• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

New Podcast! The X-Cast – Season 7, Episode 4 (“Millennium”)

With The X-Cast moving on to coverage of the seventh season of The X-Files, and the episode Millennium fast approaching, it seemed like a good time to resurrect the Time is Now podcast. So I joined Kurt North to talk about the controversial episode.

Millennium is a very strange episode of television. It is designed to serve as a de facto series finale for Chris Carter’s Millennium while folding it into the mythology of The X-Files. However, it is an episode where two of the three credited writers have never worked on Millennium, and which builds to a climax of the mythology of Millennium which doesn’t really fit with anything that appeared on screen. However, it is also the episode that builds to the first on-screen kiss between Mulder and Scully, which creates an interesting tension in terms of the episode’s priorities.

You can listen to the episode here, or click the link below.

Continue reading

245. Tumbbad – This Just In (#250)

Hosted by Andrew Quinn and Darren Mooney, with special guest Joey Keogh, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Anand Gandhi, Rahi Anil Barve and Adesh Prasad’s Tumbbad.

In a remote Indian village, something ancient and evil is lurking beneath the surface. As the country moves towards independence, Vinayak Rao finds a way to exploit the mysteries of Tumbbad to his own advantage. However, nothing comes without a price.

At time of recording, it was ranked 250th on the list of the best movies of all time on the Internet Movie Database.

Continue reading

New Escapist Column! On the “Jungle Cruise” and the Journey Into the Uncanny Valley…

I published a new In the Frame piece at The Escapist this evening. With the release of Jungle Cruise this week, it seemed like a good opportunity to take a look at the Dwayne Johnson and Emily Blunt vehicle.

It isn’t particularly surprising that Jungle Cruise takes place in an unreal environment. After all, this is a feature film based on a theme park ride. However, it is striking how completely and how eagerly it rejects anything resembling reality. Jungle Cruise draws openly from films like The Mummy, The African Queen, Raiders of the Lost Ark, Romancing the Stone and Pirates of the Caribbean: The Curse of the Black Pearl, globe-trotting adventures that blend special effects with beautiful location work. In contrast, Jungle Cruise unfolds entirely within the hard drive of a computer.

You can read the piece here, or click the picture below.

New Escapist Video! “The Suicide Squad – Review”

I’m thrilled to be launching movie reviews on The Escapist. Over the coming weeks and months, I will be joining a set of contributors in adding these reviews to the channel. For the moment, I’m honoured to contribute a three-minute film review of The Suicide Squad, which is releasing theatrically in Europe this week and in cinemas and on MBO Max in the United States next weekend.

New Escapist Video! “Jungle Cruise – Review”

I’m thrilled to be launching movie reviews on The Escapist. Over the coming weeks and months, I will be joining a set of contributors in adding these reviews to the channel. For the moment, I’m honoured to contribute a three-minute film review of Jungle Cruise, which is releasing theatrically and on Disney+ Premiere Access this weekend.

Non-Review Review: The Suicide Squad

The Suicide Squad is a stunning piece of blockbuster cinema.

There’s an understandable urge to treat The Suicide Squad as something of an outlier, particularly in the modern wave of big superhero blockbusters. After all, this is an R-rated blockbuster about a bunch of super-villains populated largely be characters that few people will recognise, let alone care about, and which exists in something of a strange continuity limbo away from the rest of the shared continuity. It is darkly funny, bitterly bleak, and decidedly uninterested in things like brand synergy. It is a sequel to a maligned film from a director now best known for his work with a rival studio and a rival property.

Squad goals.

Looked at from a certain angle, The Suicide Squad must seem as alien as the monster that rampages through the film’s third act – a space oddity that fell to Earth. However, this just makes it all the more remarkable that writer and director James Gunn has managed to fashion all of this into a thrilling and spectacular piece of blockbuster cinema that understands the appeal and the potential of the superhero genre without forsaking its own distinct perspective and while delivering on everything that a well-made populist blockbuster should.

There are very few superhero movies that are put together like The Suicide Squad. That’s their problem.

Continue reading

New Escapist Column! On “Masters of the Universe: Revelation” and the Paradox of Spoiler Culture…

I published a new column at The Escapist today. The release of Masters of the Universe: Revelation generated some controversy last week, owing to a major twist at the end of the first episode that caught some fans entirely off-guard.

This is interesting, because it gets at one of the central tensions of modern fan culture, particularly the obsession with spoilers. Many fans are obsessively worried about having the film and television that they enjoy spoiled for them ahead of time, of having secrets revealed before release. However, that narrative doesn’t really fit with the outrage over Revelation, where it seems like many of those fans most vocally protesting the big twist at the end of the first episode seem frustrated that something like that development was preserved as a surprise for them and that it did catch them off-guard. So do fans really want to be surprised?

You can read the piece here, or click the picture below.

Non-Review Review: Stillwater

Stillwater is effectively three different movies bundled together. Each of those three movies have their own merits and their own weaknesses, but none of them really work when bundled together.

Stillwater stars Matt Damon as Bill Baker, a demolition worker from the eponymous town in Oklahoma. His daughter Allison is five years into a nine-year sentence in Marseilles, having been found guilty of a sensational crime involving the death of her roommate. Even half a decade later, Allison still protests her innocence and Bill tries to maintain some connection with his previously estranged daughter. However, the past is pulled into the present when a potential new lead opens up.

Damon’s demons.

Stillwater is directed by Tom McCarthy, who won the Best Original Screenplay Oscar (and was nominated for the Best Director Oscar) for his work on Spotlight. McCarthy has kept relatively busy since winning the award, collaborating on the script for Christopher Robin and doing uncredited rewrites on The Nutcracker and the Four Realms. However, Stillwater still feels likes something of a long-awaited return from McCarthy as a prestige filmmaker. Stillwater is built around a central movie star, deals with weighty issues, and even (faintly) echoes the very public spectacle of the Amanda Knox trial.

However, the film never coheres into a compelling narrative. It is disjointed and uneven, bouncing clumsily between tones and struggling to anchor itself as it switches freely between genres. Stillwater doesn’t run quite as deep as it needs to.

An American in Marseilles.

Continue reading

Non-Review Review: Jungle Cruise

Jungle Cruise is a throwback to a throwback to a throwback.

Jungle Cruise is inspired by the eponymous theme park ride, a surprisingly common occurrence in the age of intellectual-property-derived blockbusters, and an approach that has led to films like Pirates of the Caribbean: Curse of the Black Pearl and The Haunted Mansion. However, because even narrative-driven theme park rides don’t necessarily provide enough story to sustain a feature-length film, Jungle Cruise positions itself as a very deliberate homage to movies like The Mummy, and traces that lineage back to classic eighties adventures like King Solomon’s Mines, Romancing the Stone and Raiders of the Lost Ark.

Cruise Control.

There’s an undeniable charm in this. After all, that adventure movie template can trace its roots back to movies like The African Queen and even into classic screwball comedies. It is a narrative framework that lends itself to charismatic movie star performances, and so it makes sense that Jungle Cruise features two genuinely engaging movie stars at its core: Dwayne Johnson and Emily Blunt. Jungle Cruise is at its strongest when it is willing to trust its leads to do what they do best, to be fun and charming while having exotic adventures together.

Unfortunately, Jungle Cruise feels too beholden to the conventions of modern blockbuster storytelling to lean into its stronger elements. Instead, those aspects of the films are constantly at war with the demands and the limitations of a modern spectacle-driven blockbuster. At times, Jungle Cruise feels more like a faded map promising a path to precious treasure. The broad outline is clear, but the richer detail has been lost to time.

Continue reading

Non-Review Review: The Sparks Brothers

The Sparks Brothers is a fan’s love letter. As the tagline helpfully summarises, it is a documentary about “your favourite band’s favourite band.”

Virtually everybody who appears on camera in The Sparks Brothers appears to rave about the eponymous siblings, Russ and Ron Mael, whose career has spanned more than half a century. There is a lot of joy and enthusiasm on display, even within fairly standard talking head sequences. Mike Myers takes a moment to playfully joke about how carefully the documentary team is getting is mole in focus, while the only character who has anything particularly negative or dismissive of the band is an animated Neil Tennant in a recollection from one of the band’s long-term associates.

An interesting framing…

This makes sense. The Sparks Brothers is a documentary from director Edgar Wright, a self-acknowledged fan of the band. Wright is careful never to crowd out or overwhelm his subjects, but he also takes advantage of his position as director to indulge his own fannish enthusiasm for the unlikely pop group. The Sparks Brothers is a surprisingly long documentary, running to two hours and twenty minutes. At least part of this is down to the fact that Wright takes great care to ensure that absolutely everybody gets a chance to have their say on what makes this “unusual duo from the seventies” such a monument

The Sparks Brothers is indulgent to a fault, but it’s also enthusiastic and excited. The energy of the assembled panel radiates through the screen, giving the documentary an infectious joie de vivre. The result is perhaps a little overlong and a little hagiological, but it is carried by a genuine sense of overdue celebration.

Oh, brother!

Continue reading