• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

Wall Street Guy

What with my review of Wall Street going up today and the release of Wall Street: Money Never Sleeps, I thought I’d post this quick bit of marketing genius from the guys over at Fox. Basically, somebody in the marketing department must have discovered that they were releasing a Family Guy DVD boxset on the same day as the 20th anniversary edition of Wall Street, and though it would be hilarious to mash-up Gordon Gekko and Stewie Griffin. It’s a fun little clip, and it shows that the marketing at the studio doesn’t exactly take itself too seriously (after all, I doubt there was too much overlap between the two fandoms), but it works.

Non-Review Review: Wall Street

It’s interesting that Wall Street, a movie set in the time that it was made, begins with a titlecard reminding the audience that it’s 1985. Maybe it’s because director Oliver Stone realised that the movie would be dated almost as swiftly as it had been released – financial services are very much a product of their time, anchored in a specific moment. “By four o’clock, I’m a dinosaur!” one character exclaims over the phone as he tries to get information – information that will be redundant if he waits too long. However, I don’t think Wall Street is in anyway redundant. The current financial crisis suggests that – if anything – the original film is as relevant now as when it was released (and is the only reason I am not flat-out dreading the release of Wall Steet: Money Never Sleeps). No, I think that it is because, even in the midst of the decade that it was produced, Stone could see the movie would perfectly capture that moment in time. Seriously, despite the fact that its core ideas are as insightful as they were twenty-five years ago, the movie itself feels like the pure essence of the eighties distilled into a two-hour film. That titlecard isn’t there to remind viewers that this is a dated film, it serves as a stamp or a label. Not to say “this is set in 1985”, but “this is 1985″.

Gordon takes stock...

Continue reading

Trail me Lies, Trail me Sweet Little Lies: Hollywood Trailers, Omission of Facts and Downright Lies

Movie trailers are a fickle bunch. Some spoil movies by revealing crucial plot twists. But there’s arguably something far more sinister than an advertisement which innocently gives a plot twist or two away: the movie trailer which actively lies to the audience. It’s a very dodgy advertising strategy, but sadly one that movie studios seem to be quite comfortable resorting to.

Machete: A Romantic Comedy...

Continue reading

House of M (Review/Retrospective)

This is the third in a series of comic book reviews that will look at the direction of Marvel’s “Avengers” franchise over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity. Get an overview of what I’m trying to take a look at here.

The X-Men represent the oddball of mainstream superhero comic books. In a genre and medium dedicated offering a static setup – things never really change or resolve – the X-Men are built upon the very idea of evolution. The whole basis of the franchise is the pursuit of equality by the genetically distinct mutant population, the idea that they and mankind can grow together. It has even been frequently suggested that these super-powered individuals represent out future or our replacements. However, the only way to actually tell a story like that is to follow it through to its logical conclusion – to let the ball roll and to let the world change. It feels a little counterproductive for Charles Xavier and his students to still be fighting for the same rights as everyone else nearly fifty years on – it might even seem a little stale. Grant Morrison’s superb New X-Men run offered a solution of sorts – it gave us a world where humanity would be extinct in a couple of generations and showed the growth and relationship between human and mutant subculture. Gone was the minority struggling against an oppressive majority – a more complex example of race relations had come into play with “mutant music” and “mutant slang” making their impression on the youth, amid a silent and almost invisible middle-class backlash. This was an ingenious approach which demonstrated the relevance of the franchise. Unfortunately, Marvel were not quite pleased with this – some people even, ridiculously, accused Morrison of telling all the remaining X-Men stories – and decided to set things right. They did that through House of M.

Dive in...

Continue reading

When Was the Last Time a Horror Film Gave You Nightmares?

We had a family outing at the weekend. We all went to see The Last Exorcism, on the recommendation of my gran. We were pretty much all disappointed, but to different degrees. Anyway, as we sat around the kitchen table at midnight, discussing the film, my gran and my aunt conceded that whenever they typically saw a film about demons, they had trouble sleeping – even the camp horror of The Devil Rides Through or the courtroom-focused drama of The Exorcism of Emily Rose. However, neither would have any real trouble sleeping that night (and, the following morning, both seemed perfectly rested). So it got me thinking, perhaps the perfect measure of a horror movie’s effectiveness is how afraid it makes you as you lay yourself down to rest. So, when was the last time you had trouble sleeping?

A stab in the dark...

Continue reading

Non-Review Review: The Last Exorcism

The fundamental problem with The Last Exorcism is that it tries to be too many things, while being unwilling to completely invest in any of them. Is it an exploration of the culture of “showy exorcisms” (where the preacher himself refers to it as “a sham”)? Is it a jerky, handheld homage to The Exorcism, filtered through Paranormal Activity? Is it an indictment of small insular communities and the sinister ideas which may underpin them, as in The Wicker Man? It seems to be all three at once, which is a problem, as the three don’t gel together too well in a two-hour film.

The movie certainly isn't a blessing...

Continue reading

Hear Me Out…

Just a quick note to let you know that the wonderful guys over at The Film Cynics have put up yesterday’s show, featuring yours truly as a very honoured (but apparently none-too-humbled guest). It was a joy to work with the guys and an absolute pleasure to spend an hour just talking about random film stuff.

I like to voice my opinion...

The Whole Truth: How “True” Are “True Stories”?

Something that has always made me wonder is how close to reality film and television are or are not. Sometimes this is expressed in abstract terms – for example whether Baltimore is really as bad as it is made out to be in The Wire. However, it’s much more direct when one looks at what claims to be a true story. Reality isn’t film. Things don’t always break down to key “moments”. Events play out over the long term, and sometimes subtly. There isn’t always a bad guy or an antagonist. There certainly always isn’t a happy ending. So naturally amendments need to be made, because these events need to be translated to drama. But where is the line? How far can you stretch the truth until it breaks?

Staying true to yourself...

Continue reading

Non-Review Review: Ondine

I like Neil Jordan. He’s probably the greatest Irish director, and one of the few directors who can switch back and forth between big Hollywood productions like The Brave One and quirkier Irish films like Ondine, with neither feeling particularly strange or inappropriate for its particular genre. Ondine is Jordan’s attempt at a lowkey Irish fairytale, told in a small fishing village down in Cork – calling to mind the sort of stereotypical portrayal of country life in Ireland, filled with drunkards and gossiping locals, where everyone knows everyone else and a stranger is instantly remarked upon. It’s to Jordan’s credit that the film works as well as it does. The director manages to create a genuine sense of magic and whimsy which carries a large portion of the film. However, like most magic and slight of hand, if you look too closely you’re liable to figure out that nothing’s going on.

Does Neil Jordan's latest hold water?

Continue reading

I’m on the Radio!

I’m on the radio tonight, with the guys over at The Film Cynics. You can listen at 11:00pm GMT and 3:00pm PST at CFAX 1070. I’m really looking forward to it, and it’s a huge honour to be invited. Feel free to check it out.