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Non-Review Review: Happy Gilmore

I’m not a guy who likes Adam Sandler – except maybe in The Wedding Singer or something. Still, it seems that the most unlikely people are inevitably fated to have a soft spot for a particular Sandler comedy, even if it doesn’t quite deserve it – my better half’s father, for example, has an inexplicable affection for Little Nicky. I, however, have a completely illogical affection for Happy Gilmore – despite the fact that I make note of its many flaws even as I watch it. It’s a movie I can’t quite justify my affection for, which perhaps makes it even more oddly endearing.

Taking a swing at it...

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Non-Review Review: Red Dragon

I have a confession to make: I don’t much care for Manhunter. I know I love the work of Michael Mann, but the film just left me cold. Maybe it’s Brian Cox’s stale performance as Hannibal, or the final action sequence choreographed to Inna Gadda Vida, but I don’t react well to the film. I loved the original book – I’d argue that Harris’ Red Dragon surpasses even The Silence of the Lambs as the greatest forensic thriller ever written – and, I have to confess, I certainly quite enjoyed Red Dragon.

Guess whose back...

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Non-Review Review: The Expendables

Nostalgia is a double-edged sword. When it was mentioned that Sly Stallone would be putting together a dream team of action movie stand-bys – Jason Statham, Jet Li, Mickey Rourke, Eric Roberts, Bruce Willis, Arnold Schwarzenegger and Dolph Lundgren – our minds immediately go to a happy a place. We remember the joys of films like Rambo: First Blood or Die Hard or Total Recall. However, we forget that a great many of the films produced over that iconic era we look back to were also just plain terrible (or, at best, woefully mundane): Red Heat, Cobra, Tango and Cash, among many others. Sadly The Expendables stands more with the latter than the former. Which is a damn shame.

Sly managed a long and arduous shoot...

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Non-Review Review: Superman II (The Richard Donner Cut)

Superman II has had a somewhat rocky production history. Essentially conceived as the “second half” of the original Superman film, it was all beautifully and carefully mapped out since before the original was released – in fact, Donner had done most of his work on the sequel before the original saw the light of day, and Gene Hackman didn’t even officially work on the second film (his filming blocks overlapped). It was a bold gambit, but one which could have returned an almost infinite reward. Instead, the producers of the film – the Salkinds – would fire director Richard Donner before he could finish his work and hire Richard Lester to come in a film some replacement footage. Perhaps the most telling thing about Lester is that, on viewing Donner’s epic take on the Man of Steel, the replacement dismissively stated that he wanted to stay away from “the whole David Lean thing”. Because the last thing he’s want to do is make a good movie. However, Donner would eventually get an opportunity to tell his version of the story – or as close to it as possible. Although there’s only so much editting can do, Superman II: The Richard Donner Cut makes almost as solid a case for its director’s vision as Superman III and Superman IV do for his successor’s lack of same.

Let's put this to bed...

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Non-Review Review: Scott Pilgrim vs. The World

If it weren’t for Inception, Scott Pilgrim vs. The World would be the most visually impressive film of year. Maybe it still is. This tale of adolescent irrelevence might have a bit of difficulty finding an audience, but it certainly deserves one – it’s a pure kaleidoscopic sugar rush of youthful exuberence and energy, all focused through a simple but effective emotional narrative. Indeed, perhaps its closest companion is (500) Days of Summer, the breakout romantic comedy of last year – except this time the emotional complexity is dialed down and the visual flair way up. And neither of those are bad things. In fact, as part of Edgar Wright’s latest film, they are actually quite genius.

Scott packs quite a (cup of) punch...

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Non-Review Review: Nine

I have to admit, I greatly enjoyed Nine, even if it never really felt substantial or fulfilling. I’m not convinced that the film works as a story, but it does provide director Rob Marshall the opportunity to put together setpiece after setpiece, each choreographed with impeccable skill. Indeed, given his ability to stage glitzy sequences and the sheer volume of talent in front of the camera, coupled with lavish production values and a mesmerizing setting, it’s easy to forgive Nine its faults – the most glaring of which is that nothing really happens for the first three-quarters of it, and then stuff happens which doesn’t necessarily feel earned in the last quarter. Still, it looks damn pretty and the soundtrack is quite catchy.

Now that's a showstopper...

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Non-Review Review: Cinema Paradiso (Theatrical Cut)

Hmm… a dude who runs a film site loves a nostalgic movie about the power of cinema? I never could have called that one.

It's another day for you... for you and me in paradiso...

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Non-Review Review: I’m Gonna Git You, Sucka!

Wow. A Wayans’ movies that wasn’t completely terrible. Okay, it isn’t great, but there are some genuinely hilarious moments hidden in this blaxploitation spoof. There’s a fairly high miss-to-hits ratio, though – but it still hits the spot frequently enough.

Pretty fly...

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Non-Review Review: Minority Report

I don’t love Minority Report. Don’t get me wrong, it’s a well-made film – perfectly entertaining and cleverly directed by a director who is one of the best living today – but it just doesn’t feel consistent for me. The whole doesn’t necessarily add up to the sum of its parts, as it were.

They should probably screen their officers better...

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Non-Review Review: The Green Mile

I never really responded to The Shawshank Redemption. I’ll go into why exactly if I ever get around to writing a review of it, but perhaps the fact that I never really embraced the film as strongly as most film fans (or even just, y’know, people) is the reason that I am somewhat fonder of The Green Mile than most. The Green Mile is admittedly as guilty as Frank Darabont’s early Stephen King adaptation set in a prison when it comes to emotional manipulation of its audience (look at us humanise the prison guards by having the three of them tackle a mouse in a borderline comedic fashion!), but I find it a lot more honest about its inherent darkness than that tale of redemption in Shawshank.

No, it's not a halo, but it's pretty close...

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