Pop Culture at its Best

Recommended Reading: Hoberman on Snow, Wes Anderson’s Commercials, ‘Noah’ and more

“As someone who hasn’t read the Walking Dead comic books — just as I haven’t read George R.R. Martin’s books that form the basis for Game of Thrones — I take in all the information simply as it’s doled out, without being privy to older nonshow references or working with the knowledge of what’s ahead.”
While the bulk of our coverage here at Twitch is dominantly film related we do love a good bit of TV, particularly when the TV in question is … well … good. And though the year is early it is already shaping up to be very strong, indeed, over at the BBC where they are following up 2013 hits such as Peaky Blinders, Top Of The Lake and The Fall with a continued run of high quality work. Here are four – two comedies, two dramas – that we’ve loved already in 2014. Of them two are currently airing so if you use the BBC iPlayer you can catch up easily enough, for the others keep an eye out for them on Netflix or other streaming services.

The Origin Apocalypse Movie: Darren Aronofsky’s Noah:

“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.”

13 Awesome and Quirky Commercials Directed by Wes Anderson by Rudie Obias:

“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.”

J. Hoberman on Michael Snow:

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.


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