The World's End

The World's End took five years to come out after Hot Fuzz to end the Cornetto trilogy. It unfortunately is not the strongest of the three. In the most direct terms it just isn't nearly as funny as Hot Fuzz or Shaun of the Dead. Part of this is perhaps the parodies are bit too vague in comparison. It barely is even a parody of say an Invasion of the Body Snatchers, it is instead more of just a funny version of one of those films. That is to say it is funny but it does not result in nearly as entertaining of an experience as the previous films. The film is more overtly serious at times, and it is there technically where it is the strongest. This particularly in Simon Pegg's excellent lead portrayal of a man essentially stuck in the past, and in an effective subversion of the previous films where he played the saner one. Here that goes to Nick Frost who's good as his teetotaler friend with a troubled past, but very subdued again showing the difference from the other films. Now the film actually does work in its more serious intentions involving the central character study, for the most part. The problems though aren't because of that focus though. The alien story isn't as compelling, the action sequences as engaging, and worst of all it doesn't quite stay true to itself. The reason being it has a wholly silly ending, far more silly than anything in Hot Fuzz or Shaun, that is ill-fitting to the more subdued tone of the rest of the film. It's still a good film but a major step down from the greatness of the previous two films.
4/5

Hot Fuzz

Hot Fuzz is the second film in Edgar Wright's thematic trilogy dubbed the cornetto trilogy. This film creating a parody of cop/action movies through the story of a city cop being sent to a small town where all is not as it seems. As with Shaun of the Dead in that surface look the film is a smashing success being consistently hilarious as it plays around with just about every trope and cliché it can fit a single film. Wright's signature style only grows and feels all the more fitting to the usual kinetic style of action films to begin with. Wright replicates that and seems to even master it and some of the humor is even found within a quick edit. Again though Hot Fuzz goes even further than expected. This is in part its horror elements where it alludes to the original Wicker man in the best of ways, but also again in the personal story. This one in regards to Nicholas Angel, whose personal story is a little lighter than Shaun, essentially Nick just needs to lighten up a bit, but still offers the film the right emotional connection through the central friendship between Nick and the hapless PC Danny. The cast is particularly strong here, as with Shaun Nick Frost and especially Simon Pegg excel in their roles. Pegg somehow making a surprisingly believable action hero. The film goes further with its all-star character actor cast including Jim Broadbent as seemingly such a nice police chief, fittingly Edward Woodward as determined city watchmen, and Timothy Dalton as the most obvious villain who ever lived. The film is brilliant from beginning to end as it both employs and subverts its clichés and references by the end to create one of the greatest comedies ever made.
5/5

Shaun of the Dead

Shaun Of The Dead is Edgar Wright first theatrically released film and it is one of the best debuts of a director. The film at a cursory view seems simple enough a horror comedy and parody of zombie movies. Well in that limited basis it is a smashing success, a fairly rare thing in itself, as it is hilarious in it of itself but also is filled with enjoyable references that are just adding toppings of an already delicious sundae. The film though is more even than that cursory view. It is also quite the calling card for Wright's visual directions. Although the warm up could be seen in the series Spaced, Wright takes a major step forward as he utilizes so much film itself has to offer through the striking visual style with the kinetic editing style that always flows naturally within the narrative. Wright only ever amplifies with his style never diminishes or over saturates the film with it. If that was not enough he goes one step further with his writing that takes the film beyond merely an exceedingly entertaining parody through a surprisingly emotional personal story at its core. Throughout the zombie story it manages to tell a coming of maturity of the lead in a surprisingly heartfelt way that never feels forced but rather flows so naturally within all the blood and skin eating.
5/5

Braveheart

Braveheart has granted itself a certain division over time, common to most best picture winners, though I've often noticed that it is basically a given with so many of the general public that it is a great film, while the tendency among so many cinematic snobs is to heavily deride the film. This comes in a few qualities. The most recent derision comes in the form of judgment against Mel Gibson as a man. Although one is free to judge the man as much as they wish in general, one of the main common criticisms in regards to this film is a little unfounded that this was a vanity project, since Gibson actually only starred in the film in order to be able direct it. Another major criticism outside of the man though comes in its historical accuracy, which seems a strange thing especially given the film states it's story does not match historical fact from the beginning. The film is far more of a historical legend about William Wallace, rather than William Wallace the man. This then comes down to are such films allowed to exist that wish to tell a grander vision than the historical record, yet that is entirely the point and wholly apparent within the film's overarching style. The film is an epic poem about freedom, in a rather general sense, than the true story of the Scottish war for independence, not unlike a film like Spartacus. The film denotes this approach from the beginning and in doing so creates a grand epic. It is technically an outstanding from the outset with its unforgettable score, and cinematography. The battle sequences are a step above most that come before offering a strong visceral intensity in every skirmish. It is not a mere technical exercise though as the emotions are as sweeping as its vistas. The film is a great success not by being a historical document by being a legend.
5/5

Apocalypse Now

A quick note on the redux. The redux is a poorer cut of the film. It botches the pacing severely through mostly useless scenes, that don't quite work, or in the case of the ghostly French plantation seems the realization of how the original film could have gone wrong. As that sequence gets lost in symbolism and loses too much of a grasp on reality. The only scene that works really is an additional moment with Brando's Colonel Kurtz, but it is still hardly a major loss. They work as interesting deleted scenes but do not belong in the film. The original cut of the film however is one of the greatest films of all time. The production itself was madness and someone that managed to capture the madness of war. The film though is effectively apolitical, it's so much about the Vietnam war as it is the condition of being in such war and such a place. This approach leads to a one of kind film experience that is about falling into that insanity created in both men and nature itself. The film, again the original cut, never gets lost in the ideas. It is very much about the men and the way they are or become in such circumstances, though not quite a simply as they become savages. It is instead so much more in its examination of the clash of personality and the element such as the false god Kurtz becoming lost in his own delusions of grandeur, or the warrior of old in Robert Duvall's Killgore thriving in an environment which allows him to play at war like a game. The themes, and story are grandiose and Francis Ford Coppola matches that with his own vision. The sequences of the film have become iconic to cinema for a reason, as the imagery here is unlike anything you'll ever see even with its influence on so many films that came later. It is a masterful work of art as the scale never overwhelms itself creating such fascinating examination of the human condition in war while  What Coppola captures likely could have only been found in that single moment of insanity in time.
5/5

Breaking Bad Season 5

Breaking Bad Season 5 is split between two segements essentially being the reign and fall of King, though drug kingpin would be more accurate. The show, even after finding quite the climax in the faceoff between Walt and Gus finds new ground through Walt and Jesse seeming to finally become the drug lords of Albequreque while dealing with the fallout of their previous actions. Again the show fires the proverbial cylinders in terms of the acting, the directing, and the writing. It is remarkable as it continues to avoid a rut, and not only that brings some much needed energy somehow avoiding becoming overly dour while not being tone deaf either. There is fun to be had still particularly with the train heist set piece in the first half of the season. The major of theme that crime does pay, just not in the way you want it to, though is still prevalent as effectively tests all the major characters, even those who seemed almost blissfully unaware of the world until this point. Now this season does have the one bad episode of the series, the aptly titled "Rabid Dog", which halts the narrative with frankly a ponderous series of scenes. The episode though shows the strength of the series because it stands out since it shows just how well paced and compelling every other episode is. When Hank finds out some pivotal information he doesn't wait a season to confront Walt, he does it the very next episode. The show doesn't waste time yet it never feels rushed. It always find the right balance with plot progression, character growth, and those moments you describe as "cool" or "badass". The series in its climatic season continues the progression to leave on an incredible high note that is funny, entertaining, harrowing yet so satisfying in the end.
5/5

Breaking Bad Season 4

Breaking Bad Season 4 takes the show to its darkest season overall as it depicts Jesse and Walt entertaining truly into the underworld of drugs where death is a daily event. The season seems defined by pain, paranoia and a certain despair as the pair deal with the fact that they've only survived certain death through the blood sacrifice of another. There are no reprieves for anyone in this season as Walt is constantly reminded by his potential death at the hands of his former ally, and still employer Gus Fring, while Jesse is haunted by the murder he had to commit to save his own life. This season is also notable in that it allows Walt's wife Skyler to come into her own as she begins to be changed by Walt's own corruption. There can be few comparison made to the tension of this season which perpetuates through every story, as everyone is on the line. I think the most fascinating element is that they manage to make you even invested in Fring as almost a side protagonist as you sympathize with him in his own revenge story. Then it somehow still easily transitions to being a true main villain for Walt to attempt to overcome. It's downright brilliant season as it is any but a simple cat and mouse game. It somehow takes the stakes further than they had ever been before, and always with the series it advances everything, the characters and the story, so effectively and so naturally.
5/5