"If Marvel's brand of superhero entertainment has constantly attempted to ground itself in the real world, Singer has gone the complete opposite direction. While his first films back in the early 2000s attempted to update the originally Civil Rights-era series for the gay rights era, Apocalypse has abandoned its real-world analogies in favor of pop spectacle. It might not make the films resonate for The Way We Live Now™, but the imagery feels delightfully cartoonish that reflects the tonal whiplash…
"The film pivots to Ann Sheridan, who talks of her husband like a mutt deserving to be put out of his misery — meaning he’s in real bad news. If Scott energizes her performance with zealous lust, Sheridan plays a Robert Michum-esque mope, eventually guilted into finding her man’s whereabouts."
I could talk about how this film's structure finally achieves the blissful melancholy that has been at the heart of all of Wes Anderson's films. I could talk about the precision of his framing and tracking shots, and how often he finds visual comedy through a perfect edit, or the slight entrance of new material into the frame. I could talk about how depressing the film is, the hints of both a traumatizing past, and that in a way, Sam…
"In the history of photography and film, getting the right image meant getting ones that conformed to the prevalent ideas of humanity. This included whiteness, of what colour—what range of hue—white people wanted white people to be....Movie lighting assume, privilege, and construct whiteness" —Richard Dyer, "Lighting For Whiteness"
The history of Hollywood in many ways is the history of the construction of whiteness. This goes beyond simply films that have depicted African Americans in stereotypes or margnizaled their roles in…