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Why Bruce Wayne as Batman Should Rest in Peace

I’m not a comic book fan, I must admit. I own a few Absolute editions (Watchmen, Sandman, The Long Halloween) and a rare few prestige format books (The Green Lantern Archives and The Killing Joke), and I’m planning on bulk-buying Grant Morrison’s run on Batman in those nice hardcover editions to tide me over on my holiday this summer. So, what I’m about to say must be tempered with that little caveat. I’ve read relatively little of Batman lore, save what my parents would pick me up from the grocery store in Ghana when I was small (and – to further outline the differences between myself and your comics fan – I remember them merely for what they contained rather than by issue and series number; I fondly recall “the one where Swamp Thing meets Killer Croc” or “the retelling of The Riddler’s origin”). Still, on reading the coverage and preparing to jump headfirst into Grant Morrison’s magnum opus, one thought is running through my head: If they are threatening to end Bruce Wayne’s run as Batman, they should do it.
Na na na na na na, Batman!

Na na na na na na, Batman!

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Fly Me to the Moon…

I’m back…

Science-fiction film Moon, starring Sam Rockwell and Kevin Spacey is opening in the States next week. It actually looks quite good – with reviews seemingly spanning the divide from “it’s solidly entertaining with a great performance” to “it’s classic science-fiction”. It looks likely to be one of those films I will really try to get to see over the Summer (when it eventually opens here in Ireland), and the trailer is well worth a look. Still, this got me thinking about how the fictional fascination with life on other worlds has been embraced by the genre, and whether that has really changed in recent years.

Sam Rockwell's many jobs on the lunar station include changing lightbulbs when needs be...

Sam Rockwell's many jobs on the lunar station include changing lightbulbs when needs be...

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What Kind of May Has it Been?

I’m off on holidays for the next few days, so you won’t hear from me until next weekend. I just thought I’d have a very quick look at how the “now arriving a month early” summer box office season is going so far. Back at the start of the month I predicted a massive summer, even by Hollywood’s standards. Would I care to revise my estimates, one month in?

Keep on Trekkin'

Keep on Trekkin'

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Non-Review Review: Slumdog Millionaire

Probably the only “feel-good film of the year” to involve excrement-covered urchins, the blindng of beggars and brutal police interrogation methods within the first half-hour of screentime.  I have to admit I love the marketing for the film, which has pitched it as a movie that will leve you feeling as though you just spent two hours basking in sunshine. I’d suggest the experience is somewhat different. That’s not to say I didn’t greatly enjoy the film – it was one of the best of the year – just a warning to viewers not to expect sunshine and lollipops for most of the film’s runtime. So, how does the official Best Picture of 2008 stack up?

Jamal noticed he was getting a lot more attention after he went on Who Wants to be a Millionaire?

Jamal noticed he was getting a lot more attention after he went on Who Wants to be a Millionaire?

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Non-Review Review: Coraline

I checked out Coraline in 3D on Friday night there in Cineworld. While I have my own thoughts on the format that I will talk about next week, I have to say that the film is – in one word – magical. The better half completely agreed with me here. I think it may be the best stop-motion production that I have ever seen – and this is from a guy who counts The Nightmare Before Christmas as must-watch seasonal entertainment. It really was one of the cinematic highlights of the year.

Cute as a button...

Cute as a button...

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Non-Review Review: Teminator 3 – Rise of the Machines

Network 2 reaired the whole Terminator trilogy to celebrate Salvation‘s release on Friday. My luck being my luck, I caught the tail end of the franchise, the weak link if you will. As I write this, I face the question that I face when I review any given sequel or part of a franchise: should I judge it independently or alongside its predecessors (and – if I’m a latecomer to the party – its successors)? If I adopt the former approach, is Terminator 3 a reasonably solid sci-fi/action movie? If I look at it as the third installment in the franchise, is it fit to be considered alongside two of the greatest action movies ever made?

Spot the one non-classically trained actor in this shot...

Spot the one non-classically trained actor in this shot...

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Remake me Beautiful

Whatever happened to originality? This is the first weekend since Wolverine kicked off the blockbuster movie season a month ago that there isn’t a sequel, prequel or reboot opening at the multiplexes in America. Despite the fact that Pixar’s Up and Sam Raimi’s Drag Me To Hell are reviewing very strongly, most box office folk seem to think that this will be a relatively quiet weekend at the old box office, which is a shame really when we’ve got two of the best reviewed movies of the year going head-to-head. Still, what happened to Hollywood’s originality?

Brideshead Revisited, Revisited

Brideshead Revisited, Revisited

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Is the Terminator Franchise Terminated?

In the knowledge that Terminator: Salvation has ‘only’ taken in $71m at the US Box Office, having cost over $200m to make and market, prognosticators are rushing to pronounce the Terminator franchise as dead. The facts don’t look good – so far it has earned less than the previous franchise killer (the disappointing-in-so-many-ways Terminator 3: Rise of the Machines), it is reviewing badly, and it got its ass handed to it by a Ben Stiller family comedy. This is surely bad news for Warner Brothers, the studio that produced the other $200m ‘dud’ of the year, Watchmen – but does it really signal the end for everyone’s favourite time-traveling robotic assassin?

No bones (or metallic endoskeleton) about it...

No bones (or metallic endoskeleton) about it...

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The Magic of Pixar

How do Pixar continue to do it? Of the ten films they have produced so far, nearly all are considered animated classics (though I remain skeptical of A Bug’s Life). Somehow the company seems to have found a way to not only compress the whole spectrum of human emotion (though it has been suggested that they do better with loss and depression than triumph and love), and distill these precious elements into a technically marvelous computer-animated form. With Up seemingly continuing the trend, how can they continue to do it?

Carl knew it wouldn't all be plane sailing...

Carl knew it wouldn't all be plane sailing...

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The Horror! The Horror!

This weekend sees the release of the only two original (i.e. not a sequel, prequel or spin-off) major releases this May. For the kids – both young and old – we have the newest Pixar film, which is steadily becoming one of the highlights of the movie year. The other film – while firmly awaited by horror aficionados – has snuck up on the rest of us, generating great buzz from preview screenings. Drag Me To Hell is apparently the best horror film in quite some time, and one I am now hotly anticipating, but it got me thinking – whatever happened to the horror genre?

Bruce Campbell just isn't trying any more

Bruce Campbell just isn't trying any more

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