“Ever since the approach of 2012, the once-predicted date of the Rapture, we’ve been deluged — figuratively, at least –with apocalypse movies. Apocalyptic comedies (“This is the End,” “The World’s End”); apocalyptic zombie movies (“28 Days Later,” “Warm Bodies”); apocalyptic romances (“Seeking a Friend for the End of the World”); apocalyptic indies (“It’s a Disaster”); apocalyptic action movies (“Pacific Rim,” “World War Z”); apocalyptic sci-fi (“Oblivion,” “After Earth”). Heck, we’ve even been treated to apocalyptic auteur vehicles like Abel Ferrara’s “4:44 Last Day on Earth,” Steven Soderbergh’s “Contagion,” and Lars von Trier’s “Melancholia”– the latter also comprising a subgenre unto its own: the apocalyptic navel-gazer.”
“While Wes Anderson is best known for his big screen releases, the director has also made a fair number of television commercials—and they’re just as distinctive and charming as his feature films.”
A humble, relentless, more or less continuous zoom shot taking forty-five minutes to traverse a Canal Street loft into a photograph pasted on the far wall, Michael Snow’s Wavelength (1967) provided twentieth-century cinema with a definitive metaphor for itself as temporal projection—and also burdened Snow with an unrepeatable masterpiece.
Video: The Midnight Coterie of Sinister Intruders — What a Horror Film will Look Like if Directed by Wes Anderson.