by Andy Nowicki
The credit sequence at the start of the 2010 film Devil is conceptually uncomplicated, yet breathtakingly powerful in impact. Its genius lies in the way it takes a standard, even clichéd, series of images, and quite literally ... inverts them.
As Fernando Velazquez's ominous, Bernard Herrmannesque score plays over the soundtrack, we are taken for a virtual ride across the heights of a skyscraper-filled cityscape — a point of view we've witnessed in perhaps hundreds of movies before, one that would be completely unremarkable except for the fact that in this case, everything we see is upside-down.
