![]() ![]() these ones go to eleven') and some of the meatiest metal melodies this side of Bon Scott-era AC/DC, this is simply a perfect film: from the first chord of 'Tonight I'm Gonna Rock You Tonight' to the very final line ('I dunno, what are the hours?'), there's literally nothing about it that could be improved. Sporting arguably the most quotable script in movie history ('no. Yes, our experts have cast their votes and the winner by a clear margin is Rob Reiner's genre-setting mockumentary – or, if you will, rockumentary – about England's largest-livin', heaviest-riffin', filthiest-lyric-singin', biggest-hair-havin', fluffiest-jumper-ownin' heavy rock combo. ![]() You're asking, how much more funny could this be? And the answer is none. □ The greatest romantic comedies of all time ![]() But if they don’t… well, that sounds like a ‘you’ problem. We can’t be sure they’ll all make you laugh. And the films we came up with represent the 100 most hilarious – and most lasting – laughers ever made. Is this film still funny now, and will it still be years from now? In sorting the GOATs from the groaners, we enlisted the help of comedians like Diane Morgan and Russell Howard, actors such as John Boyega and Jodie Whittaker and a small army of Time Out writers. There’s a lot that goes into identifying truly great comedy, but the main one has to do with durability. That makes coming up with the best comedy films of all-time especially challenging. Humour is also deeply individualistic: one person’s ROTFLMAO is another’s shrug emoji. What’s funny in 1923 might not make a lick of sense to 2023 audiences. Even action flicks live longer in the cultural imagination – the thrill that comes from seeing stuff get blowed up real good is universal. Drama, horror and romance movies all tap into innate human desires and anxieties that anyone from any generation can understand. It's no coincidence that the popularity of both 28 films went up during the pandemic these characters are relatable, and though the circumstances of the real-world struggle were very different, the proximity of their fear and anxiety to the audience's own feelings is closer than it's ever been.Call it a hot take if you want, but there is no greater feat in cinema than creating a timeless comedy. The siblings' dynamic is that of two people who have lost everyone they care about and now rely on each other and a new family of fellow survivors, each of them damaged in their own way by this fresh outbreak. There are sacrifices made to save the children as the group moves through a city in flames. Quieting down from the violence, the characters are allowed to breathe, and the themes of the film are given room to stretch. The silence is eerie, hanging over the place as the intense music falls into a piano motif.Ģ8 Weeks Later's scope narrows from the plight and death of tens of thousands to the core team in the aftermath of the courtyard massacre, as Doyle meets up with Scarlet and the siblings, escorting them through the city toward Wembley Stadium, where a radio transmission claims evacuation for civilians is imminent. By the conclusion of what feels like an endless and gory shooting gallery, there are dozens of corpses laying in the courtyard, draped across the ineffective barricades and each other. ![]() Other troops become involved, firing heavy machine guns into the fray. Their actions are intercut with quick cuts to the carnage below them. Doyle's fellow soldiers don't hesitate, firing indiscriminately into the crowd, though he can't bring himself to join them. There are brief protests and moments of hesitation before the troops begin firing their weapons, intercut with brief shots of the crowd. One of 28 Weeks Later's most important and horrifying moments involves Doyle and his fellow snipers being ordered to fire on a crowd of civilians in a courtyard below, some of them infected as the outbreak begins to spread further. Returning from the first movie, the harsh sounds of his compositions fit perfectly with the sharp reports of gunfire and the cries of the infected and survivors. This tension is reinforced by the film's score, composed by frequent Guy Ritchie collaborator John Murphy. These factors, as well as the human drama of the survivors bonding together, help keep the movie from becoming a more rote tale of survival in a familiar apocalyptic scenario. The tension is enhanced if one has seen the first film these viewers will know the power of the Rage Virus, the speed with which it takes effect and the absolute chaos that erupted from its initial spread. There are a handful of jumpscares in these earlier sequences, and the frantic editing of the action scenes helps the later moments feel more natural. ![]()
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