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The Spielberg Slap

Hey, I made a short video.

359. Star Wars: Episode IX – The Rise of Skywalker (#—)

Hosted by Andrew Quinn and Darren Mooney, this week joined by special guests Luke Dunne and Richard Drumm, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, JJ Abrams’ Star Wars: Episode IX – The Rise of Skywalker.

A long time ago in a galaxy far away, somehow Palpatine returned.

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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345. Diego Maradona – Leaving Cert 2023 (#—)

Hosted by Andrew Quinn, Darren Mooney and Conor Murphy, this week with special guest Ross Whitaker, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

This September, we are running a season looking at the films on the Irish Leaving Cert English Curriculum. So this week, Asif Kapadia’s Diego Maradona.

In 1984, Argentinian footballer Diego Maradona transfers from F.C. Barcelona to S.S.C. Napoli. Less than a decade later, he will leave the club and the city under a cloud of controversy. In those intervening years, Maradona is everything: hero, villain, saviour, devil, man, legend. Is it possible to make sense of all the contradictions that bind the legendary footballer together?

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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338. Le fabuleux destin d’Amélie Poulain (Amélie) (#102)

Hosted by Andrew Quinn and Darren Mooney, and with special guest Síomha McQuinn, This Just In is a subset of The 250 podcast, looking at notable new arrivals on the list of the 250 best movies of all-time, as voted for by Internet Movie Database Users.

This time, Jean-Pierre Jeunet’s Le fabuleux destin d’Amélie Poulain.

Amélie Poulain has always been something of a special person, somebody who sees the world in a way that nobody else around her understands. Living a life of quiet desperate, freak events throw Amélie into the life of a complete stranger. The feeling is exciting to Amélie, who takes it as her mission to start meddling in the lives of all those around her. However, Amélie very quickly discovers that such meddling is rarely as tidy as one might hope.

At time of recording, it was ranked the 102nd best movie of all time on the Internet Movie Database.

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New Escapist Column! On the Superhero Genre’s Existential Crisis…

I published a new In the Frame piece at The Escapist this evening. With no major new releases this week, and with the recent release of both Secret Invasion and The Flash, it seemed like a good opportunity to take a look at the state of the modern superhero genre.

While there are ongoing debates about whether “superhero fatigue” has set in, these are largely besides the point. Watching contemporary superhero films, there is a palpable anxiety underpinning these blockbusters. Increasingly, these superhero films are about superhero films. In particular, they are movies and television shows that make an existential argument for their continued importance and necessity.

You can read the piece here, or click the picture below.

New Escapist Column! On “Black Mirror” as a Movie About the Limits of the Empathy Machine…

We’re launching a new column at The Escapist, called Out of Focus. With the sixth season of Black Mirror releasing on Netflix last week, it seemed like a good opportunity to delve into one of the defining shows of the modern moment.

Black Mirror is often framed as a technophobic show, asking, “what if phones… but too much?” However, this is an inherently reductive way of looking at the series, which is much more about humanity than it is about people. In many ways, the show is about how technology reflects humanity’s worst impulses back at them, and the fear that cinema and television – along with other forms of media – serve as barriers to empathy rather than windows to it.

You can read the piece here, or click the picture below.

New Escapist Column! On Why Supergirl is the Best Part of “The Flash”…

I published a new piece at The Escapist at the weekend. With the release of The Flash, it seemed worth considering the best part of the movie: Sasha Calle’s Supergirl.

For decades, Warner Bros. has struggled with the character of Superman, trying to find a way to make that character relevant for the modern world. What’s interesting about The Flash is that it finds a unique and compelling answer to this question with its take on Supergirl, presenting an immigrant who arrives to a world that is inherently hostile and xenophobic, which treats her as less than a person, and yet somehow finds the strength to fight for that planet anyway. It’s just a shame that she’s ultimately wasted and discarded by the film.

You can read the piece here, or click the picture below.

New Escapist Column! On “The Flash” as a Movie About the Horror of “The Flash”…

I published a new In the Frame piece at The Escapist this evening. With The Flash releasing this weekend, it seemed like as good an opportunity to talk about the themes of the movie, and how those ideas exist in direct opposition to its central purpose.

Thematically, The Flash is a story about how the idea of a “reset” is fundamentally pointless. It is a tale about how individuals are often the sum total of their life experiences, including the traumatic ones, and that any attempt to erase those traumas would be to erase the person that they created. However, this is very much at odds with what the film functionally is. It is an opportunity for Warner Bros. to shift around their established continuity and intellectual property, to reset characters and to recast actors. In short, The Flash is a movie about its own monstrosity.

You can read the piece here, or click the picture below.

New Escapist Column! On “The Flash” as a Two-Hour-Long Shareholders’ Memo…

I published a new In the Frame piece at The Escapist on Friday. With the release of The Flash in cinemas, it seemed like a good opportunity to consider the movie.

What is interesting about The Flash is that it is a movie almost entirely devoid of any artistic sentiment whatsoever. It is a movie that does not exist because anybody working on it had a brilliant idea that needed to be realised. It exists largely because Warner Bros. decided that they needed a Flash movie, and so – against all laws of nature and reality – simply willed that movie into existence.

You can read the piece here, or click the picture below.

New Escapist Video! “The Flash Isn’t a Film, It’s a Corporate Mandate”

I’m thrilled to be launching movie and television reviews on The Escapist. Over the coming weeks and months, I will be joining a set of contributors in adding these reviews to the channel. For the moment, I’m honoured to contribute a five-minute film review of The Flash, which was released in cinemas this weekend.