Either that or the end of One Day is a lot more intense than we thought
One of the many ways in which Hollywood have flogged a thousand dead horses, the reboot is not only alive and well but getting faster. We take a look at a few that actually worked, and a few more that made our eyes bleed. Beware; there will be many highs, lows and gratuitous wrestling analogies.
Going to the cinema can be a frustrating experience – not least because of the disproportionate number of mouth-breathers championing drivel, but also thanks to the shocking lack of choice on offer. How many times must my eyes be popped? Since when was randomness any substitute for jokes? Will Spider-Man ever get past the third instalment? I explore the six fads currently crippling cinema.
This week saw the first teaser trailer for the last instalment of Christopher Nolan’s Batman trilogy, The Dark Knight Rises, and we here at Best For Film were…well, there was a feeling that we’d seen it all before. The gloomy Gotham-scape, mumbled dialogue, lots of shadows and buildings and shiny digital compositions. It’s slick, and it’ll probably turn out to be a good end to a so-far great trilogy, but a tiny part of us was thinking: “It’s not as good as Memento, is it?”. Still, Nolan isn’t the first indie director to be lured in by the lights and financial muscle of Hollywood, as this handy list will attest to.
Blue and black and shadows and decay and ALRIGHT CHRIS, WE GET IT.
It’s all time he can’t spend on Taken 2, at least…
What’s that? You wanted more news on The Dark Knight Rises?
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