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Non-Review: Lover’s Jump

I had the pleasure of checking out Lover’s Jump, a short film directed by Mark McCombe. It’s a short piece, clocking in at under four minutes – the writing is efficient, but perhaps a little busy (if only it seems that there’s quite a lot going on to fit into four minutes). I won’t spoil it for you by discussing the plot – only to suggest that it is well worth your time. The film distinguishes itself on the technical front, featuring a superbly haunting soundtrack from Rich Keyworth underscoring McCombe’s atmospheric direction. Despite the limited runtime, McCombe efficiently establishes mood – he creates a wonderful impression through a series of carefully chosen shots complimented by the eerie music in the background.

McCombe is undoubtedly aided by his lead actor, Laurence Fuller, who conveys a lot through controlled and restrained body language. There’s a lot of ways to read the scene when it opens, and Fuller manages to keep it open-ended without seeming indecisive. I’m not entirely sure what to make of the short’s ending – it seems so much about mood and emotion that it seems counter-intuitive to stick a twist in (given that there’s really only about a dozen lines of dialogue in total). I suppose that’s probably an unfair criticism to make, given the time constraints – but it still struck me on watching it.

Setting the bar...

Still, it’s the intensity of the short which really makes it work – it conveys a sense of foreboding and dread effectively within four minutes, to the point where the actual dialogue and plot seem almost perfunctory. I can see great things on the horizon for McCombe. He’s certainly skilled. His approach is relatively minimalist, but he gets a lot of impact for that. It’s well worth your time if you can get a look at it. I suspect it will be appearing as a special feature on the DVD of McCombe’s directorial debut soon enough.

Non-Review Review: The World Is Not Enough

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

The World is Not Enough is a mess of a film, even by the standards of the Bond films. It proposes some interesting ideas and has some neat concepts, but there’s also some really stupid moments thrown in as well. If Tomorrow Never Dies was Pierce Brosnan doing tribute to later Sean Connery films, this him stuck in homage to Roger Moore – a few smart and emotional moments scattered over a large serving of camp, like vanilla pods mixed into the most bland vanilla ice cream you could imagine. It’s not a terrible film, but it’s so wildly inconsistent that it’s far less satisfying than generally weaker instalments.

That's the crushing weight of expectation, right there...

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Ultimate Galactus Trilogy (Review/Retrospective)

After spending the tail end of last year looking at the tangled inter-continuity crossovers at Marvel, I thought I’d spend January looking at some of the looser “out of continuity” tales at the major companies.

What does a continuity-lite crossover look like? I mean, a relatively self-contained comic book event that isn’t based upon years and years of events? Marvel famously launched their Ultimate line a decade ago to offer a chance to “reimagine” their classic stories – the Avengers became The Ultimates, and monthly issues of Ultimate Spider-Man, Ultimate X-Men and Ultimate Fantastic Four were available on the stands. The goal was to offer tales that would allow new readers to jump on board without having to worry about the weight of half-a-century (or more) worth of back story for the characters. Despite some minor crossover between the books – Mark Millar writing the Ultimates into his Ultimate X-Men run or Ultimate Spider-Man occasionally paying a short visit to the Baxter building – the line largely steered clear of the sort of bombastic big events that Marvel seems to love churning out month-on-month. So, what does an actual “big crossover event” look like when written for these characters? A bit like the Ultimate Galactus Trilogy, I suppose.

He's got the world in the palm of his hand...

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Now That’s First Class: X-Men – First Class & Superhero Nostalgia

I have to admit that X-Men: First Class is a movie that I find myself in a wild state of flux over. At times, I’m delighted by the sensational casting, the fantastic director and the wonderful artistic design that we’re seeing. However, I am equally curious as to what the point of a prequel is, or why Bryan Singer jumped ship so quickly. At times, it’s one of my most anticipated movies of the coming year, while at others it’s just another film awaiting release. Somewhat lost amid the announcement that Bane and Catwoman would be the villains of The Dark Knight Rises, Fox released a slew of information about their newest X-Men film last week. looking at eth photos, I can’t help wondering whether the superhero movie genre is on the cusp of the nostalgia-fest which has swept their comic book counterparts in recent years.

He always had a magnetic personality...

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Non-Review Review: Tomorrow Never Dies

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

What the hell is he doing?

His job.

– Admiral Roebuck and M watch Bond do the impossible before the opening titles

I have a confession to make. I unapologetically love Tomorrow Never Dies. It’s the first Bond movie I saw in the cinema, with my dad and brother while on a shopping trip up North. I believe the girls went to see Titanic. It’s my first cinematic Bond experience, a perhaps that’s why I am somewhat fonder memory of the film than most – but, even on reflection, I still hold the movie in high regard. I just think it’s the perfect companion piece to the superb GoldenEye. While Martin Campbell’s film was about deconstructing the spy, showing how useless he was in times of peace and arguing he was “a relic of the Cold War” who needed updating and introspection, this Bond film was about how he can do all the cool stuff he used to, even after the fall of the Berlin Wall. Sure, it’s not as deep, smart or sophisticated as the earlier film, but it’s an unashamed throwback to the classic Bond films – and what’s wrong with that?

By the way, how telling is it that – while Bond used to drive a snazzy sports car in the sixties – he drives a family sedan in the nineties?

I'm pretty sure that the only reason Tomorrow Never Dies is because Bond never tried to kill it...

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Are the Oscars Still a Pipe Dream for Christopher Nolan?

As I write this, the clock is counting down. The Oscar race is in full swing. And I look back, and I really haven’t written too much about it. There are two reasons for this. The most obvious is that I haven’t seen too many of the contenders. Of the headliners, I have seen both The King’s Speech and The Social Network. I have yet to see The Black Swan, 127 Hours or True Grit. Of the lower-tier Oscar films, I have really only seen Inception and The Kids Are All Right. It isn’t that I don’t want to see them, it’s just that it has been a busy January and things have gotten in the way. The other reason I haven’t been blogging about it is because – barring what the competition between The King’s Speech and The Social Network says about the Academy – it has been a pretty bland year. There are so many “locks” that the race has become almost boring. In fact, the only real question I’m at all concerned about is whether Christopher Nolan will finally get that Best Director nomination he so sorely deserves.

Could this turn the Oscars upside down?

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Non-Review Review: GoldenEye

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

GoldenEye saved James Bond. Bond had wallowed in obscurity for six years by the time that Pierce Brosnan’s first appearance in the role was released. As a kid, James Bond was something that was dead to me. Sure, it came on television from time to time (mostly on holidays) and they filled up a shelf at the videostore, but I always felt like they were something that had happened in the past – like the original Star Wars movies, or any Star Trek films featuring Captain Kirk. Even though I lacked the sophistication to articulate it at the time, I think I felt that the entire James Bond franchise would be reruns for me. There was nothing new happening.

And then GoldenEye was released.

Brosnan is Bond...

And it meant business.

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The Very British Mr. Bond: The Habits of Empire & The American Fixation on Bond

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

James Bond is a peculiarly British phenomenon. He’s a charmingly debonaire socialite with great taste in women and suits, but also a coldly professional killer. I’ve had debates on him where I’ve classified him as a gentleman, a sociopath, a sexist, a piece of nostalgia in a tuxedo, one of the last true cinematic heroes and the very distillation of cinematic class – sometimes within the context of the same argument. Why is Bond so fascinating? What makes him so gripping? Is it perhaps the fact that Bond is, in all his personas, so incredibly British?

Is he mostly armless?

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Non-Review Review: Knight & Day

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

Much like Mission: Impossible, while I was watching Knight & Day I couldn’t help but get the impression that Tom Cruise really wanted to be James Bond. And, at the risk of being controversial, if an American actor were ever chosen, I think Cruise would fit the bill nicely. Indeed, Knight & Day feels more like a sort of traditional Bond film than Casino Royale or Quantum of Solace have, and its that sense of endearing nostalgia which really makes the film worthwhile. In a film season packed with disappointing films, Knight & Day is an entertaining and engaging romp which might make you smile as you spend two hours with it.

It's a romantic action comedy, and it has the big guns attached...

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Non-Review Review: Mission Impossible

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

I can understand you’re very upset.

Kitrich, you’ve never seen me very upset.

Tom Cruise really wants to be James Bond. I mean, I think that’s the driving force behind the Mission: Impossible films, an attempt to construct an American James Bond franchise around the character of Ethan Hunt – they certainly aren’t the biggest of the blockbuster movies, and yet Cruise has used his influence to produce a trilogy of films (with a fourth one in the works). Between that and Knight & Day, I think the role of a globe-trotting secret agent action hero just appeals to the actor. I think he pretty much wants to be an American James Bond  and – truth be told – I think he’s a great candidate for it.

Just hangin' out...

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