Modern habits of commuting; the tyranny of time; the general sense most people have of the looming obligation to be punctual—and to meet that commitment under great or even unreasonable pressure—leads to an inevitable cycle of “rush” which permeates our lives.
I have no particular knowledge, nor opinion, of Taylor Swift the person and/or artist. Nevertheless, I was compelled to expound upon an outfit she wore to the 2018 American Music Awards.
One interesting element of Blade Runner’s variegated visual feasts is the spacial contrasts between different locations, or the same space at different times.
At some point during my various efforts to discuss various films (specifically, but this might also apply to other subject matter), I realised that the material fell into a couple of distinct categories.
I was reflecting on Fight Club recently, while thinking about the kind of philosophy of life which I developed early in my adulthood; one which was significantly influenced, I think, by this particular film.
Poisonous minds turn upon ally and enemy alike. Madness descends and, with it, ill-conceived activity. Macbeth, or merely mid-week political news in a so-called democracy of the early second millennium?
The impeachment of Donald Trump for some kind of crime or misdemeanour seemed a practical inevitability upon his unexpected ascension to the presidency.
Badly wounded and barely alive, Epikk was taken in by a human priest, Galen Stronhyr, who recognised his half-human heredity and sought to protect it from the base instincts of the warriors who had sacked the village.
Afterward, I try to forget the smouldering corpses, the stink of burning skin, the charred wounds across the walls, the terrified faces of those who have seen my power and lived.
I will admit to a sniggering, presumptuous distraction upon my first viewing of Calderone’s Return, Part II which disabled my ability to perceive many of even its most basic themes and motifs. It is a valuable lesson not to underestimate the subject of one’s criticism.
If I was to make the same kind of over-inflated, indulgent, and bombastic remark about Calderone’s Return, Part II, that Francis Ford Coppola made about Apocalypse Now, it would be: ‘this show isn’t about the 1980s — it is the 1980s.’
Under the tutelage of those who taught me an invaluable lesson, this particular discipline assisted my class to get past the decades-old hammy acting and pastel palette of Miami Vice (the ‘80s television show) to analyse its underlying themes.
Rebecca de Mornay’s extraordinary character, Sabine, is the one exception to the two-dimensional tropes which embody the other female characters. She is the only woman in the film with real purpose, or character, since she has actual reason to behave the way she does.
You might wonder about coup d'œil as the name of the fashion section. You might not, but let’s assume you do. Why a French word? Why not something in English? Why not fingerspitzengefühl?
