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Non-Review Review: Stupid Crazy Love

Stupid Crazy Love suffers a bit from being a tad inconsistent, fluctuating between compelling character drama and well-observed romantic comedy. It isn’t an issue that movie fails at either of these, it just runs into a bit of bother bouncing between the two extremes. The ending might be a little trite, and a tad conventional, but the movie manages to raise some interesting ideas along the way. Still, it allows Steve Carell his best big screen appearance since The 40-Year-Old Virgin and makes for an alternatingly side-splittingly and heart-breakingly affecting movie.

Saving Ryan's Privates...

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Non-Review Review: Monsieur Lahzar

This film was seen as part of the Jameson Dublin International Film Festival 2012.

Monsieur Lehzar is a truly splendid piece of film-making, and a superb addition to the “teacher and class” subgenre, adhering to the type of mood and atmosphere that one expects from that sort of uplifting film, but with a little added nuance or bite to give it the edge. Adapted by director Philippe Falardeau from the play Bashir Lazhar by Evelyne De la Chenelière, it’s an impressively engaging film. It deals with fairly hefty themes in a way that never feels weighed down, or to sombre – providing a cautiously, rather than blindly, optimistic outlook on life.

Class act...

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Non-Review Review: Silent House

This film was seen as part of the Jameson Dublin International Film Festival 2012.

I’m going to go out on a limb and suggest that Chris Kentis and Laura Lau are both big fans of Edgar Allan Poe. In translating the cult Uruguayan horror for American audiences, the two directors seem to evoke Poe at every opportunity, from the dreary New England setting, with its early sunset and dreary overgrowth, through to symbolism lifted almost directly from Poe’s The Fall of the House of Usher. However, they juxtapose this classic American horror film vibe with a self-consciously modern filming technique. “Real terror in real time,” the poster boasts. While the decision to film the movie so it would seem like one continuous take is generally technically impressive, but also undermines a lot of the stronger elements of the tale. There is, after all, a reason that directors tend to favour long takes for very particular types of films.

In the silent house, nobody can hear you scream...

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Non-Review Review: Into The Abyss

This film was seen as part of the Jameson Dublin International Film Festival 2012.

Capital punishment is always a thorny issue to tackle, if only because of the delicate relationship between the victim and perpetrator of the original crime. It’s easy to seem sly or manipulative while painting the convicted murder as some victim of society or social injustice, while ignoring the impact of their actions on the family and friends of those they killed. Werner Herzog is always a deeply fascinating director, whether of narrative films or documentaries.

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Geoff Johns’ Run on Green Lantern – War of the Green Lanterns (Review)

I think that Geoff Johns deserves to take the majority of the credit for pushing the Green Lantern series forward as one of the mostly highly regarded properties in DC’s stable of intellectual property. That the Green Lantern continuity was allowed to remain almost entirely intact represents a huge vote of confidence in Johns as a creator, and the work that he has done. Still, War of the Green Lanterns can’t help but feel like a bit of a disappointment. An attempt to do a “mini-event” contained to the franchise (similar to the successful Sinestro Corps War), War of the Green Lanterns suffers because it doesn’t have the same thematic through-line as its predecessor, one that engaged the reader throughout the carnage and crossovers. That’s not to say War of the Green Lanterns doesn’t have any good ideas, but that it’s too jumbled and mixed up to be great.

Mogo doesn't socialise...

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Non-Review Review: Fort McCoy

This film was seen as part of the Jameson Dublin International Film Festival 2012.

Fort McCoy is a mess of a film that manages to botch a fairly interesting and compelling premise. Though Eric Stoltz does manage to escape the film with much of his dignity intact, many of his co-stars are not nearly as lucky. Written and directed by, and co-starring, Kate Connor, the movie struggles to find any measure of tonal consistency, as the movie takes basic concepts like cultural identity and coming-of-age drama, only to mangle them by playing to extreme melodrama. Indeed, most of the movie’s problems find expression in a single awkward moment: following the death of one of their own, the German P.O.W.’s at the eponymous camp arrange a funeral profession, which Connor opts to film in slow-motion, treating us to the unintentionally hilarious image of a bunch of mourning slow-motion goose-stepping Nazis. It’s a scene that beautifully evokes all the sorts of complex emotions that Connor was undoubtedly aiming for, but also demonstrates that the film has absolutely no idea how to get them to work together.

The war at home...

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Non-Review Review: Solaris

Can you tell me what’s happening here?

I could tell you what’s happening, but I don’t know if it would really tell you what’s happening.

– Chris Kelvin and Snow

Soderbergh’s Solaris is bold, challenging, brilliant, chaotic, unstructured, clever, obtuse, dense, frustrating, unsatisfying and fascinating. Frequently at the same time. The director’s adaptation of Andrei Tarkovsky’s incredibly dense science-fiction feature might not necessarily be for everybody, but there’s enough substance here for eager audience members to chew on. A film subscribing to the idea that less is more, it seems to take more joy in posing questions than in answering them. This will obviously frustrate those viewers who dislike that sort of ambiguity.

Well suited to this drama...

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Non-Review Review: My Little Princess

This film was seen as part of the Jameson Dublin International Film Festival 2012.

My Little Princess is a deeply disturbing piece of French cinema. It’s very hard to address the topic of the sexual exploitation of children in a way that doesn’t end up feeling exploitative itself. However, despite some moments of melodrama, Eva Ionesco’s creepy and unsettling character exploration is a fairly well-crafted film, one that leaves you feeling just a little bit dirty for even watching it.

Mamma Mia!

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Non-Review Review: Samsara

This film was seen as part of the Jameson Dublin International Film Festival 2012.

Director Ron Fricke first came to attention as the cinematographer on Godfrey Reggio’s groundbreaking Koyaanisqatsi. His contributions to Star Wars: Revenge of the Sith not withstanding, he has somewhat followed in the footsteps of Reggio, offering up a series of films without character or narrative that explore man’s relationship with the world around him. Samsara is another entry in the canon that includes Chronos and Sacred Site, and is a direct sequel to Baraka. It goes almost without saying that Fricke’s cinematography is transcendental. Set to music by frequent collaborator Michael Stearns (with Lisa Gerrard and Marcello de Francisci), there’s no denying that Fricke has a canny and incredible eye for beauty. That said, Samsara does suffer a bit from being heavy-handed with its central themes and ideas – quite an accomplishment for a film with no dialogue.

Armed with ideas…

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Non-Review Review: Jeff Who Lives at Home

This film was seen as part of the Jameson Dublin International Film Festival 2012.

There’s a common misconception about the films of Mark and Jay Duplass. It’s easy to confuse their films with comedies. Just look at the cast they assembled for Cyrus, including Jonah Hill and John C. Reilly (with Marisa Tomei taking home her Oscar for a comedic turn in My Cousin Vinny), or even the one they’ve gathered here. After all, Jason Segel is still most recognisable from How I Met Your Mother or The Muppets or Forgetting Sarah Marshall. Ed Helms’ filmography includes The Office and The Hangover and Cedar Rapids. While Jay and Mark Duplass include a wonderful amount of humour in their work, it tends to distract away from their core themes or ideas. Beneath the awkward triangle in Cyrus, there’s a coming-of-age family drama. Underneath the witty exterior of Jeff Who Lives at Home, there’s a sincere and optimistic romantic drama. And I’m a sucker for romantic drama.

Rub a dub dub, two men in a tub...

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