according to Corrupt tomatoes, there are only nine ideal horror moviesAnd two ideal science fiction films, and Two perfect war films. However, the 1984 TV movie from the BBC, “Topics”, is not carefully commensurate with any category, and in this way, standing alone as a 100 % perfect-unique movie.
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“Topics” is a drama by Barry Heinz, author of “A Kestrel for A Knave”, which helped adapt to the 1969 movie Ken Lush. It depicts a huge nuclear attack on the UK by the Soviet Union and the Soviet Union has described it as one of the most annoying films that have ever produced. When he first appeared on September 23, 1984, in the United Kingdom, it caused an immediate uproar, as the history of transportation became known between broadcasters and in the media as “the night in which the country did not sleep.”
It was directed by Mick Jackson, who continued to direct Hollywood films such as “Personal Guard”, realistic “realistic” of a budget of 400,000 pounds (or 533,080 dollars), which is shockingly low given the inclusive and comprehensive way describing a cucumber and nucleus heat and nucleus. In the years of its original broadcast, “topics” did not appear much, broadcasting a few times and receiving many DVD versions under the radar. But it has also become a special kind of classic worship, mostly for how west of the entire generations through its vital depiction of the horrors of nuclear repercussions. As such, it is somewhat strange to see a 100 % degree granted for a movie, by all standards, which makes viewers reliably retreat in terrorism.
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The threads are not like any other movie you will see at all
A more terrifying drama than most horror movies, the TV movie begins as a drama in the ideal British cuisine, following the daily lives of the residents in Sheffield in the south of Yorkshire. We meet Ruth Picky of Karen Megr and Ris Denzel Jimmy Kembe, a young couple who suddenly face an unplanned pregnancy. We get a glimpse into their lives at home with their families and see them preparing a new apartment in which they plan to start their new families. We see the details of the city’s quitidian, all of which were filmed in a manner that is not different from a documentary, which is not surprising, given director Mick Jackson originally from this world.
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There is a feeling of disaster waving on the horizon, as the daily scenes of CEFELED are permeated news reports on a growing crisis between the United States and the Soviet Union, which is interspersed with the fateful text on the screen that lists the nearby military targets in southern Yorkshire. All this indicates a kind of disaster, but such an object cannot be conceived because “threads” performs such a convincing task of photographing realistic Central England. Throughout the next disaster, it is tweet, it seems as if the film cannot give up the kitchen sink sensitivities. But this is the point.
Just as Cheffild’s citizens feel away from removing it from the geopolitical intrigues that eventually led to their demise, we, as viewers, are threatening the same to a false sense of safety through a comfortable wet of daily life in southern Yorkshire. When the film makes the switch, it is transmitted to something else completely.
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Jackson somehow managed to photograph the nuclear attack outside Sheffield in a realistic way as the attack scenes do before. When the bomb falls, there are no shots of dodging effects from the experience, just the horror of nausea that does not give up the rest of the entire movie. “Topics” presents the results of the Soviet Union’s attack in stark details, and we can only see them as people every day that was presented to them in the first half of the film, either they are obliterated or melt over the weeks, months, and in the end years, where Britain bears the nuclear winter season that does not turn it into something less than hell. The fact that the realism created by Jackson from the beginning never disappears is what makes the “topics” very sad, especially since we see the breaking of the gradual Roth Beckett over the course of a decade. As such, it is not an exaggeration of communication “The threads” are a horrific nightmare that shook Britain to its essence.
You must see themes regardless of the degree of spoiled tomatoes
Today, it is common for me to be told that the horror movie is the most terrifying thing that you will see ever. For example, “Longlegs” for 2024 was described as more terrifying a year Tiktok helped pushing the wonderful “skinarink” to popularity using the same phrase (“Skinamarink” is actually one of the most important things you see at all). But “topics” in a different category. It does not seem as if its goal is to intimidate you. It seems as if its goal is to remind the cold world of war, which has become a common nuclear extermination, such as buying a loaf of bread and the seriousness of the issue. However, it has become more terrifying than any horror movie.
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Actor Reese Densel, who played Jimmy, said, said Jimmy, BBC After that, after a special show in Sheffield before the movie TV appeared, “There was a complete silence and all you could hear was many people wandering all over the room. People blame me to this day because of their lifetime.” This is something bigger than “scary”. “Topics”. that it A movie that feels the feeling that you have to see simplyNot only because its bitter warnings about the foolishness of the nuclear war and the lack of political flexibility feels that it is always as it was, but because there is nothing else. The fact that it has a “perfect” degree of spoiled tomatoes is actually one of the least reasons for watching this movie.
Certainly, “Topics” will get a more prevalent recognition in the coming years, as it has been appointed NETFLIX chain chopped her body was filmed in one, “adolescence”. It is appropriate, to see that WARP is based in Sheffield and helped achieve one of the most times that affects and inconvenience through Netflix. However, the “adolescence”, which will face you to your heart, is not just a shock like “threads”, which are currently flowing for free on Tubi.
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