As those loyal nine likes on my July 4th review of The World’s End might have gathered, I have a deep appreciation for the proper appropriation of songs in cinema. The idea of taking an existing artistic statement and placing it in a new context to create new meaning is beautiful to me—ideas building on ideas, building on ideas. If imitation is the highest form of flattery, appropriation is the highest form of understanding. When it’s done right, it reveals…

A speed slightly too rushed to be natural. Raspy air forced from the very back of the throat by tongue. This is how Andrew Scott says words relating to his sexuality in All of us Strangers. He spits the labels; when they leave his lips it has the effect of a WWE wrestler losing the tug-of-war. With only his articulation, we can hear his discomfort. An almost joking tone when he manages to splutter the word "queer"--he has been conditioned…

On the second viewing of this film, my theories were confirmed—The World’s End is a masterpiece. Creative foreshadowing, filled with jokes I only cackled at a second time, and transitions too seamless for me to appreciate at first glance—there was a lot I only noticed this rewatch. Probably thanks to a religious listening to the soundtrack, the most prominent aspect I noticed was the song choice, and, more importantly, the placement…

Loaded – Primal Scream
Quoted throughout the film, Gary’s…