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Non-Review Review: Ninja Assassin

I want to like Ninja Assassin. I want a nice, pulpy, old-school hyper-violent throw-back like the title suggested. The two words thrown together don’t necessarily evoke the imagery of classic cinema, but they at least promise a reasonably diverting action thriller. However, it seems that nobody told the writer and director this. Despite it’s surprisingly direct title, the movie is just one big bloated mess, which seems to aspire to a complexity that nobody expects of it, and fails miserably. There seem to be occasional moments where the film grabs the potential of the concept, acknowledging a sort of Tarantino-light nostalgic approach to pop culture trash, but most of the film takes itself far too seriously, but without the skill necessary to succeed as the film it seems to want to be.

All fired up...

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Five More Creative Ways to Make Green Lantern 2 A Better Film (Rather Than Just “Darker and Edgier”)…

Green Lantern was a disappointment. Along with Marvel’s Daredevil, the Green Lantern series has been perhaps the strongest mainstream superhero title published in the past decade, and Warner Brothers couldn’t manage to produce a decent film. This was supposed to be the company’s first superhero franchise outside of the tried-and-tested Batman and Superman properties, and it fell flat. Nevertheless, Warners have vowed to press on with the sequel, daring to produce a “darker and edgier” follow-up to the film. Ignoring the fact that not all superheroes need to be “darker and edgier”, it still ignores the fact that the problems with Martin Campbell’s would-be franchise launcher had very little to do with being too light or soft. Here are five pieces of advice that the executive would do well to take on board, before deciding to simply “go darker.”

The sequel... Dark Green Lantern...

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Non-Review Review: Green Lantern – Emerald Knights

In many ways, Green Lantern: Emerald Knights can be seen as a counterpart to the earlier Batman: Gotham Knight. Beyond the fact that both contain “knight” in the title, both animated films were released as promotional tie-ins to major motion pictures featuring the characters in question, and both are structured as vignettes rather than one continuous storyline. Don’t let that fool you. Unlike the incredibly uneven Gotham Knight, Emerald Knights is actually quite a worthy little movie.

Good to the Corps...

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Non-Review Review: Bolt

I really enjoyed Bolt. Being entirely honest, Disney’s track record with its own CGI was hardly encouraging, with Chicken Little and Meet the Robinsons hardly measuring up to the work of the company’s other animation division. Bolt might not be quite as good as Tangled, but – at its very best – it manages to hit on those big, shared emotions and themes that have helped Pixar set the standard for modern animation. For most of its run, it’s a solidly entertaining and diverting family film, but it also has moments of powerful emotional connection.

His bark's worse than his bite...

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Justice League International: Volume 2 (Hardcover) (Review/Retrospective)

In light of the massive DC reboot taking place next month, launching with a Geoff Johns and Jim Lee run on a new Justice League title, I thought I’d take a look back at another attempt to relaunch the Justice League, emerging from the then-recent Crisis on Infinite Earths.

I loved the first collection of Justice League International (even though I don’t think the book was called Justice League International yet). It was the perfect example of fun self-aware superhero comics that didn’t need to wallow in grime and darkness to feel confident in themselves. It was wry and cheeky, but still sincere enough that it never seemed too cynical. And, in fairness to Giffen and deMatteis, they actually told some good stories with nice grasps on the characters involved. This second collection can’t help but feel a little bit lighter, somehow, less significant – too tied up in other things to have enough fun on its own terms. Which is a shame.

Built on a solid foundation...

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Non-Review Review: Snatch

The wonderful folks over at the Jameson Cult Film Club were polite enough to sneak me into their screening of Snatch. It was my first time attending a screening organised by the team, and I was genuinely impressed. seriously, if you live in Ireland and are a film buff, do yourself a favour and pop over to sign on up. They transformed the Tivoli Theatre into a series of sets from the film, with an open trailer park out the back, a boxing ring inside and lovely bit of flavour throughout. It really was a fantastic evening, and the crew deserve a huge amount of kudos for pulling it off in such style. Hell, they even got actors impersonating the characters to introduce the film, with a Brad Pitt impersonator telling us to turn off our phones with the help of subtitles. I honestly think it might be the closest I’ve ever been to living inside a film, and I’ve been to Disneyland.

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What Measure is a Monster? or Sympathy for the Devil…

I loved Super 8. It was just a wonderfully made coming-of-age tale that paid excellent homage to those old Spielberg films (even those he produced, like The Goonies, not just the ones he directed). However, as I got thinking about the film, and the plot that focuses on a rather ugly-looking alien escaped from government custody, I did find myself somewhat conflicted in what to make of the menace. Was it a poor victim of torture and inhumane treatment at the hands of the United States military, or was it a genuinely evil creature that deserved to be put down? It’s interesting how Abrams manipulates us into feeling sympathy for the creature, despite the fact it tends to feast on innocent human flesh.

Well, it's certainly alien...

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Non-Review Review: Rise of the Planet of the Apes

Why would have thought that a monkey rebellion could be the stuff of great tragedy? That, in a Simian  revolt, we may yet see the best and the worst of ourselves reflected back? The leading monkey of the piece is named for Shakespeare’s Julius Caesar, but its to the credit of Rise of the Planet of the Apes that it evokes a wonderfully powerful observation repeated many times throughout both history and fiction, perhaps best articulated by Ghandi, “We are the architects of our future, not its victims.” I think we’ve come a long way in how we use computer-generated imagery in cinema, and I would suggest that Rise of the Planet of the Apes stands as something of a signpost. For the CGI Caesar stands as one of the most tragic and compelling protagonists of the year, in a film that manages to cut to the heart of a franchise in the way that decades of sequels and prequels and a remake could only dream of. It’s undoubtedly the best film to include the words “Planet” and “Apes”in the title since Charleton Heston had a mental breakdown on a beach.

I don't have no time for no monkey business...

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Why Does It Matter That Spider-Man is Black?

It’s interesting the odd way that comic books occasionally overlap with the mainstream. Mainly, it appears to be when a death is involved, like the coverage that Ed Brubaker’s The Death of Captain America inspired, or the pop culture impact of Grant Morrison’s Batman R.I.P. (or even Jonathan Hickman’s death of Johnny Storm in The Fantastic Four). These week, we’ve had a minor media storm over something a bit different: a new character taking an established identity. Most mainstream media outlets weren’t interested in the resurrection of Bucky Barnes to replace Steve Rogers, nor Dick Grayson donning the cowl in Batman & Robin. However, there’s been a storm in a teacup brewing over the fact that the new lead in Ultimate Spider-Man is black.

Why on Earth is this such a big deal?

The only colours I associate with Spider-man are blue and red...

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Twixt a Rock and a Hard Place: Francis Ford Coppola, Movie DJ…

A large part of me has tremendous respect for Francis Ford Coppola, even if his stock was considerably diminished by the twin misfires of The Godfather, Part III and Bram Stoker’s Dracula in the nineties. However, it takes a significant amount of courage to pretty much turn your back on major movie studios and produce a string of relatively independent and relatively experimental films, especially when you could legitimately be described as one of the main architects of modern cinema. Part of me wonders what would happen if George Lucas and Steven Spielberg attempted something similar to the string of low-budget arthouse releases Coppola has directed in recent years. His latest film, Twixt, comes with a gimmick that would put 3D to shame. The director is taking it on tour, and will apparently “remix” it for each and every audience. There’s no guarantee that two different audiences will see the same film.

Mixmeister Coppola...

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