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The Avengers: The Crossing Omnibus (Review/Retrospective)

“One of the nineties’ most notorious narratives!”

– well, the back cover wasn’t lying

The Crossing has become a watch-word for nineties excesses. Essentially a gigantic crossover between The Avengers and the various Iron Man books (including War Machine and Force Works), it is renowned for its clumsy editorial mandate: the event was designed to replaced Tony Stark with a younger version of himself. Fans have come to reflect on The Crossing as one of the most awful comic book storylines ever concocted, an example of the mess that Marvel had made of their line of books during a decade not exactly renowned for its taste.

I know it’s fashionable to trash The Crossing, and I know that it is every bit as ridiculously nineties and forced as its editorial mandate would suggest, but I can’t help but think there are some nice ideas to be found here, if one wades in deep enough into the crap. Don’t get me wrong, there’s not nearly enough to justify the tangled bloated mess of a plot, and I’m not going to argue the consensus is wrong, but I do think the massive catastrophic failure of The Crossing was one of execution, rather than one of ideas.

Shockingly bad?

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New Dark Knight Rises Trailer

Man, it is taking enormous self-restraint not to look at every single one of the TV spots being released for The Dark Knight Rises. With less than a month to go, I think I’m doing quite well, limiting myself to these larger trailers. Anyway, here’s the latest two-minute look at the film. It’s more action-packed than the last couple, and it has a lot more humour. (I’ve always felt that people overplay the seriousness of Nolan’s Batman films – yes, they are quite heavy, but they don’t take themselves too seriously.) And, I feel like an idiot, but I just got that “what are you?” and “I’m Gotham’s reckoning” are a conscious call back to “what are you?” and “I am Batman” from Batman Begins. D’oh.

Non-Review Review: Abraham Lincoln – Vampire Hunter

The biggest problem with Abraham Lincoln: Vampire Hunter is that it’s so mundane. You have this concept that is so incredibly ridiculous that you can play any number of ways – wacky “history-xploitation”; Hollywood “meta”-spoof; absurd parody. And yet director Timur Bekmambetov instead produces on of the most bland action movies imaginable. Despite the “wait? did the poster really say…?” premise, this film could be any action vampire movie ever. All Bekmambetov did was to swap speeding cars for horses and carriages, and cast a slightly taller lead with a badass taste in hats and facial hair. I’d argue that the problem with Abraham Lincoln: Vampire Hunter is that it takes itself too seriously, but there’d be some fun in playing something like this absurdly straight. Instead, it’s just a generic action and adventure film with a slightly quirky title.

He was just clearing through his old things and… (four)score!

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Non-Review Review: The Hound of the Baskervilles (1959)

Back in its heyday, Hammer Horror had a reputation as an assembly-line studio, churning out cheesy exploitation horror after cheesy exploitation horror with an efficiency that would make battery farmers jealous. I won’t pretend that the reputation is entirely undeserved, although I do have a certain fondness for the delightful schlock the studio would produce. Still, I think that this reputation tends to overshadow the occasional gem that the studio would produce, something that managed to transcend the cost-effective scenery and cookie-cutter approach to film-making. While it probably isn’t the definitive adaptation of the tale, Hammer’s The Hound of the Baskervilles is still an absolute delight for gothic horror aficionados.

Put that in your pipe and smoke it…

Note: This review contains spoilers. I consider a classic novel and fifty-year-old film to be fair game.

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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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