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Announcing m0vie blog: the book!

And it’s official, I am a published author. My book, Pass the Popcorn: A Movie Memoir of 2011, went on-sale from Amazon.com last night, and can be purchased for the low-low price of $1.22 ($0.99 + tax) by clicking here. It’s basically a collection of essays and articles I wrote for the site, collected in one place, from 2011 and earlier. It’s really just an attempt to take some of my essays on film and bundle them up in a way to maybe raise the profile of the blog.

While I’ve drafted a new introduction and revised some of the pieces, all the articles can be found in some way, shape or form on the blog. Still, if you like it, tell a friend, pass it on. Get it as a gift for the film nerd in your life. If it’s successful, I’ll put together another collection next year. If it isn’t, well, at least it was worth a shot. Even after tax, you’re paying less than 1c for every 600 words, so what do you have to lose?

The blog has always been tremendously personal, a place for me to share my hastily-formed poorly-articulated thoughts on the movie issues of the day. Nothing was too big for me to share a random couple of thoughts about it, nor was anything too small. I’m happy with that, and that’s what the blog, hopefully, will continue to be. A place for me talk randomly about incredibly esoteric movie stuff.

Anyway, it’s been a tremendous year for the blog, in terms of readership and popularity. Since I won the Irish Blog Award back in March, things have taken off, and I’ve just been delighted with how everything’s gone. So I’d like to thank everyone for their support and encouragement, and even just for reading. It was a great 2011. I’d feel guilty asking for a better 2012, but hopefully it can be just as good. All I can hope is that I can continue to improve as a writer and eventually justify the run of good luck I’ve been having.

Cheers,
Darren.

Haywire Geography: Soderbergh’s Dublin…

It’s rare to see Ireland in a big American film. Of course, I mean the real Ireland, as opposed the “begosh and begorrah” nonsense that we’re treated to in crap like Leap Year, where we’re all a bunch of hicks with silly accents and farmer’s caps. While Ireland has made itself an attractive filming location for films like Braveheart or television shows like The Tudors, I am more referring to movies sit in and around our country in the present day. So not only was it a joy to see Steven Soderbergh set his espionage thriller Haywire in the city where I live and work, it was even better to see it so perfectly released and efficiently captured.

Going back the Hueston...

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Non-Review Review: Tremors

Man, I love Tremors. I’m a professed B-movie geek who grew up on the particularly cheesy Wes Craven and John Carpenter films of the seventies and eighties, who has always harboured a soft spot for playful monster movies, so I reckon I’m the film’s target audience. Tremors is one of those affectionate throwbacks, those movies that don’t just aim to evoke a particular genre and time period (as The Expendables was a generis eighties action movie produced twenty-five years too later) so much as offer an up-to-date and self-aware reinvention of them (as Spielberg produced a thirties adventure serial with modern sensibilities in Raiders of the Lost Ark, or Rodriguez offered a brutally hilarious modern-day Mex-ploitation film in Machete). Tremors is basically a fifties B-movie produced with late eighties A-list talent and self-awareness.

The town's gone to ground...

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Whatever Happened to Ron Underwood? One-Shots, Wash-Ups & Never-Has-Beens…

I think it’s happened to all of us. We’re flicking through the television channels, and we hit on an old movie we like. In my case, it was the superb 1990 B-movie Tremors. As we’re watching it, and remembering how much we loved it, our mind gets to wondering, “Whatever happened to that guy?” It could be an actor, an actress, a director or a writer. It’s somebody who showed a decent amount of talent (or, in the most frustrating circumstances, a phenomenal amount of talent), but who seemed to fade from view, and who we never heard from again. In this case, it was the director of the film, Ron Underwood. Whatever happened to that guy? Are they still alive? Are they still working? Why haven’t I heard from them since this one really good film I’m watching?

One shot at fame and fortune?

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Non-Review Review: Carnage

Carnage is pretty much an excuse to watch four very skilled actors ripping chunks out of one another. What’s not to like?

This means Warhol!

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Generation Next: The Changing of the Cinematic Guard…

There are times when I feel quite young. I was born on the same day that The Joshua Tree was released. My dad took me to the cinematic re-release of Star Wars. I was mainly introduced to the great directors through video and DVD. Hollywood as it exists today is not markedly different from the Hollywood that I grew up with. However, as I sat in the cinema last week, it occurred to me: perhaps I have sat through my first real changing of the cinematic guard, so to speak. It’s an occurance so subtle and gradual that I never really noticed it, and yet it must, by necessity, be part of Hollywood’s seasonal cycle.

Putting the older generation out to feed?

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Non-Review Review: J. Edgar

I’ll concede that I’m surprised how much I liked J. Edgar. Acknowledging that I’ve been a lot fonder of Clint Eastwood’s more recent output than most, and accepting that this film (like many of his recent films) has considerable flaws, I found it a fascinating examination of twentieth century America, explored through the lens of one character’s life. While it isn’t nearly objective enough (and is far too sensationalist) to be considered a truly effective account of the life of one John Edgar Hoover, it does offer a thoughtful meditation on the relationship between old and young, the corruption of moral responsibility and the lingering doubt that maybe our generation’s elders have somehow disappointed us. It’s in these reflective moments that Eastwood is at his strongest, hitting on themes the director knows especially well. Unfortunately, it is undermined by its handling of the famed FBI director’s personal and sexual life, if only because it completely lacks subtlety and nuance.

There's a lot on the line...

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Meme of the Moment: Hello, Is It This You’re Looking For?

I try to avoid just using the blog to post random nonsense, but I found this on-line, and I could resist sharing it.

Best use of Lionel Richie… ever. Okay, maybe the second best after the Miami Vice pilot.

Non-Review Review: Haywire

Steven Soderbergh is an interesting film maker. Even when his films don’t really come together as well as one might hope, you can’t help but admire some of his bold ambition. Contagion was probably one of the boldest major releases of last year, and it was always fascinating even when it was just short of brilliance. Haywire falls into a similar trap, with some nice ideas, some great scenes, but nothing that really melds into a particularly compelling film. Indeed, Soderbergh’s spy thriller is messy, undoubted as the director intended – but it doesn’t seem like a highly-energised kinetic mess so much as poorly-plotted and muddled mess. The result is a film that is occasionally invigorating, but also quite infuriating.

On top of it...

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Non-Review Review: Never Let Me Go

Never Let Me Go is a mess of a film. Adapted from the highly-praised novel of the same name by Kazuo Ishiguro (who also wrote the novel that inspired The Remains of the Day), the movie is never really sure what it is talking about, or how it’s talking about it, or even what the point of it all is. There are two superb performances at the middle of the movie, but there’s not nearly enough constructed around them to really make it interesting. Director Mark Romanek cannot decide whether he’s telling a conventional love story in an unconventional setting (with the clear moral that “there’s never enough time”) or if he’s exploring the issue of bio-ethics through the prism of human nature. Ultimately, the film tries to both at the same time, which becomes impossible with Romanek’s cold and efficient direction, which left me feeling quite unsatisfied.

Stumbling out of the gate...

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