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Win! Kick-Ass 2 Goodies!

Thanks to the wonderful people over at Universal Pictures Ireland and Kick-Ass 2 we have two (2!) Kick-Ass 2 goodie packs to give away.

Kick-Ass 2 is the sequel to Matthew Vaughn, Jane Goldman and Mark Millar’s 2010 hit Kick-Ass, one of our favourite superhero films of the past few years. Most of the cast is returning, including Aaron Taylor-Johnson as Kick-Ass, Chloé Grace Moretz as Hit Girl and Christopher Mintz-Plasse as the Mother-f&%!#?. There are also several new additions, including Jim Carrey as “Colonel Stars ‘n’ Stripes”, but also Donald Faison and John Leguizamo.

It’s released here in Ireland next Wednesday, 14th August. You can check out the trailer below and get a glimpse of what’s in the packs below.

Simply fill out the form below to enter.

Each pack includes:

  • 7″ Action Figure
  • Character Pin Set
  • Kick-Ass Keyring
  • Hit Girl Keyring and Heroclix Mini Figure

It’s quite an impressive haul, as you can see below.

Kick-Ass-2---Packshot---High-res

To be in with a chance to win, fill out the form below:

The competition is now closed. Winners will be notified shortly.

Your contact details will only be used to inform the winners. You must be a resident of Ireland or Northern Ireland to enter. Good luck!

Check out more details on the Kick-Ass 2 facebook page.

Non-Review Review: Star Trek II – The Wrath of Khan

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.

In many respects, Star Trek II: The Wrath of Khan represents the franchise’s first true “reboot.”

There have been various points in the history of the franchise when the show has undergone a reinvention of some description, a radical shift from what it was into what it would be. The third season of Star Trek: The Next Generation represented such a dramatic update, a shift turn-around from the show’s first troubled two seasons. The third and fifth seasons of Star Trek: Deep Space Nine did something similar. Star Trek: Enterprise tried to affect some radical shift, but only managed to accomplish it in the third season. JJ Abrams’ recent summer blockbuster represented its own dramatic alteration to what Star Trek was or could be.

However, The Wrath of Khan represents the show’s first massive shift, the first point at which the franchise effectively evolved into something markedly different from what it had been before.

You Khan do it!

You Khan do it!

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Non-Review Review: Percy Jackson and the Sea of Monsters

Percy Jackson and the Sea of Monsters demonstrates just how lucky the Harry Potter films were when it came to casting teenage performers. As a movie series centred around the off-spring of Greek deities, the movie relies on the charisma of its leads to sell the premise. Unfortunately, they aren’t quite up to the task. While none of the performers are terrible or wooden, the film drags to a hault when the teenage actors are asked to carry a scene. As a result, a quiet boat ride in the middle of the film seems interminable, and a heart-to-heart before the climax feels overlong.

None of the cast are assisted by a script from Marc Guggenheim. Guggenheim is capable of a well-placed zinger, and the movie offers its fair share of wit, but everything about the movie feels pandering and simplistic, as if Guggenheim doesn’t trust his audience to pick up on the plot points if they aren’t painstakingly catalogued and repeatedly spelt out with cringe-worthy dialogue. Indeed, Guggenheim’s desire to slow everything down so he can repeatedly explain what’s going on only adds to the pacing issues caused by the weak leads.

It’s a shame, because the adult cast seem to be genuinely enjoying themselves, and there’s something quite charming about the idea of “demi-googling” as a means of retrieving information.

Another stab at a Percy Jackson film...

Another stab at a Percy Jackson film…

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Non-Review Review: Only God Forgives

Only God Forgives is a journey into hell. It’s an unpleasant, uncomfortable, terrifying, surreal, macabre, haunting, eerie and beautiful exploration of brutality and violence. Nicolas Winding Refn’s latest film isn’t anywhere near as accessible as Drive. It isn’t just bereft of sympathetic characters, it doesn’t even feature any characters who lend themselves to empathy or recognisability. Ryan Gosling’s Julian is so introverted and withdrawn that it’s often difficult to determine the difference between reality and his surreal dream sequences.

Then again, given Refn suggests the man is living in his own private hell, perhaps there’s not too much difference any way.

Wanna fight?

Wanna fight?

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Non-Review Review: Elysium

Elysium is good old-fashioned high-concept science-fiction. With production design alternately evoking the seventies (the upper class satellite that gives the movie its name) and eighties (the apocalyptic wasteland of future Los Angeles), Elysium feels like a conscious attempt to evoke classic genre films. Blomkamp builds in a healthy amount of social commentary, and there’s something quite satisfying in seeing a large-scale science-fiction film that isn’t afraid of big bold ideas.

However, the execution feels just a little bit muddled. The plotting is a little convoluted, and the third act becomes incredibly messy. The characters inhabiting the world never seem organic, with their motivations and behaviour prone to change rapidly to meet the rapidly-changing demands of a very messy script.

In a bit of a fix...

In a bit of a fix…

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Non-Review Review: Star Trek – The Motion Picture

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: The Motion Picture has a lot to recommend it. It’s big, thoughtful science-fiction, ripe with ideas and high-concepts tying directly into the root of the franchise. It gives both Kirk and Spock clear character arcs. It looks and sounds amazing, demonstrating just how far special effects had evolved in the decade since the show went off the air. However, it suffers from a pace that might best be described as “glacial”, and a sense that – for all the grand ideas – we aren’t really boldly going anywhere that new. Elements of the film can’t help but recall both the 1968 science-fiction classic 2001: A Space Odyssey and even the show’s own episode The Changeling.

While it’s easy to admire The Motion Picture, it’s a lot harder to enjoy it.

Strange new worlds...

Strange new worlds…

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Non-Review Review: The Conjuring

The Conjuring feels like a culmination of the nostalgia trip that we’ve seen with recent horrors like Insidious or Sinister, a conscious attempt to move away from the gore-laiden or found-footage-heavy approach to contemporary horror. Indeed, The Conjuring owes a fairly sizeable debt to director James Wan’s previous horror effort, Sinister. Not only does the film inherit leading man Patrick Wilson, it also follows roughly the same structure, right down to “paranormal investigators explore the house in a briefly humourous interlude.”

However, The Conjuring flows a lot easier than Insidious and is spared the third-act problems that plagued Sinister. The film is stronger for the honesty of its nostalgia. Even the title card is rendered in a font that looks like it could have been used for a forgotten seventies possession horror. The Conjuring doesn’t really push the boat out, and there’s nothing that will startle hardcore horror veterans, but there’s a very clear skill in its construction, an honesty to its affection and a sincerity to its charm that helps the film rise above so many contemporary horrors.

They ain't afraid of no ghosts...

They ain’t afraid of no ghosts…

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Non-Review Review: The Canyons

The Canyons struggles to surmount the weight of productions stories bearing down on it. Paul Schrader’s latest film was famously the subject of a 7,000-word article in the New York Times documenting the trials and tribulations behind the scenes. In a way, these troubles made the film somewhat larger-than-life, turning it into one giant attempt at career resurrection for director Paul Schrader and lead actor Lindsay Lohan.

Given the film’s much publicised sexual content (and the decision to cast pornography actor James Deen in the lead role), there’s a sense that this could be Lohan’s Last Tango in Paris, a bold and blistering performance from a once-respected talent eclipsed by years of behind-the-scenes gossip and idle chatter. Ironically, it’s none of the established talent that impresses with The Canyons. Bret Easton Ellis’ story feels like a shallow pastiche of Ellis-ian touches, while Schrader’s direction is intrusive and overwhelming. Lohan shows flickers of honesty and risk-taking, but is lost in the shuffle and the hum-drum plotting.

In contrast, it’s relative newcomer (as much a man with a filmography containing over 1,000 titles can be a newcomer) James Deen who makes the strongest impression as a surprisingly efficient Ellis-ian protagonist.

thecanyons1

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Non-Review Review: Alan Partridge – Alpha Papa

Alan Partridge: Alpha Papa successfully brings the BBC icon to the big screen. He’s come a long way from a sports desk persona on a BBC4 parody radio show, and modern British comedy owes a lot to Coogan’s creation. Partridge has been around for over twenty years at this point, in many ways becoming more recognisable than Steve Coogan himself. It’s surprising that it’s taken this long to shepherd Partridge to the big screen.

Partridge is the king of what might be termed “cringe comedy”, and is a clear forbearer of Ricky Gervais’ David Brent. As such, it’s possible to feel that Partridge is a little dated. Certainly, there are times when Alpha Papa plays out like it could be an extended holiday special featuring North Norfolk’s most famous radio DJ. To be fair, that’s not a bad thing. Coogan is on fine form here, the comedy is broad and the wit is quick enough that there’s never a dull moment.

It’s a giant-sized helping of the comedy character, one which stays true to his roots even if it does occasionally feel like it over-simplifies him a bit.

On the air, and on the line...

On the air, and on the line…

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Watch! Keanu Reeve’s 47 Ronin Trailer!

Universal Pictures Ireland just sent over the trailer for Keanu Reeve’s 47 Ronin. The film is a heavy fictionalised version of the tail of the forty-seven masterless samurai who avenged the death of their master Asano Naganori in the early part of the 18th century. I’ll admit that I’m rather lukewarm on the decision to cast Keanu Reeves as an original (half-Japanese half-English) character to headline the film, but the story which inspired the film is intriguing.

In Japan, the story is so influential that it has even spawned its own subgenre of fictionalised accounts of the event, Chūshingura, spanning various media. It’s easy to see the appeal of the tale, and it’s great that the story is getting this sort of high-profile release and adaptation from a major studio, even if some of the concessions to the mainstream seem a little unfortunate and potentially troublesome.

I’ll keep an open mind until the film’s release in December, as it’s impossible to gauge the execution until we actually see it. From the trailer below, it seems a little heavy on the oriental exoticism, but does look visually lavish. Barring the occasionally awkward piece of CGI, it’s certainly eye-catching and vivid. The colours are striking and some of the compositions look like they could be beautiful. Anyway, check it out below and make up your own mind.