! punches, eh?)
Ok so one of the weird things about Mark Millar, as a figure in popular culture, is that I’m predisposed to disbelieve almost everything he says in interviews. He’s like Tony Blair that way for me, only, you know, Millar’s not actually irredeemably evil.
He is the king of the obvious idea, apparently, and as such the first person to write a comic where a supervillain is the main character. The book in question? Nemesis (Icon Comics, 2010), except… that’s not quite right. You see, the weird thing about this particular boast is that Millar actually beat himself to the punch on this one, with Wanted (Top Cow, 2003). Or maybe the pluralisation invalidates that example, in which case all I have to say is: Zodiac (Marvel, 2009). Or maybe: Irredeemable (Boom Studios, 2009). If plural supervillains count then maybe I’d be saying Empire (Gorilla Comics, 2000) instead, but the point is that it’s a silly boast, one that’s easily proved to be untrue.
Still, at least it’s still a relatively new idea, eh?
Oh. Okay. Maybe not. Well… there probably weren’t any gay incestuous womb-bombs in those old Joker comics, but maybe that’s just because it’s a shit idea?