Jules: How late is too late for what might be the latest, late-to-market film sequel in the history of cinema? Problems of tone, story, and pacing pile up as the digital apocalypse approaches. But what are we to make of the mythic imagery and symbolic story elements accompanying this technical wonder-wagon?
David: Nonplussed by narrative nonsense. Nice neon.
Jules: What becomes of the book in the age of the moving image? Peter Greenaway considers this question, among others, in this sumptuous 1991 production featuring John Gielgud in (apparently) his dream role as Prospero from Shakespeare’s The Tempest.
David: Frames within frames, and naked dames. And who to blame? It may have as much to do with what becomes of art history in the age of the moving image, as what becomes of the book.
Jules: Problems (and beauty) abound in this characteristically Gilliamesque romp through the Enlightenment, and its cultural upheavals. Marvels to delight the eye accompany the misadventures of our titular hero as he attempts to establish how the war began.