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Stuck in the Moment: The Mood for a (Particular) Movie…

I’ve been thinking a bit, lately, about how I form an opinion about a particular film. Of course, it should be somewhat objective. I should be able to take out any possibly subjective influences and divorce a movie from any of those countless outside factors, to judge it entirely on its own merits. (Or, as the case might be, its lack of merits.) However, I am honest enough to admit that this isn’t always the case. There are any number of reasons I might feel a particular way about the movie. I find J. Edgar interesting to place in the context of Clint Eastwood’s body of work. I approached Cabin of the Woods with an admitted fondness for cheesy horror. I’ll admit that these facets colour my opinions somewhat – I am more likely to respond to a film that resonates with me on something I feel strongly about.

However, sometimes that influence factor isn’t anything to do with the movie in question at all. Sometimes, I can’t help but wonder, whether my opinion is down to something as arbitrary as the mood I was in when I watched the film.

I will not have my tastes subjected to this sort of double-guessing!

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Non-Review Review: Twilight – Breaking Dawn, Part II

Here’s the thing. Despite all the derision that the Twilight films generate, they actually have any number of ingredients for a perfectly workable young adult horror romance. Despite the sizeable and significant flaws, and those fundamental issues that are very hard to overlook, the film does have a number of very clear thematic roots that can be traced back through horror cinema. The problem with Twilight: Breaking Dawn, Part II isn’t that it’s inherently cheesy or trashy or absurd. The problem is that it’s never enough of these things. It feels far too comfortable and too casual to ever really grab the viewer, and everything feels far too safe and generic to get any mortal’s blood pumping.

Baby trouble…

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Infinite Crisis: Villains United (Review)

This month I’m taking a look at DC’s massive “Infinite Crisis” Event. Although it was all published in one massive omnibus, I’ll be breaking down the lead-in to the series to tackle each thread individually, culminating in a review of the event itself. Check back for more.

I have to admit that, as a rule, I have a great deal of respect for DC’s massive event-related tie-ins. Rather than typically offering expanded or deleted scenes from the main crossover, the tie-ins to their gigantic crossovers will frequently serve as prologues or epilogues to new concepts and relaunches. With Final Crisis, for example, Legion of Three Worlds served as prelude to a rebooted Legion of Superheroes and Rogues’ Revenge offered something of a hint of Geoff Johns’ return to The Flash. Infinite Crisis: Villains United is no different. While nominally the story of evil Alexander Luthor Jr.’s evil Secret Society, it’s actually something of a stealth pilot for Gail Simone’s Secret Six, introducing the characters and the concepts that would define the series.

Just an average day at the House of Secrets…

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Non-Review Review: End of Watch

For its first two thirds, End of Watch is a rather novel examination of the routine of the boys in blue who patrol X-13, the most notorious district within Los Angeles’ notorious South Central. Centring on two police officers, Brian Taylor and Mike Zavala, it offers a portrayal of the Los Angeles Police Department that feels almost novel. Rather than centring on the city’s infamous racial tensions, or the allegations of corruption within the force, End of Watch offers a candid and insightful examination of what an average day on the beat might look like, helped along by natural interplay between leads Jake Gyllenhaal and Michael Peña.

The movie runs into problems with its third act, when it opts to abandon its naturalistic, almost documentary, approach to these officers and their world, forcing a climactic confrontation that never really feels like it entirely belongs.

Arresting drama…

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Watch! Les Miserables International Trailer!

Universal Pictures Ireland sent over the latest trailer for Les Miserables, which is opening here in January 2013. I’m quite looking forward to it. Let me know what you think.

Non-Review Review: The Warriors (1979)

The Warriors remains something of a curiosity. Its cult stature has only grown in the three decades since its original release, and the sense of young urban disenfranchisement that director Walter Hill tapped into remains as potent as it ever it was. That said, the film remains a bit of puzzle, and it is never quite sure what to make of its protagonists. Does the movie want us to root for the wayward Warriors as they navigate the urban jungle in a quest to get back to Coney Island, or does it instead remain passively amoral amid all the violence and nihilism? It’s hard to really say, but it remains a potent piece of cinema.

“Out here in the fields, I fight for my meals…”

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Win! Tickets to the Jameson Cult Film Club Screening of Jaws (27th November)

Just when you thought it was safe to go back into the water… JAWS swims into town.

Jameson Cult Film Club is coming to Dublin’s ‘Amity Island’ for a spectacular screening of Spielberg’s iconic shark thriller, JAWS on Tuesday 27th November 2013.

Attendees lucky enough to hook tickets to this event will be treated to much more than a typical screening, as actors, live theatre and special effects timed perfectly with on-screen action help to create an electric atmosphere throughout the screening.

Re-live the suspense, fear and drama of this cult classic from the moment you arrive on ‘Amity Island.’

If you would like to join Chief Brody at this exclusive Jameson Cult Film Club screening of JAWS and win some tickets for you and three of your mates, then simply complete the below quote from the movie:

This competition is now closed. The winner will be notified shortly.

Check out www.jamesoncultfilmclub.ie for details and register for the chance to win free tickets to the screening on 27th November. If you are not lucky enough to bag tickets to the screenings, you can buy the newly released JAWS on Blu-ray now.

Jaws © 1975 Universal Studios. All Rights Reserved.

 

Non-Review Review: The Deep Blue Sea (2011)

The Deep Blue Sea has two reasonably solid leading performances and some nice enough direction, but it suffers because it can’t convince us to are about any of its central characters. We don’t have to like any of the three characters involved in the central love-affair, but there does have to be some hook that grabs us and convinces us to emotionally engage and invest in this post-War exploration of several broken characters. That connection simply isn’t there, and the rest of the movie collapses as a direct result of that absence.

Yeah, she wants to dance with somebody…

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Non-Review Review: Narc

Joe Carnahan’s Narc is a visceral and powerful film. It’s less concerned with plot and character than it is with mood, crafting a suffocating visceral aesthetic that seems to almost smother the viewer. Set in snow-bound Detroit, it creates a world that feels closed in upon itself, the white sheets of snow clearing into dirty mounds to allow passage within the city, but suggesting that there’s nothing but white space beyond the world we explore. While Narc tells a story we’ve seen many times before, practically revelling in the familiar plot points of a police movie about the drug trade, Carnahan’s direction gives the movie a bit of an edge – and a powerhouse performance from Ray Liotta makes it much more engaging than it might otherwise be.

That’s a whole Liotta gun…

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Kubrick, The Shining & Eating My Cinematic Greens…

I always feel a slight pang of guilt whenever I find myself discussing the work of Stanley Kubrick. Don’t get me wrong – I have a massive amount of respect for the director. I think he’s one of the very finest cinematic minds of his generation, a very shrewd and sophisticated cinematic intelligence who carefully constructed a series of masterpieces that exemplify some of the finest aspects of the medium. However, I always feel a slight hint of shame when asked to name my favourite Stanley Kubrick film. I’ll try to deflect, but if the matter is pressed I’ll answer honestly: The Shining is the Stanley Kubrick film that I love the most.

It feels like a bit of a cheat, a bit of an evasion. As much as people like The Shining – and people do adore the film – I feel a pang of guilt that I immediately go to the most populist film on Kubrick’s filmography. The Shining is saturated with meaning and depth, as is all of Kubrick’s work, but it seems like the most shallow or the least profound work in the Kubrick canon. And yet I love it more than Kubrick’s more philosophical, bolder, more challenging pieces of work.

I feel vaguely like I’m skimping on my cinematic greens.

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