The movie is a genuine masterpiece that has only increased in my estimation due to it being the ultimate fuck you to Downton Abbey.

That's how I've felt about anything I've read of his beyond Atonement. The Children Act in particular felt like he ran out of time to write a novel so got half way through and spent the rest of the time making it read smoothly.

No, it's good.

It was on the shelf for at least a year and has a lot of signs of being cut to pieces in the editing room. There's a lot of obvious B-roll and ADR in the scenes with Sidse Babett Knudsen, for example.

And also beyond incredible.

Stipe, though.

It's hard to believe that it was never planned out because Mikkelsen's RESPECT tattoo is maybe the biggest karmic joke I can think of in cinema, and a big chunk of that it because it's played out in real time.

(._. )

Typically, I'd agree, but Wheatley's films always come from the angle that they're about to blow your tiny mind with this fucked up, twisted shit.

That's because Paul WS Anderson is good and Antoine Fuqua is bad.

Albert Serra's last film, Story of My Death, is by far the worst thing I've seen on Mubi. Not only because it's exactly as Ignatiy describes this one but because it felt like it was made to the exact specifications of what a person who hates arthouse movies thinks they are. Slow, stuffy, long,overly elliptical,…

Yep, that's Ben Wheatley alright: looks nice with lots of period detail; emphasis on edgy material; post-ironic genre fiction pandering; ultimately shit.

It was the only film I was definitively banned from watching as a child because my parents heard how violent it was from other, concerned parents.

Unless this ten months is spread judiciously on about a week's worth of swimming every four years, this is meaningless.

Like Rocky Balboa, the film goes out of its way to pretend Rocky III and IV didn't happen - the clunkiest dialogue is always when they're talking about 'the fight' with no mention of Ivan Drago or anything - whereas The Force Awakens tries to fit some kind of callback into every moment.

How many pieces of children's media is this now that has a conveniently validating gay subtext to it?

I can almost hear the cogs turning in people's minds as they try to shit on this like they did with Demolition, only can't because the protagonist is black.

Combining someone as stern as Mann with an actor so notoriously dickheaded as Norton would have made that film a disaster.

Creed was the film nerds wanted the new Star Wars to be: a great sequel that slotted into the franchise without needing nods and winks.

They framed it so entirely on the idea of legacy that it didn't seem too crass: he rejected the standard form of respectability because of his dad, then tries to start on his own and finds he has to play off his dad's name because nobody else will have him, then when it comes down it, he eventually realises he can't…