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Alfred Hitchcock Presents: Revenge (Review)

As part of the “For the Love of Film” blogathon, I’ll be taking a look at Alfred Hitchcock’s contributions to his celebrated anthology series Alfred Hitchcock Presents. I’ll be looking at some of the episodes of the classic show that he directed. The “For the Love of Film” blogathon this year is raising money to keep one of Hitchcock’s earlier works, The White Shadow (which he wrote, edited, designed and assistant-directed), available on-line and streaming for free. It’s a very worthwhile cause and you can donate here.

Good evening. I’m Alfred Hitchcock, and tonight I’m presenting the first in a series of stories of suspense and mystery called – oddly enough – Alfred Hitchcock Presents. I shall not act in these stories, but will only make appearances, something in the nature of an accessory before and after the fact: to give the title to those of you who can’t read, and to tidy up afterwords for those who don’t understand the ending.

– Hitchcock lays down the rules

It’s interesting to look back at Hitchcock as a director who had an exceptional gift for working with material that might be derided as “trashy.” Certainly, if one divorces the subject matter from the director himself, a significant amount of his work can be seen as somewhat exploitative, inside genres that are traditionally dismissed by those more serious and elitist film commentators. (Indeed, one could argue that Psycho laid the foundation for the much-maligned “slasher” genre.) I’ve actually found this a significant appeal in examining Hitchcock’s work. Like many of the very best directors ever to work in film, he has a knack for elevating his subject matter beyond the expectations of the genre. I think that his anthology television show, Alfred Hitchcock Presents, is especially fascinating, because it illustrated the director taking an entire medium far more serious than many of his contemporaries.

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X-Men: Inferno – Avengers (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

This weekend, we’re taking a look at one or two of the smaller Inferno crossovers. These issues are collected in the crossovers companion book.

In many ways, Chris Claremont’s Inferno can be read as something of a practice run for John Byrne’s Acts of Vengeance. Both were massive crossovers that spread across a significant portion of Marvel’s publishing line, demanding writers to tie their stories in to these big and over-arching events. While Inferno‘s reach was arguably more modest than that of Acts of Vengeance, it seemed that the demonic invasion of New York could not be contained to the X-Men books, and ended up impacting titles as diverse as The Fantastic Four and Daredevil. Walt Simonson’s Avengers tied into Inferno as well, making an interesting attempt to launch a new team against the backdrop of an X-Men event.

Meet the new team…

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X-Men: Inferno – Daredevil (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

This weekend, we’re taking a look at one or two of the smaller Inferno crossovers. These issues are collected in the crossovers companion book.

From what little I’ve read of Ann Nocenti’s Daredevil, I really like it. My experience of her work on the title has been mainly limited to crossovers and tie-ins, but Nocenti has always managed to put her own spin on events – rather than feeling like a satellite title to Mutant Massacre or Fall of the Mutants, her connected issues felt like Daredevil stories staring at a world gone completely mad. It’s a subtle distinction, but one that too few authors remember in this era of event-driven comics. Inferno is no different, as Nocenti manages to take a massive and unfolding X-Men crossover and make it work for her own narrative and characters.

This city’s really going to hell…

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Non-Review Review: Critters 3

I have a confession to make. I have never seen a Critters film before. They were always sitting there on the lower shelves of the horror section in the shop where I used to rent DVDs, but I just never picked one up. I can’t quite explain why – that sort of trashy horror-comedy would probably have seemed right up my street, but I guess I was probably more fascinated with the more iconic horror monsters and menaces. Anyway, my better half has always had a bit of affection for Leonardo DiCaprio, and when we discovered that his first big screen role was as a kid in Critters 3, I suggested that we could watch both watch it. And, I’m surprised to admit, it was nowhere near as bad as I thought it was going to be.

Laugh it up, fuzzball…

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X-Men: Inferno (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

I don’t like Inferno. There, I said it. There have been dry patches in Claremont’s Uncanny X-Men run before, and some would argue that his work following Inferno would be quite esoteric, but Inferno has always represented, to me at least, the creative low-point of Claremont’s Uncanny X-Men run. That doesn’t mean that I can’t appreciate it for what it is, or acknowledge the care with which the writer crafted it, but it is just too much of a big random mess to really enjoy it. It’s a disjointed crossover that resolves the long-running Madelyne Pryor mystery that Claremont had been weaving through the book, but also features demons and goblins for some reason. It’s just a great big mess.

There’s a Storm comin’…

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Jameson Cult Film Club: The Blues Brothers

We’re on a mission from God.

– Elwood Blues

If ever a movie lent itself to the Jameson Cult Film Club experience, I think that The Blues Brothers is it. Hosted by the Jameson Cult Film Club as a way of celebrating cinema, the events see the team trying to bring the movies to life, offering a rather immersive experience. It’s a wonderful way to honour classic films, and I think that The Blues Brothers really embodies the best type of film for that sort of adaptation. After all, it is a movie so famed for its cult status and audience participation that John Landis and Dan Ackroyd actively recruited fans from screenings to appear in Blues Brothers 2000. Second to The Rocky Horror Picture Show, The Blues Brothers is a movie were the energy and exuberance really can’t be confined to the screen, and I think that’s why the team were able to do such a wonderful job with it.

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Non-Review Review: The Dictator

The obvious point of comparison for The Dictator would seem to be Borat or even Bruno. After all, the film reteams Sacha Baron Cohen with director Larry Charles, while providing a vehicle for exploring American society. However, The Dictator is a very different beast – it’s a much safer film, which is quite something to say about a film featuring a joke about “911 2012.” It is more conventional, more accessible, and more driven by a clearly focused narrative. In a way, it feels almost closer to Ali G in da House, only a lot funnier.

The Dictator is a very funny film, but it does feel like Cohen is a little more constrained than usual, a lot more rigidly structured. This lacks the sort of anarchic spirit that viewers have come to expect from Cohen, and I’d be lying if I said I didn’t miss it. Still, Cohen has a unique ability to blend offensive boundary-crossing with classic comedy, and The Dictator feels like a film that will have a broader appeal than his cult hits. Despite the abundance of jokes about male and female anatomy, I think this might be the first Sacha Baron Cohen film I would recommend to my parents.

Coming to America…

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Fall of the Mutants: Uncanny X-Men (Review/Retrospective)

With our month looking at Avengers comics officially over, we thought it might be fun to dig into that other iconic Marvel property, the X-Men. Join us for a month of X-Men related reviews and discussion.

Part of me does feel a little bit sorry for Chris Claremont. After all, his Uncanny X-Men run was trapped in a perpetual second act. He hadn’t introduced the franchise, inheriting it from a bunch of other writers and artists, and he couldn’t resolve it either. So, as a writer, Claremont was charged with keeping readers interested in an on-going narrative that spanned well over a decade. Occasionally, the writer would try to keep things fresh, and Fall of the Mutants represents just such an attempt. Trying to transition his team from one status quo to another, you have to give the writer credit for pitting the team against an enemy who is (effectively) God, even if it does make this chapter in his on-going saga the equivalent of Star Trek V: The Final Frontier.

United we fall…

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Fall of the Mutants: X-Factor (Review/Retrospective)

I’ll freely concede that I’m generally wary of Louise Simonson’s X-Factor. Her contributions to the Mutant Massacre were the weakest part of the crossover, and she didn’t exactly make Inferno an exceptionally readable event. While I can understand why some fans are fond of her writing, I’ve found the X-Factor I’ve read to generally be an awkward and heavy-handed attempt to emulate Chris Claremont’s patented soap opera stylings.

However, I will concede when I’m impressed, and Simonson has more than impressed me here. While I respect Claremont’s Uncanny X-Men tie-in to Fall of the Mutants more than I enjoy it, Simonson’s X-Factor feels like a much stronger offering, feeling like the book is really firing on all cylinders. Fall of the Mutants allows Simonson to bring all manner of plotlines to a head, tying together years of build-up into a fascinating, exciting and compelling pay-off. I have no qualms in suggesting that Simonson’s X-Factor is the highlight of this gigantic collection.

A wing and a prayer…

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Non-Review Review: Dark Shadows

I really liked Dark Shadows. Of course, the film comes with the proviso that it’s probably nothing at all like anybody is expecting, at least based on the trailers. While there are elements of a comedy about a vampire lost in time, Tim Burton is far too busy constructing an elaborate spoof of a gothic melodrama to every really develop that thread. Instead, it’s a movie that seems wry and self-aware more than it is side-splittingly hilarious, an old-fashioned homage to the melodramatic horrors of old rather than a compelling story in its own right. I don’t think anybody could argue that this is truly “classic” Burton, measured against Ed Wood or Batman Returns. However, it is a director who seems to be having a great deal of fun playing with some rather esoteric toys.

Collins family values…

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