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The Death & Return of Superman Omnibus (Review/Retrospective)

To celebrate the release of The Man of Steel this month, we’re going Superman mad. Check back daily for Superman-related reviews.

The Death & Return of Superman stands as one of the most influential and iconic Superman stories ever told. It was certainly the best-selling, even if that doesn’t necessarily make it the most-read, due to the nature of the nineties comic book speculation market. Read today, separate from all the hype and publicity and novelty items, it’s a very interesting part of the character’s lore. It’s certainly an ambitious tale, epic in scope. However, it’s very clearly disjointed and oddly paced and often demonstrates a strange disconnect with its own subject. A story with the title The Death & Return of Superman should probably offer some profound insight into its lead character. This just feels like a series of plot twists peppered with some casual observations.

Death of a hero...

Death of a hero…

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Doctor Who: Terminus (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Terminus originally aired in 1983. It was the second instalment in the Black Guardian Trilogy.

Tegan?

What?

If ever you had to kill someone, could you do it? Could you?

No. I don’t know. If it was important, to save my friend, to defend myself.

But cold-bloodedly?

You’re weird, Turlough.

– Turlough does seem to “get” Tegan, does he?

Terminus gets a bit of a bad wrap, and I can understand why. It’s a very “eighties” production, in all the wrong ways. There’s too much soap opera, there’s bad acting, there’s a wealth of high concept ideas that are never properly exploited, the monster looks absolutely terrible, and the budget shows in the worst possible manner. Still, despite all these (very significant) flaws, I still kinda like it, admiring the story more for the ambition than for the execution.

The serial has some pretty big garn-damn problems...

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Watch Out! The James Cult Film Club is Doing Intermission, 18th June 2013, Dublin!

I’m a big fan of the Jameson Cult Film Club. It exists as an ode to classic movies, finding a way to stage beloved classics in a way which encourages audiences to re-engage with them. Transforming a piece of Dublin into a set from the film, hiring actors to bring certain key sequences to life, even serving appropriate snack food, these events are a joyous celebration of pop cinema.

Their next film will be interMission, which is one of my favourite Irish films of the past decade. It feels appropriate to celebrate the movie’s tenth birthday with a celebratory showing at a secret location in the cinema. It’s a great choice, and it’s always a good excuse to celebrate a quality piece of Irish cinema.

intermission1

Anyway, we’ll hopefully have some tickets to give away in the next week or so to the showing on the 18th June. As with all the Jameson Cult Film Club screenings, the event is free of charge – which is quite nice, I have to say. Tickets are randomly raffled off, and you can sign up as a member at the Jameson Cult Film Club website. If you want some examples of their good work, we’ve got some photos from their screenings of The Blues Brothers, Silence of the Lambs and L.A. Confidential, among other things.

I’m normally quite wary of offering whole-hearted unqualified endorsements on the blog, but it’s really something I’d recommend that every cinephile should try at least once. And, if you’re reading this from outside of Ireland, feel free to check out interMission for a decidedly Irish piece of cinema. Only In Bruges really comes close to it – and that really falls into the quasi-ambiguous “Father Ted” category of “is it an Irish piece of entertainment?”

intermission

In the meantime, I’m off to make myself some tea. Maybe even with brown sauce.

Superman: The Animated Series – Last Son of Krypton (Parts 1, 2 & 3) (Review)

To celebrate the release of The Man of Steel this month, we’re going Superman mad. Check back daily for Superman-related reviews.

After the success of Batman: The Animated Series, Superman: The Animated Series must have seemed like the most logical choice. Bruce Timm had already assembled a team of writers and production personnel who had collaborated to produce one of the finest distillations of one of DC’s most iconic characters. Giving Timm a chance to work with Superman seems only reasonable. After all, Superman is a character that Warner Brothers has always had a bit of difficulty exploiting to his maximum potential.

However, Superman is not quite Batman. Despite the fact that he’s older and (at the very least) just as iconic, Superman hasn’t been quite as popular as Batman for quite some time. He doesn’t have the same depth of supporting characters, and his iconography isn’t as thoroughly integrated into popular consciousness as that of Batman. Superman didn’t have a live-action technicolour sixties television show to introduce an entire generation to the Parasite, Metallo, the Kryptonite Man or many others.

Opening with a three-part pilot, it’s immediately clear that Timm knows that Superman is a very different character than Batman, and that he can’t simply apply the same formula which made Batman: The Animated Series such a high-profile success. From the opening episode of Last Son of Krypton, it’s clear that Superman: The Animated Series is going to be a very different animal.

Up, up and away!

Up, up and away!

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Doctor Who: Mawdryn Undead (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Mawdryn Undead originally aired in 1983. It was the first instalment in the Black Guardian Trilogy.

Oh look, it’s all a long time ago, Doctor. I mean, surely what’s past is —

Very much in the present, Brigadier. You never did understand the interrelation of time.

– Brigadier and the Doctor have a bit of time travel trouble

Mawdryn Undead is a bit of a strange beast. It’s written by director Peter Grimwade, who last wrote the script for the unbelievably bad Time-Flight, which is a serious contender for the worst Doctor Who adventure of the eighties – no small accomplishment in a decade that gave us The Twin Dilemma and Timelash. Still, Mawdryn Undead is an entertaining little romp with a clever central concept that is somewhat overshadowed by the fact that Grimwade seems to have been given a laundry-list of tasks to accomplish with his script. With the serial featuring the Brigadier, introducing Turlough and kick-starting The Black Guardian trilogy, you can understand why the rather nifty little time-travel story tends to get overshadowed a bit.

Faithful companion?

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Non-Review Review: Summer in February

Summer in February is a lazy and contrived piece of pretentious twaddle. Exploring the true story of a colony of artists living off the coast of England in the early years of the twentieth century, it never offers anything more than a fleeting sketch of its characters and the world they inhabit. Benjamin Wallfisch’s powerhouse period score does a lot of heavy lifting, but it can’t do anything to keep the movie afloat. At one point, early in the film, artist AJ Munnings settles a hefty bar tab with an improvised drawing on the back of a bill. This film feels like it would be hard-pressed to pay for a glass of tap water.

summerinfebruary3

Ride away from the cinema! Away!

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Superman: The Action Comics Archives, Vol. 1 (Review/Retrospective)

To celebrate the release of The Man of Steel this month, we’re going Superman mad. Check back daily for Superman-related reviews.

It’s interesting to look back that the early Superman stories in Action Comics. Given that Superman has picked up a reputation for being boring or predictable or safe or conservative, it’s amazing just how radical and inflammatory some of these very early Siegel and Shuster adventures are. These early Action Comics strips were undeniably and overtly political, presenting a strong-willed and proactive version of Superman completely unafraid to impose his will on the citizens of the world.

It’s a dramatically different take on the character than the version we’ve come to accept in popular culture, the benign and well-meaning boy scout who plays by the rules. Even Grant Morrison’s affectionate throwback to these early adventures can’t quite capture the same sense of subversive radicalism which presents us with a version of the iconic superhero who does just flaunt the authority of law enforcement or legislature, but often directly challenges it.

Smashing!

Smashing!

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Doctor Who: Snakedance (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Snakedance originally aired in 1983.

I know exactly what you want.

Do you?

Yes, you’ve come to pester me with some extravagant theory you’ve dreamed up concerning the Mara, and should I, the Director, fail to take sufficient notice of your colourful improbabilities, it will be the end of civilisation as we know it at least. How am I doing so far, hmm?

– Ambril and the Doctor

I think it’s quite a compliment to the concept of the Mara, introduced the previous season in Kinda, that the relatively new alien menace was chosen to take part in the celebration of classic villains that was Peter Davison’s second season. It was only a year old at the time, and hadn’t exactly been stunningly realised, so it seems like a massive vote of confidence in the monster to see it measured against foes like Omega in Arc of Infinity and the Master in The King’s Demons. Common knowledge will tell you that Snakedance is a perfectly entertaining serial, but can’t really measure up to one of the better stories of Davison’s first season. I’m not so convinced, and think that the two stories actually complement one another perfectly.

Don't let this get out of hand...

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Doctor Who: Arc of Infinity (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Arc of Infinity originally aired in 1983.

We know who you are.

That changes nothing.

– the Doctor and Omega set one thing straight

There really should be a bare minimum threshold of enjoyment for a Doctor Who story set on Gallifrey. I mean, these are beings who claim to control the whole of time and space. Their guards look like they modelled themselves on Adam Strange, replacing his jetpack with a cape, and there’s always an excuse for some good old-fashioned science-fiction ray-gun-related fun. How hard can it be to entertain an audience for four episodes in that particular setting?

Unfortunately, Arc of Infinity answers that question. Quite boring indeed, it seems.

Going around in circuits...

Going around in circuits…

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Non-Review Review: This is the End

There’s a moment about half-way through This is the End when our bunch of celebrities are starting go stir-crazy, as they brave the apocalypse inside James Franco’s surprisingly fortified house. In the strange combination of idle boredom and growing madness, the group decide to improvise a trailer for the non-existent sequel to Pineapple Express. It is complete nonsense, but there’s a strange energy and a warm sense of humour to their “sweded” version of a Hollywood comedy, complete with remote-control car chases and homemade props.

It feels like something that only these actors would get – it’s just a bunch of people hanging out, fooling around, making the most of the materials available to them do something which feels incredibly niche. It’s a weird balance of something so experimental and so niche that it’s almost definitely a piece of post-modern art. (The movie even features an early scene of pretentious James Franco gleefully arguing that everything is art – even Jay Baruchel.) On the other hand, it’s accessible and fun, managing to seem – simultaneously – like an incredibly niche and charmingly broad piece of film.

It’s also pretty damn funny.

... and I feel fine...

… and I feel fine…

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