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The House at the Abbey Theatre (Review)

Tom Murphy’s The House is big play with some clever ideas, but not quite enough to fill its somewhat extended run time. In fact, the first half of the play, as Murphy tries to settle into his groove, seems to run nearly forever – to the point where, sitting in my seat, I was starting to wonder if the actors had simply forgotten there was supposed to be an intermission. The second half, however, is much stronger and much more tightly focused. While the production itself is nothing less than impressive, one wonders if an editor might have been well-suited to take a hacksaw to Murphy’s script, or perhaps director Annabelle Comyn might have cut down on the staring into middle-distance.

House that now?

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Non-Review Review: Sky Captain and the World of Tomorrow

Sky Captain and the World of Tomorrow evokes pulp science-fiction cinema with an earnestness and an eagerness that is endearing, if not infectious. Although the special effects have dated significantly in the time since the movie’s release, it’s hard not to admire director Kerry Conron’s use of computer graphics to forge a connection to classic cinema. However, one senses that Conron might have been better suited to emulate the mood, rather than merely the appearance, of these old adventure serials. The problem is that despite its rather wonderfully crafted appearance, there’s never anything in Sky Captain and the World of Tomorrow to really get excited about. And that’s a shame.

A ray of hope?

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Doing Justice to the Justice League: 10 Tips For Warner Brothers in Building the Justice League…

Rumour has it that Warners has made superheroes their top priority again. I wonder why that might be. Anyway, here’s 10 tips that might help them make the perfect Justice League film.

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The Final Cut (Review)

The third and final part of the House of Cards trilogy, The Final Cut exists to bring to a close the story of Francis Urquhart, the iconic and conniving fictional British Prime Minister. Portraying Urquhart during his twilight years, the series presents a man who has arguably faced and overcome all the challenges that the world has to offer. While The Final Cut lacks a clear focal point like House of Cards and To Play the King, it is a fitting conclusion to the epic saga, with a powerhouse central performance from Ian Richardson as the Machiavellian Tory Prime Minister.

Still in his Prime?

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Non-Review Review: Red Lights

With Buried, Rodrigo Cortés demonstrated a skill for executing a Hitchcock-esque high concept. While it wasn’t an entirely successful experiment, it demonstrated that Cortés was a talent to watch. His follow-up, Red Lights, affirms that potential, though it also fails to entirely deliver on its fascinating high concept. Cortés shows a real talent for the technical craft of direction – for framing his shots, use of colour and light and space, pacing and even editing. Writing, directing and editing this film, he demonstrates skill with big ideas and high concepts, as well as skill on a frame-to-frame basis. However, he’s still missing some connection between the two – some intangible skill at developing big ideas into dramatic story beats to fit his own style of film-making. That’s not to say that Red Lights isn’t a fascinating a well-crafted film, just to explain that there are some fundamental flaws.

Do you believe?

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A Film By Any Other Name: The Art of Stupid Movie Branding…

I have a confession to make. I did not go to see The Avengers. I went to see Marvel’s Avenger’s Assemble. I didn’t mention this before because… well, that’s a stupid name and people aren’t idiots. If I talk about “The Avengers” and mention details like a “giant green rage monster”, “Nick Fury”, “box office records” or even “enjoyable”, odds are that you will know the film that I am talking about. I’m normally quite reluctant to attack particular movie practices as silly or illogical, if only because I’ve no direct experience of how the industry works.

To be fair, I’ll generally assume that the studios know what they’re talking about when it comes to making movies. However, when it comes to slapping silly names on their posters and insisting that the audience refer to a movie by a convoluted, generic and awkward focus-group-crafted title, I do feel like I have an opinion. The Avengers is the most recent high-profile example, but I’ve found myself increasing irritated by this somewhat pointless branding.

Silly titles make Darren angry!

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Non-Review Review: Sleeper

Sleeper is an enjoyable Woody Allen film, coming from relatively early in the director’s career. He had yet to direct either Annie Hall or Manhattan, arguably his two most popular works, but was coming off a string of well-regarded movies. Sleeper is an affectionate look at many of the science-fiction movies that Hollywood was producing in the late sixties and early seventies, to the point that Allen himself actually sat down with Isaac Asimov to make sure the science-fiction elements of the script were kosher. However, Sleeper is remarkably fluid, allowing room within that framework for Allen to really explore any and all ideas that might possibly have occurred to him. The result is, to borrow a quote from the poster, a highly enjoyable and almost whimsical “nostalgic look at the future.”

Robot in disguise…

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Non-Review Review: The Five-Year Engagement

The Five-Year Engagement is the best romantic comedy of 2012 so far. Reuniting the talents of Jason Segel and Nicholas Stoller, the film manages to offer a refreshingly frank and honest perspective of romantic relationships. The interactions feel more organic, the third act crisis is rooted in something more primal and relevant than some idle miscommunication and the resolution isn’t based on the notion that people can inexplicably change. Like Segel and Stoller’s superb Forgetting Sarah Marshall, The Five-Year Engagement is predicated on the assumption that love must mean accepting and embracing your partner for who they are, rather than what you want them to be. It’s a little depressing that this moral feels almost subversive in this day-and-age of formulaic and generic romantic comedies, but there’s no denying that The Five-Year Engagement is head-and-shoulders above most of its competitors.

They’ll get married this year… in a pig’s eye…

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The Avengers: The Kree-Skrull War (Review/Retrospective)

The Kree-Skrull War is perhaps the grandaddy of great Avengers story. A series of interconnected one-shots with subplots congealing into an arc, it allowed writer Roy Thomas to really define the Avengers. Written towards the start of the seventies, the saga feels like something of a transition from the innocence of the classic Silver Age superhero sci-fi zaniness and a more sombre and mature Bronze Age. Despite its age, the adventure still holds up remarkably well, partially because Thomas has some very clever ideas that are still reverberating around modern comics, and also because Neal Adams’ artwork hasn’t aged a day.

Thomas had quite a Vision for the title…

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Non-Review Review: Rock of Ages

Rock of Ages actually works quite well as a microcosm of the eighties – in both good and bad ways. It is loud, entertaining, engaging, shallow, beautifully constructed, hypocritical, energetic, charming, tasteless and somehow strangely irresistible in places. While the movie doesn’t necessarily always work, it is a perfect piece of cultural counter-programming to the summer’s sporting events. Light, fun and just a little dazed and confused, Rock of Ages is self-aware enough that it never collapses under its own weight. While it’s unlikely to be remembered as the best of the summer, it is a charmingly cheesy (if occasionally clumsy) power ballad musical that does exactly what it says on the tin.

He’s already made his marker…

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