Written and produced by Larry and Andy Wachowski of Matrix fame, and directed by Matrix second - unit director James McTeigue, the film reworks an»80s graphic novel illustrated by David Lloyd and written by Alan Moore (
uncredited here, by his own choice) as a howl of rage against where Moore felt the Thatcher administration was headed.
Not exact matches
The master of ceremonies
here is obviously producer Jamie Beardsley, who speaks knowledgeably about the movie's origins with
uncredited producer Walter Shenson, who enjoyed sizable annuities from his role as a producer of A Hard Day's Night and Help, as well as the actual production and difficulties in post.
The filmmaking
here is luscious, Anderson's camera (he is the
uncredited cinematographer) panning, tracking, and swooping as it showcases Mark Tildesley's gorgeous production design and Mark Bridges's glorious costumes while Jonny Greenwood's score — featuring harps, piano, and flutes that serve as a constant presence throughout the film — accompanies the action.
Reitman doesn't do anything noteworthy or distinguishable behind the camera
here, but it's nice to see him at work again (complete with an
uncredited cameo and a nod to his Meatballs), even if the Facebook - referencing material seems more suited for a filmmaker his son Jason's age (about whose acclaimed Up in the Air, the opposite could be said).
The title track opens with the unmistakable harmonies of Brian Wilson and the time - warp synth magic of Jon Brion, two generations of pop scientists who situate things in the American Dream - scape of Southern California — an excellent sci - fi pop setting, as French ex-pats Daft Punk (another
uncredited influence
here) might tell you.