It also seems like he gets really caught up in the public opinion of his deeds, which seems to corrupt him just a little bit more.
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I thought the movie was a good illustration of "absolute power corrupting absolutely", because at the beginning of the story, Light seems like a pretty nice guy, but we see him becoming more and more obsessive about his plan to create a utopia with no criminals. It seemed to imply he had the notebook in the chips all along, but we saw him open the bag when he came into the room.ĭespite the fact these kinds of problems bother me, because of the genre of the movie, I didn't think they detracted too much from it. Also, why does he have to hide the Death Note when the police put his room under survalence? What normal policeman is going to see you writing in a notebook and say "Ah, that's how he's killing them!" Also, how did he get the notebook into the unopened bag of chips. There are definitely some logical fallacies that are present in the plot, like if the person drops dead 10 seconds after you write thier name in the death note, how come he can write thier name, write an elaborate scenario where they die, and they live long enough to fulfill the elaborate scenario. They can be hired out and the shop puts on screenings.The most fun you can have with a notebook.Īlthough I am not familiar with the anime, I enjoyed this live-action adaptation very much. The shop has diversified in recent years, opening two tiny screening rooms for eight and 10 people. Officially the shop has 92,000 members, and about 200 people regularly rent movies. The aim is not to turn a profit but to break even and keep going. If they don’t have a movie they will try to get it in, and even if it costs them a few hundred pounds, they will still rent it out for a few pounds. The shop has a library of more than 20,000 films so there is something for most tastes.
“I like what they do here, I try to support them,” he said. It follows Steven Spielberg and Luc Besson extravaganzas chez Triffitt. “We’ve been having a Bruce Willis season,” he said. IT consultant Paul Triffitt, 55, was returning Die Hard, Die Hard 2 and The Last Boy Scout. She came to hire Empire Records, the 1995 coming-of-age movie that tells the story of a group of employees trying to stop their independent shop being sold to a corporate giant.īut the shop doesn’t cater only for fans of the esoteric. “They’re amazing here, so niche,” she said. The last film she rented was the 2012 psychedelic sci-fi Vanishing Waves from the Lithuanian director Kristina Buožytė. “That’s our bread and butter.”Īmong the regulars who arrived when the Guardian visited was Pixie Paine, a 39-year-old who works in social housing.
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“Bristol has an arthouse aesthetic,” said Taylor. Other favourite directors include Peter Greenaway, Ken Russell and Joanna Hogg. One of the stars, Paul McGann, once borrowed the movie from the shop.
The most rented film is probably 1987’s Withnail and I. Neatly, the film was released in 1982, the year the shop opened its doors. Videos include the 1953 Japanese classic Tokyo Story, On The Waterfront starring Marlon Brando, from the following year – and Eating Raoul, a dark satire about a married couple who go on a murder spree to fund their dream of buying a house and restaurant in the country. The sign features the iconic image of Béatrice Dalle from the poster of the French 1986 psychological drama Betty Blue and one of the walls is adorned with graffiti reading: “The Warriors”, a reference to the 1979 New York crime cult classic.ĭVDs given prominence in the shop window range from new arthouse films such as Céline Sciamma’s Petite Maman and Thomas Vinterberg’s Another Round to the 1964 British comedy The Bargee starring Harry H Corbett as a canal boatman. The shopfront tells the story of what 20th Century Flicks is about. The window display at 20th Century Flicks.
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