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Non-Review Review: Charlie’s Angels (2019)

Charlie’s Angels is a fascinating tonal mess. It doesn’t work at all, but the ways in which it doesn’t work are fascinating.

Charlie’s Angels feels like something of a hybrid. It combines several different styles of blockbuster into a single film. It pitches itself as a campy and goofy stupid 1990s blockbuster, but inflected with a veneer of 2000s self-seriousness and filtered through the lens of 2010s ironic self-awareness. However, these elements do not compliment one another, and Charlie’s Angels is never particularly interested in either smoothing over the gaps or exploring the dissonance. The result is an aesthetic that is probably best described as “comedically sociopathic.

Three of a kind.

It’s a shame, because there is some interesting stuff here. Writer and director Elizabeth Banks plays with ideas like the female gaze, and trying to reappropriate the franchise’s iconography and history for the twenty-first century. However, Charlie’s Angels lacks the clean focus that is necessary for a project like this to work, it cannot even figure out whether it wants to be a ground-up rebuild of the classic model or a nostalgic tweak upon it, and so seems to wander the gulf between those two extremes.

Charlie’s Angels is a strangely lifeless blockbuster, for a film that tries to cram so much in.

Solid as a rock?

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Non-Review Review: Gemini Man

Gemini Man is a weird and unashamed nineties action movie throwback, for both better and worse.

This is baked into the film. The poster capitalises on the star power that drives the film. Alluding to the clone drama that drives so much of the plot, the poster to Gemini Man credits lead actor Will Smith twice above the line. In an era where the very concept of the movie star is trapped in a seemingly terminal decline, Gemini Man literally doubles down on its star branding. More than that, there is something surreal in the choice of Will Smith as that leading man, an actor whose career is largely defined by nineties hits like Enemy of the State, Men in Black or Bad Boys and whose career has floundered in recent years.

Face to Face/Off.

Gemini Man leans into this nostalgia. The film’s central hook lies in confronting Will Smith with a younger version of himself. Will Smith plays retiring assassin Henry Brogen, who finds himself hunted by a much younger version of himself. De-aged into the uncanny valley, the younger version of Will Smith consciously evokes the actor’s golden age. The film is set in 2019, but the computer-augmented action star feels lost in time; even his hairstyle and facial hair recall the actor’s appearance in The Fresh Prince of Bel Air rather than anything that might suggest a young man growing up in the twenty-first century.

While there’s a lot to unpack in the film, there’s also something disappointingly lifeless about Gemini Man. One of the film’s big action beats take place in a creepy catacomb, in what feels like an encapsulation of the film. Gemini Man never seems truly alive, instead feeling like a facsimile of another, older style of blockbuster.

Out of scope.

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Star Trek: Voyager – Q2 (Review)

Q2 is an episode very much in keeping with the ethos of Star Trek: Voyager, particularly at this point in its run.

It isn’t just the strange nostalgia that permeates the episode, opening with an extended oral presentation from Icheb on the heroic exploits of James Tiberius Kirk from the original Star Trek and extending through to the unnecessary return of a beloved recurring guest character from Star Trek: The Next Generation. Nor is it the awkwardness with which Q2 affects a half-hearted compromise in its final act, with the series paying lip service to the fact that its omnipotent (and mostly friendly) guest star could get the crew home with a click of his fingers, while refusing to do that because it would break the series.

“Q2 ratings are way up!”

The essential Voyager-ness at the heart of Q2 is much more profound than all of that. It has to do with how the series treats is returning guest star. Q has been a part of the Star Trek universe dating back to Encounter at Farpoint. John de Lancie has been a recurring guest star on the franchise for thirteen-and-a-half years. Although de Lancie has aged relatively well, and although suspension of belief easily allows for it, even Q himself seems much older between his first and last appearances in the television franchise.

However, Q2 takes a character who was introduced as an immortal and all-powerful trickster god in The Next Generation, and transform him into a stressed middle-aged parent by the end of Voyager. This is a very Voyager approach to characterisation and development. It is how the series has approach many of its characters. In Caretaker, Chakotay was a rebel, Paris as a rogue, and Neelix was a free-wheeling trader; within the show’s first season, all of those rough edges have been filed off. The decision to do that with a character who is effectively a trickster god speaks a lot to the central philosophy of Voyager.

Not kidding around.

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119. Race 3 (-#28)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Giovanna Rampazza and Babu Patel, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Remo D’Souza’s Race 3.

They’re going back to the ra-aaa-ce. Caught in a violent gang war between two rival arms dealers, Sikander Singh must navigate a web of betrayal to find the truth and to see that justice is done. It’s about family.

At time of recording, it was ranked 28th on the Internet Movie Database‘s list of the worst movies of all-time.

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My 12 for ’18: Holding Out for a Hero in “Mission: Impossible – Fallout”

It’s that time of year. I’ll counting down my top twelve films of the year daily on the blog between now and New Year. I’ll also be discussing my top ten on the Scannain podcast. This is number ten.

Mission: Impossible – Fallout was released around the tenth anniversary of The Dark Knight.

In fact, the week after I caught the preview of Fallout, I attended a tenth anniversary screening of The Dark Knight. This is important, because Christopher McQuarrie’s second Mission: Impossible film undeniably exists in conversation with Christopher Nolan’s epoch-defining blockbuster. It is impossible to watch Fallout without thinking of The Dark Knight, from Lorne Balfe’s propulsive score to the sight of an armoured truck sinking slowly into a river.

However, McQuarrie does something interesting with Fallout, in relation to The Dark Knight. Too many of the films influenced by that iconic piece of cinema opted for shallow and superficial homage. Thor: The Dark World and Teenage Mutant Ninja Turtles: Out of the Shadows and Transformers: Dark of the Moon and Transformers: The Last Knight settled for borrowing influence from the title. Law Abiding Citizen tried to embrace moral ambiguity. Man of Steel attempted to emulate that serious grounded approach to other properties.

In contrast, Fallout understands that the best thing that most films could learn from The Dark Knight is simple craft and professionalism. Fallout understands that top-notch production, an emphasis on in-camera effects and a propulsive sense of momentum are the most applicable lessons that most films could take from The Dark Knight. As such, Fallout takes those lessons and applies to them to Mission: Impossible, leading to the year’s most impressive embrace of the concept of heroism.

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94. Mission: Impossible – Fallout (#166) – This Just In

Hosted by Andrew Quinn and Darren Mooney, and with special guests Graham Day and Luke Dunne, This Just In is a subset of The 250 podcast, looking at notable new arrivals on the list of the 250 best movies of all-time, as voted for by Internet Movie Database Users.

This time, Christopher McQuarrie’s Mission: Impossible – Fallout.

At time of recording, it was ranked the 166th best movie of all time on the Internet Movie Database.

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Non-Review Review: Skyscraper

Hollywood never really gives up on a genre that it loves, even when it might appear that the audience has moved on.

The perpetual reinvention of the western is one example, a genre that is constantly updated in terms of style and substance to reflect the times. The western has been reinvented and reimagined countless times over the past few decades, whether by combining it with other genres or by examining its underlying assumptions. The western survives in movies like The Hateful EightThe RevenantBone Tomahawk; films that are very clearly westerns even if audiences from the genre’s peak would struggle to recognise them.

Hanging on in there.

Disaster films are another example of Hollywood’s perpetual reinvention of a genre that has fallen out of style. While by no means as ubiquitous as they once were, disaster films still pop up from time to time. The attempts to update the disaster film often take the form of hybridisation, of tying the trappings of the genre into a more marketable template. In the nineties, Independence Day cleverly wed the disaster movie to an alien invasion narrative. More recently, Patriots’ Day tied the structure and rhythms of the disaster movie into a counter-terrorism epic.

Skyscraper hits upon what might be the ultimate genre fusion for the disaster movie template. At the very least, it feels like an inevitable hybrid in the modern cinematic climate. At its core, Skyscraper essentially asks… “what if a disaster movie, but also a superhero film?

The bed Rock of a stable marriage.

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