Wise: Um, why are you starting out with our tagline?
Werth: Are you talking about the two hours we’ll never get back from watching X-Men Origins: Wolverine?
Wise: What I mean is how strange it is that a two-hour movie can encompass a ten-year epic of war and romance, or it can follow a single afternoon. Films are able to bend time, to stretch it, to take us into the future or into the past—
Werth: To before we actually paid for our tickets for Wolverine.
Werth: Where all their problems are solved before the final fadeout... and you said titular.
Werth: I’d like to stick firm to Tobey Maguire.
Werth: I’m glad that you covered a place so pleasant, because my place in time is very uncomfortable.
Wise: As uncomfortable as your Tobey Maguire comment?
Wise: And it has ‘clock’ in the title.
Werth: Based on Anthony Burgess’ controversial work of the same name, Kubrick’s provocative sci-fi morality play is set in a dystopian future. What is fascinating about Kubrick’s use of time setting is that we aren’t quite sure how far in the future it is. The fashion style has elements of the British mod movement and the architecture and artwork have a distinctly late 60’s feel, mainly because most of it was shot on location in England at that time. But unlike other sci-fi epics, there seems to be no advanced technology. This leaves the audience, especially modern ones, with the feeling that they are in both the past and the future at the same time.
Wise: Kind of like Cher’s face. She’s looks both seventeen and part of the master alien race.
Wise: Oh, so you’re saying Alex did time?
Wise: Nakedness can often make a film suddenly watchable.
Werth: If not, we’ll pick two more timely films to gab about next week!