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Are Deleted Scenes “In Continuity”?

One of the wonderful things about the advent of portable media like DVDs and BluRay is that it allows filmmakers to cram a whole lot more of their film on to the disk. Most offer a variety of insights into the filmmaking process – such as featurettes or commentaries – whereas some add more texture to the environment created – deleted or extended scenes, or included multimedia extras and so on. It’s become quite common to release extended editions (or directors’ cuts) of major motion picture releases – Watchmen, for example, has no less than three versions so far, for example. Here’s the question though: should those deleted or extended scenes be treated as the word of god (for lack of a better description) and as having occurred in the continuity with which we are presented? Admittedly it’s less of a problem for movies, where there are only occasionally sequels and even then continuity is generally loose, but what about television series? I’m watching the second season of Battlestar Galactica and it includes two distinct versions of the episode Pegasus – the extended one featuring at least one important plotpoint – so which do I presume happened when I view the following episodes?

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Is it only the final cut that matters?

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Non-Review Review: W.

Oliver Stone famously rushed just about every aspect of this production in order to get it into cinemas before last year’s November election. Does that affect the movie? It does and it doesn’t. It doesn’t in that Stone seems to have a clear image of the President in his head and it’s perfectly captured on screen. It does affect the movie in that Stone has to choose an arbitrary cutoff point for his movie, since he can’t end it with the end of Bush’s presidency. So he chooses the re-election of George W. Bush in 2004 to serve as the film’s ending. That point arguably suits the central thesis of Stone’s psychological profile of the man, butit also serves to make that thesis seem heavy-handed or forced. The other side of that coin is that I doubt the Stone would have been able to market and sell the film for a few years after the end of the Bush administration, and the fact that so vintage a diretcor as Stone can still make such a raw and energetic film is a testament to his abilities (that some of us may have doubted after World Trade Centre and Alexander).

bush

Misunderestimate at your peril...

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Non-Review Review: In Bruges

Possibly one of the best depictions of Irish humour that I’ve seen captured in celluloid, In Bruges is a fascinating little story of honour, loyalty, stupidity and a small little town in Belgium. The movie was a highlight in the very solid pantheon of 2008. Featuring a sharp script, a fantastic cast and some really lovely scenery, the movie stabnds as one of the best comedies I’ve seen in yonks. And a yonk is a long time.

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Irish charm...

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Is V About Obama?

We caught V last night on TV3. I’m still disappointed no high definition channel is offering it – though, judging by the special effects quality, we weren’t missing much. We’re all fairly undecided on the show, which is a fairly solid reissue of a cult classic, rather than an attempt at a redesign. Don’t expect anything as smart or insightful as Battlestar Galactica and you should be relatively pleased. I think we’ll give this at least a season pass, and then review after that. Anyway, it was hard to watch the remake without the obvious themes playing in my head. Is V a criticism of what the media have dubbed Obama-mania?

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The New Republicans?

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Is It Too Early for A Christmas Carol?

They say that Christmas gets earlier every year. I’m probably too young to remember this correctly (maybe it’s an aspirational dream I’m confusing with memory), but back in the day they used to wait until after Halloween to start selling Christmas stuff. Now I hear Argos Christmas catalog advertisements and visit the Christmas section in Marks & Sparks in early October. But, seriously, the releasing of A Christmas Carol in early November takes the biscuit.

christmas

Isn't it magical?

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Public Enemies is better on DVD…

My dad happened to rent out Public Enemies on bluray over the weekend. I was somewhat disappointed when I went to see it in the cinema – and a large portion of my disappointment arose from Michael Mann’s filming style; he filmed in digital rather than on film and used handheld cameras. The effect was somewhat disconcerting in a 1930s period piece, looking almost like my dad had shot it on his handheld camcorder. It appears that a smaller screen (a High Definition TV) works wonders in remedying these technical faults.

publicenemies

Would it look even better on my iPod?

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Non-Review Review: This Is It

I took my aunt to the cinema this weekend and she waited until we had left the screening to tell me that she wanted to see The Fantastic Mr. Fox, so we had gone to see a very false compromise – the “highest grossing concert film of all time”, the Michael Jackson flick This Is It. It was significantly better than our last attempt to go to the cinema – the truly dire Love Happens – but that’s a mixed sentiment at best, isn’t it?

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Is This It?

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Should Marvel Look at Merging Some of Its Smaller Projects?

There’s been a lot of buzz generated about the new “shared universe” that Marvel is generating on-screen in the run up to The Avengers, being released in 2012. It has generated fantastic buzz and discussion given there are only really two scenes that have been screened suggesting how the the format might work: the presence of Samuel L. Jackson at the end of Iron Man, welcoming Tony Stark into a wider “universe” and the one-scene appearance of Robert Downey Jnr. at the end of The Incredible Hulk. Undoubtedly next year’s Iron Man 2 will feature even more treats (as will Thor and Captain America: The First Avenger), but it’s interesting to see the fuss that two tiny scenes have generated. I really do think that Marvel are on to box office gold here, and I also think it’s an interesting (and honest) attempt to transfer the medium of comics to film. However, these are all playing into one giant box office buster. Might it be worth taking the same concept and applying it to some of Marvel’s smaller screen franchises?

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Fighting over top billing...

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Was Jennifer’s Body A Feminist Slasher Movie?

If there was one horror movie that was the centre of much focus and discussion this autumn, it was probably Paranormal Activity. If there was another one, it was Jennifer’s Body. Written by the Oscar-nominated writer of Juno and starring ‘it’ girl of the moment Megan Fox, the movie sparked a whole host of interesting debates from its initial conception through to its underwhelming box office debut. The centre concept was an intriguing gender reversal on the traditional slasher movie dynamic: a college girl randomly murders promiscuous boys. That, and the fact that she is a demon. So, is the movie a feminist slasher flick, and does that go someway towards explaining its somewhat poor box office figures?

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Do you want to see more of Jennifer's Body?

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Actors & Politics: A Dangerous Combination…

There is an interesting article in The Guardian written by Samantha Morton, which lauds Nicole Kidman’s decision to announce that Hollywood treats women as sex objects and Matt Damon’s announcement that he won’t do excessively violent films. They are both valid points for discussion, but I’m never quite sure what to make of it when an artist makes a public anouncement like that, clearly politicising their work. Anyone who neede Nicole Kidman to tell them that Hollywood treats women as objects obviously hasn’t been paying attention to any film released ever, and I doubt anyone will be particularly surprised to here Matt Damon won’t turn up as a lead in Saw. That’s not to diminish their observation, but part of me is always uncomfortable abou the increasing politicalisation of actors and celebrities in our culture.

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Not kidding around...

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