If it wasn’t obvious before, then it is now: filmmaker Edgar Wright is an innovator and – dare I say it – a genius in this art form. His films – particularly the Three Flavours Cornetto trilogy (Shaun of the Dead, Hot Fuzz, and The World’s End) – demonstrate the personality of an unparalleled craftsman at work, and I can only refer you to Every Frame a Painting’s video essay to show how his knack for visual comedy is a breath of fresh air in the comedy genre. We’ve seen his capabilities on full display when it comes to mise-en-scène, but can we say the same for cinema’s audial properties? We can now; with Baby Driver, Wright proves that it’s possible to create a grand symphony out of a film.
It Comes at Night will either exceed your expectations or prove to be a harsh reminder about the risks that stem from misleading marketing. Take a gander at its trailers – if you get the impression that this is a supernatural, creature, or slasher horror flick, you’d be forgiven. Heck, the title itself seems to imply that. If that’s what you think, then for your sake, do not prepare yourself for such a film. Trey Edward Shults’ sophomoric feature isn’t so much a horror film as it is an extremely bleak and thoughtful rumination on distrust, family, and paranoia. It’s certainly unsettling and well-intentioned, but it’s also frustratingly ambiguous.
It’s been ages since the last High-Low Report, but it has joyously returned to mark the recent release of Wonder Woman, the latest picture to enter the DCEU (DC Extended Universe). Andrew and Jun, MediaBrewPub’s resident low-brow and high-brow respectively, are back to exchange their thoughts over a pint of digital brew. While they will venture into spoiler territory, spoiler tags have been added, so consider this a safe read if you haven’t seen the film.