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Bats isn’t in my Belfry: Nolan’s Batman & Superman and the Inevitable Justice League Film…

Word filtering through the grapevine is that we can expect a “big announcement” from Warner Brothers and DC comics in the next few weeks. Two words seem to be on everybody’s mind at the moment: Justice League. I mean, it makes sense. Warner Brothers are in real need of a new cashcow franchise. There’s only so long they can pump out Harry Potter movies (the final one is due out next year), and the DC comics titles offer a nearly bottomless pile of untapped fantasy-esque cookie-cutter blockbuster-ready properties that they can churn out with instant-ready popularity and geek appeal. And, let’s face it, Marvel has demonstrated with at least Iron Man and Iron Man 2 (if not The Incredible Hulk) that a shared film universe is a profitable investment. Warner and DC certainly missed the train on that one. They must regard their rivals with envious eyes, and slowly and surely they drew their plans against them. And, to be frank, DC is in a much better position than Marvel to exploit this team-up. Marvel sold the Fantastic Four, the X-Men (including Wolverine) and Spider-Man to different companies, effectively meaning that they can’t be included in Marvel’s on-screen universe. However, DC hasn’t sold any big names. However, it has a problem. Christopher Nolan – the man in charge of both Batman and Superman – has decided that he doesn’t want to share. And maybe that’s not a bad thing, after all. 

Should Superman sit this one out?

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Non-Review Review: Adaptation

I sit down. I stare at the screen. I have to write a review. I probably shouldn’t. What do I say? I mean, do I get the film, do I understand it? It’s all very meta-fictional and heavy, a little too meta-fictional perhaps. I pause. Did I just type the words “a little too meta-fictional”? I read back up a line. I did. I sigh. Reviewing Charlie Kaufman is hard work. Reviewing Adaptation is really hard. Why can’t I review something simple, you know with gunfights and car chases and a standard three-act structure? Yeah, something bland, something boring.

Hm. I could really use a line break here.

I could make a pun about brothers here, but that's a bit trite, isn't it?

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Sometimes I’m Not Proud to be Irish…

Today is Arthur’s Day. I find myself almost subconsciously putting “St.” in front of that, because only saints have days, right? Anyway, only in Ireland could we sell a day around a guy who invented “the black stuff”. I think Guinness should be proud of marketing the whole thing so well. Anyway, this being perhaps the second most Irish day of the year, I thought I’d reflect very briefly on being Irish. I recently praised the forward-thinking work of former Irish Film Censor John Kelleher in attempting to remove our nation’s reputation for frankly backwards censorship – not an easy task when you consider we’ve got our own blasphemy law. Anyway, Kelleher rebranded his office the Irish Film Classification Office (IFCO), because he saw his role as classifying movies (rating them) as opposed to cutting or censoring them (“I don’t believe in censorship for adults”). It appears that it hasn’t taken too long for the office to return to its roots since his departure, the video nasty I Spit on Your Grave has been banned in Ireland by the office of the film censor.

I spit on your freedom of expression...

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Non-Review Review: The Shawshank Redemption

I have to admit, I’ve always found The Shawshank Redemption a tad overhyped. Don’t get me wrong, it’s a masterfully made film with a fantastic cast and a fantastic score from a director at the very top of his game. Still, the movie’s never entirely won me over – perhaps because I can’t entirely buy into the parable of hope and redemption that is being spun. It’s very powerful stuff, but I can’t help but feel a little cheated with the fact that the movie asks us to believe that something good came of the pit of human suffering at Shawshank.

You can easily get board in Shawshank...

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Paradise Lost & Found: Milking Milton

Sometimes you hear a movie pitch and you think “man, that’s a good idea”. This is not one of those ideas. Apparently Hollywood has run out of modern fantasy books and comics to adapt and have set their eyes to a somewhat higher brow work: Milton’s Paradise Lost. I loved that book in secondary school almost as much as I loved Dante’s Inferno (the rest of The Divine Comedy I could take or leave, to be brutally honest). Anyway, you’d think I would be rejoicing at the news of the adaptation, but my cynical nature betrays itself here. You see, here is exactly what the producers had to say about the proposal:

…the project tells the story of the epic war in heaven between archangels Michael and Lucifer, and will be crafted as an action vehicle that will include aerial warfare, possibly shot in 3D.

Yes, it’s a 3D “aerial warfare” movie. I’m waiting for the announcement that Sam Worthington will play Satan and Vin Diesel will play the “one day away from retirement” Archangel “my friends call me Gabe” Gabriel.

That pitch meeting obviously didn't go well...

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Planet Hulk (Review/Retrospective)

This is the second 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. We’re taking a bit of a detour this week, but it’ll feed into Marvel’s event-driven central narrative fairly shortly. Get an overview of what I’m trying to take a look at here.

Finally. Hulk knows who to smash.

– Hulk, less than ten pages into the event

Planet Hulk is perhaps a prime example of the type of event-driven storytelling that has become increasingly common at Marvel in recent years. It isn’t really an event of itself, but there’s a strong smell of editorial mandate behind the plot. The key objective – and one conceded by the powers that be – was to isolate the Hulk character from the greater Marvel Universe during the Civil War event (which he would arguably have considerably complicated) and position him for the follow-up event World War Hulk. As such, exiling the Hulk to a foreign planet and watching him play out his own version of Gladiator isn’t exactly the most fluid storytelling direction. However, it’s to the credit of author Greg Pak that the story works as well as it does.

A smashing good time...

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Edge of Darkness (BBC)

Keeping with the theme of nuclear annihilation that began with Doctor Strangelove yesterday, I’m taking a look at Edge of Darkness, the BBC serial which was recently remade into a (reportedly disappointing) Mel Gibson film. Directed by Martin Campbell, who would go on to save Bond twice (with GoldenEye and Casino Royale) and is directing the upcoming Green Lantern, Edge of Darkness was something of a phenomenon in British television during the eighties. Originally broadcast on BBC 2, it was popular enough that it garnered a repeat on the parent station (BBC 1) within days. That’s something practically unheard of. And, yes, it’s just that good.

How does Detective Craven bear the loss of his child?

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Twilight of the Stars?

I’ve been thinking a bit of late about movie stars. Are we reaching the end of the star-driven era of Hollywood stars? What got me thinking about it was the news of Tony Scott’s upcoming Unstoppable – a movie about a runaway train starring Denzel Washington, who has been one of Scott’s most consistent collaborators in the past. I loved Denzel Washington – and I loved Crimson Tide and, to a lesser extent, Man on Fire. And yet, I have absolutely no urge to see the film. It isn’t a “must see” simply because of the talent or skill involved. And, being honest, I don’t think I’m alone. There would have been a time years ago when a name on a marque would have marked a film as “must see”. I am beginning to suspect that the era of “star power” might be slowly passing.

Am I Cloo(ney)ed into something?

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Non-Review Review: Dr. Strangelove (Or: How I Learnt to Stop Worrying and Love the Bomb)

What I’m about to say is grounds for excommunication from the church of film geekdom, but I am not a huge Stanley Kubrick fan. I admire and appreciate his work from a technical level and there are a few of his films I would credit as genuine classics – and yet there are others that I am markedly indifferent to. Cinematic purists will balk when I suggest The Shining – that most commercially Hollywood production – is my favourite of Kubrick’s film. Dr. Strangelove (Or: How I Learnt to Stop Worrying and Love the Bomb) is widely regarded as a classic of Cold War cinema, but I must concede that I can’t help but feel a little disconnected from it. Of course quite a large portion of the film (particularly the broader comedy) is still hilarious, but the film refers to a world that I never really knew – I was born in the twilight of the Soviet Union, disconnected from this heated level of nuclear paranoia.    

There's nothing strange about the love for this film...

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Putting the “Man” in Romance: Deconstructing The “Gerard Butler” Romantic Comedies

I had the misfortune of watching The Bounty Hunter last week. It was horrible, really. In fairness, I tend to have a problem with the conventional romantic comedy as it’s mass produced and shipped out to cinemas at least once a month like clockwork. A string of movies which are based on the principle that all men and women (whether they know it or not) want to settle down and get married, argue over stupid things about three quarters of the way through the film and get together again in time for the end credits. Not only are the morals of such films highly dubious, the delivery is generally just excruciating. However, something has changed within the genre in the past couple of years… and not necessarily for the better. I’ll let The Guardian sum up my position:  

I realise it’s high time we refreshed the tired tics and tropes of the kissy-kissy no-boys-allowed modern women’s picture, I just didn’t think the solution would be to take the suppressed homoeroticism of the punchy-punchy male buddy flick then slather it over the vaguely virginal values associated with most Sandra Bullock and Amanda Bynes movies.  

That about sums it up nicely, don’t you think?  

The figure on the left indicates where good ideas come from... the figure on the right indicates where most romantic comedy ideas come from... by the way, he has his back to us...

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