Welcome back once again to TOP 10 SHOTS, our weekly space to catch up and gaze at the visual splendor that goes in service of narrative, or at times non-narrative, cinema. My humble apologies for not having anything to give you for the past two weeks. It seems that my laziness has caught up with me and I simply can't afford to indulge it any longer. So I'm back in full force with a weekly tackling of compelling cinema of the purest form. Visual cinema is quite possibly the most compelling, with dialogue at best only to be used as a propeller for the plot, and the plot to be used only as propeller for the visuals.
However, if I'm to be perfectly honest, it took me a rather long while to arrive at the film I'd be focusing on this week. It's not so easy as picking a film and running with it. Even the best can prove not to be treasure troves of visual wonder. So can very well be said of "Full Metal Jacket", Stanley Kubrick's Vietnam war film. Powerfully disturbing and brutally clinical in all the best Kubrick ways, it nonetheless isn't so visually compelled. I did have thoughts of going through "Men in Black 3"s cinematographer to take a look at "Scott Pilgrim vs. the World", but that's a film made entertaining through feat of editing. Single shots have little to offer.
