When I sit down to watch a movie I’m habitually appalled by the poor design of the signature title sequence announcing the name of the studio. Given the basic level of competence achieved in most film title sequences, it seems unfathomable that such lousy studio graphics make it onto our screens so regularly. Lion’s Gate finally got a makeover; New Line starts off promisingly; Dreamworks is plain sappy. Which is why I am always relieved to see movies that turn out to be made by Columbia Tristar. Their signature sequence is richly evocative: it manages to strike a pleasing creative balance between historical references and an unmistakably digital aesthetic. The colourways are subtle yet broad; rich yet dry. Heck, even the soundtrack is agreeable.
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