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Secret Invasion (Review/Retrospective)

This is the twelfth in a series of comic book reviews that will look at the direction of Marvel’s shared universe (particularly their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity.

Well… that was anti-climactic.

Well, at least green and red go together...

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Leslie Nielsen

I am not going to attempt to write an obituary for the recently deceased actor Leslie Nielsen. Countless other bloggers, film critics and media writers have already published their own versions, many of which are undoubtedly far more eloquent than anything I could come up with. Like Dennis Hopper before him, I can’t claim to have encyclopedic knowledge of Nielsen’s incredibly long and distinguished career, nor can I suggest that his filmography is composed of nothing but masterpieces. However, he was always a performer who I respected and whose considerable talents seemed to be tempered with a desire never to take himself too seriously.

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Non-Review Review: Clerks

There’s a sense of life experience in Clerks – the undeniable feeling that the people involved in the production have actually been in situations similar to those being portrayed here and are writing from experience. The directorial debut from Kevin Smith, the film has a very weird feeling to it. It is as if the script (the words and the setting) are very casual and natural, but the performers are undoubtedly conscious of the camera. It creates a weird dichotomy between the very colloquial script and the relatively stiff performances. That said, there’s a charm to the film, which never really pretends to be anything more than what it actually is, and sort of cheeky rebellion which makes it endearing.

Dante's (profane) comedy...

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When Does a Movie Star Become an Actor?

I think that most people would agree that there is a distinction between a “movie star” and “an actor”. I think that the great Nicholas Meyer offered a definition that fits quite well:

What’s the difference between an actor and a movie star? An actor is someone who pretends to be somebody else. A movie star is somebody who pretends that somebody else is them. Actors will change their face, will change their hair, will change their voice, will disappear into the role. A movie star doesn’t disappear.

That might sound quite harsh towards a “movie star”, but I think that you could argue that a movie star (if applied correctly) can add a certain amount of artistic weight to a film:

A movie star is someone whose past work enriches your experience of, and deepens your pleasure in, his or her present work. In other words, a movie star is someone whose baggage you want to carry.

I don’t mean that the terms are mutually exclusive insofar as they apply to a specific individual (indeed I can think of several performers who are both actors and movie stars), nor that it’s a fixed position (I can think of many individuals who have started out as what might be considered an “actor” before becoming a “movie star” in their own right). In fact, while it’s easy to think of any number of performers who have repositioned themselves as movie stars after beginning as actors, it’s somewhat rarer to see it happen the other way around. Is the road from actor to movie star a one-way trip?

Is it a rocky road to being taken seriously as an actor?

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Non-Review Review: London Boulevard

The British criminal underworld has provided a background for countless movies over the past few decades, a rich cinematic tapestry drawing from classics like Brighton Rock through to neo noir like The Long Good Friday to modern pop classics like Lock, Stock & Two Smoking Barrels. However, London Boulevard isn’t a masterpiece like the earlier examples. It tries to find a niche balance between gritty urban violence and surreal bizarre quirkiness, but ends up just positioning itself awkwardly between comedy and action, never really finding its own footing.

Facing up to the past...

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Non-Review Review: The Bourne Supremacy

I have to admit that The Bourne Supremacy is the strongest of the Bourne films for me, even though fans of the series tend to forget it, snuggled as it is between The Bourne Identity and The Bourne Ultimatum. The middle part of the trilogy is undoubtedly the most straight-forward, but that isn’t a weakness – it contains a well-motivated character arc for the character of Bourne while handling the themes of the series remarkably well, and still paying homage to all the plot devices that one associates with the espionage thriller. It isn’t preoccupied with setting anything in motion, nor in wrapping anything up, but that gives the movie much more freedom than the two that surround it.

Nobody said it would be a walk in the car park...

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X-Men: Messiah War (Review/Retrospective)

This is the eleventh in a series of comic book reviews that will look at the direction of Marvel’s shared universe (particularly their “Avengers” franchise) over the past five or so years, as they’ve been attempting to position the property at the heart of their fictional universe. With The Avengers planned for a cinematic release in 2012, I thought I’d bring myself up to speed by taking a look at Marvel’s tangled web of continuity.

Messiah Complex is billed as the “second instalment” of the X-Men “Messiah Trilogy”, following on from Messiah Complex and leading into Second Coming. The arc essentially follows Hope, the first mutant baby born in the wake of the infamous House of M crossover and the quest by various factions to exploit her – will she be a salvation of Marvel’s erstwhile bunch of mutants, or their ultimate damnation? Messiah War essential combines the two on-going X-Men books launched in the wake of Messiah Complex, with Cable following Hope and the time-travelling X-Man as they flee those who wish the child harm and X-Force following Wolverine’s bunch of “black-ops” “darker and edgier” X-Men strike force. Of course, the only way it could get more nineties was if you threw in Deadpool, Apocalypse and Stryfe… oh, wait. They did.

Has the bar been raised?

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Peter Milligan & Michael Allred’s Run on X-Force – Famous, Mutant & Mortal (Review/Retrospective)

For the past few months, I’ve been taking a look at Marvel’s sometimes convoluted crossover chronology as a sort of lead-in to The Avengers, arriving in cinemas in 2012. Later on today, I’ll be reviewing Messiah War, a crossover between two of the series relaunched in the wake of Messiah Complex so I thought I might take a look back at some of the series leading into it beforehand. However, the two series – Cable and X-Force both have roots in the “darker and edgier” period of X-Men history known as the nineties. Driven by Rob Liefeld, the two series became by-words for ridiculous violence, convoluted storytelling, shallow characters and lots of guns. Lots of guns.

That is not the version of X-Force I’m going to look at today.

British writer Peter Milligan apparently laughed pretty hard when he was asked to write X-Force. However, the early part of the naughties was a different time at Marvel. Perhaps the financial collapse of the company in the nineties had made the company bolder, more willing to take creative chances. Perhaps they figured that, with Grant Morrison working on New X-Men, there wasn’t anything that much more radical that Peter Milligan could do. Either way, the author was granted incredible creative control and the chance to do something truly different. He took advantage of it, and produced one of the most fascinating comic books of the past decade.

At least he’s honest about it…

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Make This Movie: To The Manor Bourne…

We’re looking at the Bourne trilogy this week, with a review of The Bourne Identity today and one of the The Bourne Supremecy on Thursday, so I thought I’d post this nifty little bit of movie fun from The Guardian. They ran a competition for a Twitter pitch, pitching a movie in 150 characters or less, about a month ago. This was the winning entry:

To the Manor Bourne: Jason Bourne retires to the countryside. With violent consequences

And the poster…

Click to enlarge

I say scrap this Bourne Legacy stuff and just make this.

Non-Review Review: The Bourne Identity

It’s strange to look back on The Bourne Identity, knowing that it kick-started one of the most highly-regarded trilogies in cinematic history. I must confess that I was never excessively enamoured with the espionage thriller – I quite enjoyed it, but I didn’t love it. Though my favourite movie of the “Bourne” trilogy is The Bourne Supremacy, regarded as something of an ugly step-child of the franchise, so what do I know?

Bourne's just hanging out...

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