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Non-Review Review: Diana

Diana is a rare beast. You have to try very hard to make a biography film that is so perfectly and so calculatedly terrible. Diana isn’t the product of people who don’t care, it’s the product of people who care too much about the cynical market of prestige biography films. As such, with focus-group precision targeting, the film hits what might be the most bitter of sweet spots. It is both toothless and incredibly cynical; manipulative and shallow; vacuous and crammed with unnecessary and irritating detail.

Most damning of all is the way that the film seems perfectly calibrated to fit the public image of the People’s Princess, never bold enough to challenge or explore her work, her life or her legacy. Given how raw the public’s nerves are, even sixteen years after her tragic death, it might have been expecting too much to hope for a provocative or compelling exploration of one of the most iconic figures of the past three decades. However, we might have hoped it would at least be interesting.

It's a minefield...

It’s a minefield…

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Non-Review Review: About Time

About Time is pretty much vintage Richard Curtis. I don’t mean that in a bad way – certainly not in an entirely bad way. Curtis knows how to structure a romance, has a gift for distinguishing characters in a large ensemble, and has the capacity to employ sentimentality to calculated and devastating effect. About Time has moments of brilliance and emotional punch, framing the main character’s inexplicable ability to time travel in delightful metaphorical terms.

At the same time, Curtis has his weaknesses. Most notably, there’s the sense that his lead characters are all variations on the same character – with more cynical pundits suggesting the base model might be Curtis himself. Similarly, his ensembles are constructed efficiently as a collection of quirky characters who do quirky things quirkily, living out the most quaintly British of lives involving afternoon tea and indulging in the most stereotypical of exclamations (“just a tick…”, “oh gosh…”, etc). There’s a sense that Curtis’ world exists inside old-fashioned post cards more than in anything approaching the real world.

More than that, though, Curtis labours his point just a little bit too much, as if worried the audience might miss the whole “we’re all travelling in time” metaphor and the “secret to being happy” philosophy if it isn’t explicitly articulated in a voice-over monologue set to an upbeat pop song.

Time enough at last...

Time enough at last…

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Non-Review Review: Rush

In many ways, Rush quite resembles the last collaboration between director Ron Howard and writer Peter Morgan. Both are built around contests between two larger-than-life personalities. One is old-fashioned and conservative, averse to risk and obsessed with victory; the other is young and impetuous, arrogant and self-assured without the experience to back that up. However, while Rush lacks the screen presence of performers Michael Sheen and Frank Langella, it benefits greatly from the fact that it refuses to choose a side.

As much as Frost/Nixon might have offered a slightly more sympathetic-than-usual Nixon, it was clear that the audience was intended to root against the corrupt former president, and champion the ascension of young up-and-comer David Frost. Rush manages a more delicate balance, firmly refusing to favour one protagonist over the other. Both the reckless young go-getter and the safety-conscious number-cruncher are portrayed as sympathetic and well-developed characters.

This makes Rush that rarest of sports movies: the one where the audience is rooting for both contenders.

Not quite to Formula...

Not quite to Formula…

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Non-Review Review: Riddick

Riddick is remarkably candid about the trouble with The Chronicles of Riddick. Somewhere,” Riddick tells us in his introductory monologue, “I lost my way.” The movie sees Riddick trying to get back to his roots – literally and figuratively. He abandons the trappings of The Chronicles of Riddick, casting Karl Urban aside after little more than a cameo and a convoluted back story. He longs to return home.And, in a way, he does.

Eschewing the scale of The Chronicles of Riddick, the movie finds Riddick and the crews of two ships locked in combat on the surface of a planet, discovering that the elements are against them – and the monsters hiding therein. The movie is acutely aware of how tightly it’s mirroring Pitch Black. At one point, before an alien onslaught begins, one co-star asks how many survivors emerged from the crash at the start of Pitch Black. “As many as are in this room,” Riddick replies, underscoring the similarities.

However, Riddick is strongest when it tries to recapture the mood of Pitch Black, rather than trying to connect more directly with its predecessors. The decision to hang the back story of the film on a minor character from a movie released a decade ago feels like a miscalculation, and the movie’s introduction suffers from an indecisiveness about whether it’s breaking free of or following on from its direct predecessor.

Apocalypse how?

Apocalypse how?

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Non-Review Review: Star Trek (2009)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Star Trek was not in a healthy place at the end of the first decade of the twenty-first century. The last film, Star Trek: Nemesis, had been box office poison – partially due to the terrible script and direction, and partially due to the monumentally stupid decision of opening it during a winter season including The Lord of the Rings: The Two Towers, Harry Potter and the Chamber of Secrets and Die Another Day.

On television, things hadn’t been much brighter. Ratings had been in decline since Star Trek: Voyager hit the air, and Star Trek: Enterprise went through both a re-tool and a creative shift before becoming the first Star Trek television show since the eighties to be cancelled before running a full seven seasons. Even the most ardent Star Trek fan would have to concede that the franchise did not appear to have a bright future at that point in time.

And yet, against all odds and despite all the goodwill the franchise had lost, JJ Abrams and Paramount managed to reinject both an energy and a vitality into the film, producing one of the best blockbusters of the decade.

A commanding Enterprise....

A commanding Enterprise….

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Non-Review Review: Star Trek – Generations

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

There are lots of problems with Star Trek: Generations. It feels too much like a two-parter from the television show. It tries to fit in a laundry list of demands from the studio. It wastes Malcolm McDowell. It decides that the only part of the original series deserving a send-off is James T. Kirk, and then pushes him off-screen for an hour before dragging him back into the movie to kill him off in the most ironic and anti-climactic manner possible.

Yet, despite these considerable flaws, Generations also has a lot to recommend it. Although the script occasionally feels a little overcooked, the themes concerning mortality lend it a serious amount of weight. Director David Carson demonstrates that he can work wonders on a tiny budget. Cinematographer John A. Alonzo finds a way to shoot familiar sets in a way that makes them look incredibly beautiful. None of these strengths can fully compensate for the very fundamental flaws with the seventh Star Trek cinematic outing, but they do mitigate them somewhat.

Generations isn’t a great Star Trek film, and it isn’t even the best odd-numbered Star Trek film, but it is far from an unmitigated disaster. Well, except for the way it treats Kirk.

Riding the wave...

Riding the wave…

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Non-Review Review: The Mortal Instruments – City of Bones

The Mortal Instruments: The City of Bones is just about wry enough and smart enough to launch itself snugly into the gap in the “young adult” movie market left by the end of franchises like Twilight or Harry Potter. This franchise-launcher, based on Cassandra Clare’s 2007 novel, is at its best when it’s self-aware, with young starlet Lilly Collins reacting with quiet bemusement to the surreal urban fantasy or Irish supporting actor Robert Sheehan picking holes in the plot.

It’s over-the-top and deliciously campy, but indulgently so. Refusing to merely bask in the clichés of urban fantasy, The Mortal Instruments practically revels in them. Subtext becomes supra-text, twists are shrewdly signposted in a way welcoming to genre aficionados and there’s an endearing sense of pulp to the whole thing. The movie only really suffers when it tries to take things entirely seriously, slowing down for an almost interminable second act and casting the so-wooden-he-should-probably-be-varnished Jamie Campbell Bower as the obligatory “mysterious hunky teenager.”

A cut above?

A cut above?

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Non-Review Review: One Direction – This is Us

Let’s be honest here. As a brand, the success of One Direction has been phenomenal. In One Direction: This is Us, super producer Simon Cowell boasts about how it took him all of ten minutes to come up with the band, jamming five also-ran teenage X-Factor contestants into an also-ran X-Factor boy band that became a global pop culture juggernaut. Morgan Spurlock’s One Direction: This is Us is really nothing but a propaganda piece, a giant feature-length 3D pat on the back where a manufactured pop sensation are compared – not once, but twice – to The Beatles.

And there’s really nothing wrong with that. After all, this was never going to be an insightful piece of cinematic journalism, prying behind closed doors at the forces propelling One Direction to fame and the careful and painstaking maintenance and protection of the brand name. Anybody expecting anything but a celebratory ninety-odd minutes of mutual appreciation was clearly expecting something quite different from what was promised.

As piece of pop culture brand management, One Direction: This is Us is actually quite well-constructed. Spurlock knows how to frame an interesting documentary, and has always been theatrical and stylish. Even the talking head shots in One Direction: This is Us are tastefully shot, against a dark highway at night, Simon Cowell’s sterile studio apartment or in a band member’s makeshift art studio. There are moments in One Direction: This is Us when it looks like some humanity might accidentally shine through, but the film is quick to stamp that out with gushing about the fans and patronising discussions about how unique and individual the band members are.

onedirection

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Non-Review Review: Star Trek VI – The Undiscovered Country

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Whatever its faults, Star Trek VI: The Undiscovered Country is a fond farewell to the original cast of Star Trek, giving the ensemble one last epic adventure before heading off into legend. Chancellor Gorkon suggests that the “the undiscovered country” that lends the movie its title is “the future.” Most Shakespearean scholars would argue that it is “death.” Perhaps they need to – as Gorkon argues – “experience” it in “the original Klingon”, or perhaps there’s more to it than that.

Perhaps the undiscovered country can be both – the death waiting for all of us eventually, the “chimes at midnight” that Chang alludes to after a disastrous diplomatic dinner. Probably not. Still, The Undiscovered Country does represent a death. It’s the end of an era, the extinguishing of a torch that had already been passed. It’s the last adventure of Kirk’s starship Enterprise, and it feels appropriate that it serves to end the Cold War raging between the Klingons and the Federation.

It’s a beautiful farewell to the crew, to the extent that even the actors’ decision to “sign” the closing credits doesn’t feel over saccharine or manipulative. The movie has more than its fair share of narrative flaws, neither as tight as Star Trek II: The Wrath of Khan nor as energetic as Star Trek IV: The Voyage Home. However, it hangs together remarkably well, in no small part thanks to a solid premise, a strange honesty and a deep affection for the cast and crew.

We're having some old friends for dinner...

We’re having some old friends for dinner…

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Non-Review Review: Star Trek V – The Final Frontier

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Star Trek V: The Final Frontier is not a good movie. There’s really nothing that can be excavated from the film that might redeem it. It isn’t a misunderstood masterpiece. It isn’t an insightful diamond in the rough. It’s just a bad film, the one which forms the cornerstone of the “odd-numbered Star Trek films” curse. It’s indulgent, pretentious and narrow-minded. It tries to blend a world-weary cynicism with an ill-judged and mean-spirited sense of humour.

Despite being shorter than Star Trek IV: The Voyage Home, it feels remarkably longer. It feels like a rather halfhearted attempt to recapture the spirit of the television show – oblivious to the fact that the franchise has spent the past decade moving onwards. It confuses ponderous pretension for intelligent insight.

Feeling blue...

Feeling blue…

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