The Future Is Now #1

Dredd (Pete Travis, 2012)

The Son of No One (Dito Montiel, 2011)

Queensbridge looks eerily beautiful from above. Strange-looking structures surrounded by trees, scattered around with no apparent criteria, as if they had sprouted from the earth, it almost looks like something from another world. 

Dito Montiel's cinema is essentially impressionistic. Recollections of moods, places, events, people. Always too richly detailed to have been entirely made up. In The Son of No One, when his camera repeatedly hovers over the neighborhood, it's as if these buildings are hiding a million different stories, and he knows every single one of them.

R.I.P. Ray Harryhausen

Mysterious Island (Cy Enfield, 1961)

If it's easy, what's the point?

Ray Harryhausen's contribution to the art of cinema is ever more meaningful in an age where countless new films try (and fail) to convince me I should be in awe of their unbelievable (literally, not believable) CGI spectacles.

He has shown me things I might otherwise never have seen. For that, I will be forever grateful.

Veronica (Griffin Dunne, 2013)

Admittedly, the screenshots don't do justice to the tone of romantic despair that Kieran Culkin and Emma Stone convey so beautifully.

Griffin Dunne's Veronica is at odds with everything else in Movie 43. No irony, no faux-edginess; it's all heart. A real treat.