Halfway through Three Billboards Outside Ebbing, Missouri there is a very particularly outsanding scene, shot in an unbroken tracking take with the camera hovering above Sam Rockwell's shoulder. In it we follow Rockwell's character, officer Dixon, as he gets up from his chair, leaves the station, crosses the street with the cadence of a cowboy, breaks down a door, walks upstairs, throws a man out the window, punches a woman in the face, walks down the stairs, makes a few…
I am of the opinion that the most successful disaster films owe their effectiveness to the Hitchcockian definition of suspense, which is best illustrated using a parallel to Dial M For Murder. This classical entry in Hitch's gargantuan body of work is built upon a simple premise of being told exactly how events would unfold beforehand and then watching things happen. This rule normally satisfies the definition of suspense, but in the case of Dial M For Murder, a secondary…
Every single idiot hoping for a zombie apocalypse 'because it will be so cool' should be assigned to have a sit-down with "The road". Brutal, gritty, dull and depressingly sad, this film is probably the closest to what would actually happen in the event of shit hitting the proverbial fan. (Edit: though it has nothing to do with zombies, but a planet dying in a mysterious but straightforward fashion). It's never an easy watch and it does kick you in the stomach more than once, but it is simply a masterpiece.
Disclaimer: I think I should start by apologising in advance in case I lose decorum at some point and devolve into spouting profanity.
When I first watched James Gunn's Guardians Of The Galaxy, I liked it a lot and thought of it as Star Wars for the modern adolescents. It was nothing like other comic book adaptations and was quite self-contained and it wasn't bogging itself down with tying the film to other entries to the Marvel Cinematic Universe. It…