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Non-Review Review: Grown Ups

It’s very difficult to offer a movie that takes a cynical “Hollywood type” back to their roots. There are many reasons. The most obvious is that the type of person making the movie is a cynical Hollywood type and there’s something of an irony about making a film about the roots they’ve lost contact with – oftentimes it is more difficult to offer a grounded version of reality than it is to depict an alien invasion or a thoroughly ridiculous premise. Grown Ups is the second film this year which sees Adam Sandler playing a character attempting to reconnect with the common man – perhaps a timely theme in light of the recession, when the glitz and glamour of Hollywood stand in even starker contrast to the day-to-day lives of regular folks. However, if I didn’t know better, I’d think Sandler (whose production company produced the film and who co-wrote the script) is having something of a midlife crisis.

Not exactly a deep pool of talent...

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End of the Line: Unearned Happy Endings…

I reviewed Baby Mama earlier today and – while I was impressed with the film’s willingness to tackle a somewhat controversial topic – I was less than impressed by the somewhat conventional ending tacked on to the film. And then I mellowed out a bit. “It is a comedy after all,” I reminded myself, in the hope that I would forgive the film because it wasn’t a black comedy – most lighthearted comedies call for a light-hearted ending, after all. Besides, this particular film isn’t the only film in recent memory to resort to a disappointingly conventional ending, so why does it bother me so much?

Not everybody gets a fairytale ending...

Note: As you may have guessed from the topic, I’ll be discussing endings here – particularly the one from Baby Mama. Consider yourself warned, there are spoilers ahead.

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Non-Review Review: Baby Mama

Baby Mama is effectively a “buddy” chick flick. Indeed, considering that the bulk of buddy guy flicks – like Lethal Weapon or The Expendables – are about guys doing stereotypically “macho” stuff (grrr… explosions and guns and fights and stuff!!!), it’s perhaps appropriate that this movie pairs off its two leads doing something stereotypically “feminine” (awww…. babies and maternal instincts and things…). The premise and the message of the movie are difficult to get a hold of (it by turns mocks and reinforces a conventional liberal perspective, particularly in its portrayal of class conflicts), but works at its best when it lets its two tremendously talented leads time and room to work – there’s a reason that Tina Fey and Amy Poehler are competing against each other for that Emmy this year. Despite its fairly heavy subject matter, the movie arguably finds its feet as a conventional “odd couple” comedy – which is a shame, as that’s only one of many things it’s juggling.

Guess which one's white trash...

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Wednesday Comics: The Flash

Earlier this week I reviewed Wednesday Comics, a rather spanking anthology from DC Comics. I kinda figured, however, it might be worth my while to break out some of those fifteen stories on their own (but not all of them) and discuss them, as it’s easy to lose sight of a particular writer/artist’s work in an anthology. So I figured I’d start with the best of the bunch, The Flash.

I think it’s safe to say that the Flash is on a road to reinvention. Writer Geoff Johns, who pioneered the resurrection of Green Lantern as one of the company’s most successful properties (and one of the most impressively consistent books), is currently working on a relaunched Flash series, that looks to follow the pattern set by Green Lantern. There are rumours of Warner Brothers greenlighting a movie. The scarlet speedster is definitely in an upswing. Still, one of the best things to happen to the character in… quite a while, actually, is this twelve-page comic in Wednesday Comics, written and illustrated by Karl Kerschl, with some help from Brenden Fletcher. It’s easily the best comic of the collection, but it also stands as a proud testament to the possibilities of the character, one of the original Silver Age heroes.

Quit monkeyin' around...

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By Gordon! Is Commissioner Gordon the Central Character of Nolan’s Batman?

We have to save Dent! I… have to save Dent!

– Commissioner Gordon, at the climax of The Dark Knight

It was Joss Whedon himself – the man now helming The Avengers – who once argued that the problem in bringing DC adaptations to the screen was that the traditional line-up was somewhat difficult for the audience to relate to and engage with (as compared to identifying with the X-Men’s status as social outcasts or Peter Parker’s nerdy little troubles):

Because, with that one big exception (Batman), DC’s heroes are from a different era. They’re from the era when they were creating gods.

And the thing that made [rival publisher] Marvel Comics extraordinary was that they created people. Their characters didn’t living in mythical cities, they lived in New York. They absolutely were a part of the world. Peter Parker’s character (Spider-Man) was a tortured adolescent.

DC’s characters, like Wonder Woman and Superman and Green Lantern, were all very much removed from humanity. Batman was the only character they had who was so rooted in pain, that had that same gift that the Marvel characters had, which was that gift of humanity that we can relate to.

Of course, he cites Batman as the excpetion, but you can’t help but wonder just how easy it is to relate a billionaire playboy who is focused on avenging the loss of his parents to the exclusion of all else. The wonderful thing that Christopher Nolan has done with the Batman mythos is to render it so wonderfully accessible. And perhaps he’s done that by making James Gordon, as wonderfully played by Gary Oldman, the centre of his saga.

Gordon lights up the movie...

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Wednesday Comics

Hawkman unsheathes his knife and crawls into the gasping T-Rex’s jaws, thinking “Sadly, this is not the craziest thing I’ve ever done.”

– Hawkman

Wednesday Comics is an amazing little experiment, a bit of comic book nostalgia delivered by some of the most talented people in the business with a smile on their face and a skip in their step. For those who don’t know, DC Comics – always the more boldly experimental of the two major companies – ran a twelve-week collection of newspaper comic strips. Fifteen strips bundled together, the reader was offered one page of a given comic at a time on a super-sized newspaper sheet, with a full story told week-on-week. It was a bold little experiment and while the whole is almost certainly greater than the sum of its parts, there’s much to love here.

There in a Flash...

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A Dream Play at the Peacock

A Dream Play is regarded as one of the defining moments of surrealism on stage. It’s not so much a play as wide variety of clashing ideas and scenarios, which overlap and bleed into each other as if reality itself is bleeding. The net effect quite wonderfully evokes the idea that the audience is somewhere very strange indeed – where characters and archetypes seem just on the verge of making sense before morphing and merging into something new and strange yet strangely familiar. The National Youth Theatre have staged a production at the Peacock Theatre, working off the version of the play “edited” by Caryl Churchill. I put “edited” in inverted commas because – despite not having an annotated version – I can offer a pretty confident guess as to which parts of the play came from her more modern (and vastly less subtle) perspective.

A "dream" cast...

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Non-Review Review: Happy Gilmore

I’m not a guy who likes Adam Sandler – except maybe in The Wedding Singer or something. Still, it seems that the most unlikely people are inevitably fated to have a soft spot for a particular Sandler comedy, even if it doesn’t quite deserve it – my better half’s father, for example, has an inexplicable affection for Little Nicky. I, however, have a completely illogical affection for Happy Gilmore – despite the fact that I make note of its many flaws even as I watch it. It’s a movie I can’t quite justify my affection for, which perhaps makes it even more oddly endearing.

Taking a swing at it...

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Sticking it to the Fan: George Lucas and Fan/Hatedom

By all accounts, George Lucas should be one of the most beloved people on the planet. Ignoring the fact that he was the forefather of one of the most iconic trilogies of all time (Star Wars), he has managed to expand the boundaries of what is possible with special effects (down to companies like Industrial Light & Magic and Skywalker Sound) and even in video games (many of the earliest videogames on flopdisk came from LucasArts). Beyond that he’s also the man perhaps most responsible for Indiana Jones and one of the most influential film makers of all time. And yet his name evokes a huge amount of discord when it’s spoken. Just why is that?

Lucas has un-Fett-ered control of the franchise...

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Non-Review Review: Red Dragon

I have a confession to make: I don’t much care for Manhunter. I know I love the work of Michael Mann, but the film just left me cold. Maybe it’s Brian Cox’s stale performance as Hannibal, or the final action sequence choreographed to Inna Gadda Vida, but I don’t react well to the film. I loved the original book – I’d argue that Harris’ Red Dragon surpasses even The Silence of the Lambs as the greatest forensic thriller ever written – and, I have to confess, I certainly quite enjoyed Red Dragon.

Guess whose back...

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