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Non-Review Review: Premium Rush

This movie was seen as part of Movie Fest, which was as much of a joy this year as it was last year. If not moreso.

Although a tad over-written and a little awkward in places, Premium Rush is a diverting high concept chase thriller that actually manages to produce something just a little unique. Set within the high-octane world of New York couriers, it sees our lead character racing to make a 7pm deadline while dealing with a whole host of problems. Much like the title character, the movie is at its best when it’s moving – zig-zagging and free-wheeling at a decent enough pace that the flaws fade away. However, it runs into a bit of bother when it tries to slow things down a bit. Still, it’s an entertaining city thriller.

Wheeler dealers?

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Non-Review Review: Looper

This movie was seen as part of Movie Fest, which was as much of a joy this year as it was last year. If not moreso.

Looper is a wonderful high-concept science-fiction film that makes a shrewd decision to avoid dwelling on temporal mechanics. A “time travel” movie, Looper is far more preoccupied with fascinating metaphysical questions about cycles of violence and cause-and-effect than it is with temporal paradoxes or the butterfly effect. In fact, I’d go so far as to suggest that it’s actually a lot easier to follow than director Rian Johnson’s earlier collaboration with Joseph Gordon-Levitt, Brick. It’s fast, it’s smart, and it’s very well put together. It’s a meticulously constructed and breathlessly engaging thriller, and one that never under-estimates its audience.

Little room for Levitt-y…

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Non-Review Review: Pitch Perfect

This movie was seen as part of Movie Fest, which is as much of a joy this year as it was last year.

Pitch Perfect seems like a recipe for a disaster. It’s a college pseudo-coming-of-age comedy set in the competitive world of acapella, with a women’s group fighting to break “the acapella glass ceiling.” (We’re told – by a commentator described as “a misogynist at heart” – that “woman are about as good at being acapella singers as they are at being doctors.”) However, the film is a joy to watch, a light feel-good film with a wonderful charm and a bright wit about it, brought to life by a fantastic cast working off a wry script. It’s never too heavy, and it never insists upon itself, but it’s engaging and fun in a way that makes it hard to resist.

Anna-phonic sound…

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Non-Review Review: Dredd (3D)

It’s hard not to admire the modesty of Dredd 3D. The film doesn’t mess about, and it never aspires to be more than it is. Rather than trying to be anything more creative or important, director Pete Travis has opted to tell a relatively straight-forward action adventure that just happens to be set in the fascinating Mega-City One starring the delightfully straight-forward Judge Dredd. Dredd isn’t trying to save the world, to quell a rebellion or to embark on an epic quest. He’s just tied up in a murder investigation that went bad. Real bad.

In many ways the movie resembles its protagonist – for better or worse. It’s blunt, simplistic and ruthlessly conventional. It’s also violent, efficient and never anything less than what it claims to be.

Hm. We never quite find out if he has helmet hair.

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Non-Review Review: Anna Karenina (2012)

All the world is a stage, literally for Joe Wright’s adaptation of Tolstoy’s classic novel. Anna Karenina is visually stunning, and perfectly put together, doing a workman-like job of condensing Tolstoy’s 800-page doorstopper into a film running justover two hours. The wonderfully inventive idea of staging the film entirely in a theatre – from the foyer to the rafters to the stage itself – gives Wright the opportunity to showcase his talent as one of the finest working directors today. Tom Stoppard’s scripts is dripping with wit and does an excellent job providing digestible chunks of Tolstoy’s epic and a fair few pithy one-liners. Unfortunately, this is countered by the fact that the film never feels like it’s quite enough, and in particular the fact that its central figure feels like a shadow cast against a back wall rather than a three-dimensional character.

Save the last dance…

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Non-Review Review: Hope Springs

Hope Springs is a fairly unambitious romantic comedy that is very clearly chasing the silver dollar. Featuring two veteran performers playing a couple struggling through a mid-life crisis, Hope Springs feels like an attempt to demonstrate that the careers of romantic leads don’t necessarily end at forty. It is, on that level, quite pleasing to watch – there’s a proud sense that David Frankel is refusing to leave hum-drum romantic comedy to young actors who seem barely out of puberty. However, the problem is inherent in the premise. Hope Springsproves that romantic comedies aren’t exclusive to younger casts, but it also demonstrates tat very few of the familiar quirks, conceits and plot devices are that much more endearing when delivered by actors old enough to remember a world before mobile telephones.

Well, they’ve made their bed…

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Michael Clarke Duncan, R.I.P.

It’s very strange to hear that an actor who really emerged during your life time has passed away. I was actually already an aspiring movie buff when Michael Clarke Duncan gave his breakout performance in The Green Mile. Duncan, of course, had been around for a while before that. He’d been working in the entertainment industry even before he decided to seriously pursue acting as a career – the early nineties saw the guy working as a bodyguard for Will Smith among others. He turned earnestly to acting in the mid- to late-nineties, and had a small but memorable role in Armageddon that led Bruce Willis to recommend him for The Green Mile. In many ways, I watched Duncan become a recognisable screen presence, and I was very shocked and saddened to hear of his passing.

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Non-Review Review: Team America – World Police

There’s a strong argument to be made that Team America: World Police is perhaps the best comedy made in the past decade. It’s certainly the most politically astute, and certainly one of the more thoughtful commentaries on American foreign policy to emerge in the wake of 9/11. Like a lot of the work of Stone and Parker, it’s tone is incredibly juvenile and even puerile, with the pair never meeting a bad-taste gag that they don’t love. However, this decidedly low-brow sense of humour is coupled with a more sophisticated and sharp political wit that allows the movie to be topical without seeming preachy, observant without being heavy-handed, and veryfunny without ever being too earnest. That’s a winning combination.

Patriot Games…

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The Longest Wait: The Difference Between European and American Release Dates…

I have to confess, part of me is a little disappointed that we are slowly phasing out of blockbuster season and into the traditional Oscar season. Not because I prefer the films in one to the other, of course, but because it means that apparently my entire continent is going to drop off the radar for a few months. As the major studios in the United States scramble to get their best Oscar shots released in Los Angeles (and, often, the rest of the country) by the end of the year, it seems that they forget about the rest of the world. While the release of the summer blockbusters have gotten just a bit more synchronised, there’s still a sense that the release of the prestige pieces over here remains an afterthought.

Let’s deal with this fur once and fur all…

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Non-Review Review: Thunderbolt & Lightfoot

I think that Thunderbolt & Lightfoot might be my favourite Michael Cimino film. Don’t get me wrong, of course. I acknowledge and appreciate the director’s work on The Deer Hunter, but it’s not a film I return to on a regular basis. It’s a thoughtful and powerful commentary on the Vietnam War, but it isn’t among my favourite explorations of that particular conflict. On the other hand, while it still has its own serious flaws, Thunderbolt & Lightfoot has a much lighter touch. It’s a film that offers a great deal of depth beneath a relatively accessible surface layer, serving as an exploration of seventies America, but one with significant hidden depths. However, despite his sophisticated work here, Cimino’s directorial début is not inaccessible and works quite well as a hybrid of the “road” and the “heist”movie genres, albeit with a great deal happening beneath the surface.

The road to nowhere?

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