Not only is this an incredibly underated entry in the cornetto trinligy, but an incredibly underated film. As comedies go, the only reason it doesn't shine as much as it ought to is because of the greater renown - well deserved though it is - of the other two.
Edgar Wright's uncontested mastery of comedic timing, pacing and set up and pay off are just as notable in this film as in the other two. What truely exells however, is…
One of, if not the greatest film noir ever made. The setting on it's own is incredibly unique, being in a time and place very rarely remembered, let alone shown on film. And it couldn't be shown any more masterfully; this cinematography and shot compossition are timelessy striking and reminds me every time I watch it of the possibilities of film, particularly film noir.
The characters are a further, impeccably portrayed element of the setting, each one - except, at…
