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280. Apocalypse Now (#53)

Hosted by Andrew Quinn and Darren Mooney, this week with special guests Alex Towers and Brian Lloyd, 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 second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, Francis Ford Coppola’s Apocalypse Now.

In the midst of the Vietnam War, Benjamin Willard is given a special assignment. He is tasked with taking a patrol boat up the Nung River in pursuit of Colonel Walter Kurtz. Kurtz has apparently gone completely rogue, no longer responding to directives from command. Willard is instructed to terminate Kurtz’s command, by any means necessary. However, as Willard journeys deeper into the country, he finds himself drifting further and further from reality, embracing some sort of primal insanity.

At time of recording, it was ranked 53rd on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On “The Last of Us” As A Study of Evolving Masculinity…

I am doing weekly reviews of The Last of Us at The Escapist. They’ll be dropping every Sunday evening while the show is on, looking at the video game adaptation as the show progresses. This week, the show’s sixth episode.

The sixth episode of The Last of Us, Kin, is steeped in the iconography of the western: there’s a frontier town, two indigenous characters, and even a horse on the railroad tracks. However, there’s also a sense that Joel and Ellie have reached the end of their push westward, their journey from Boston to Jackson. In that sense then, the show explores the legacy of the western in American consciousness, particularly the genre’s archetypal portrayal of masculinity. What does it mean or Joel to be a man or a father? How does that reconcile with the image he has cast for himself as a cynical and weary outlaw? Can he move past that?

You can read the piece here, or click the picture below.

New Escapist Column! On “Ant-Man and the Wasp: Quantumania” as a Parable About the Legacies of Interventionism…

I published a new In the Frame piece at The Escapist this evening. With the release of Ant-Man and the Wasp: Quantumania, it seemed like a good opportunity to look at the movie’s thematic preoccupations.

Quantumania is something of a frustrating jumble of a movie. However, there are some interesting ideas nestled within it. Most engagingly, Quantumania feels like a movie that is about the legacy of foreign interventionism, dropping its characters into a strange realm that was forever altered by the pragmatic alliances made decades earlier. It’s a film about whether characters that call themselves heroes owe any obligation to help those less fortunate, particularly when that suffering is a direct consequence of earlier choices and actions. Quantumania doesn’t necessarily say any of this particularly well, but it tries.

You can read the piece here, or click the picture below.

New Escapist Column! On “Poker Face” as Must-See Mystery Television…

I published a new piece at The Escapist this week. With the release of Poker Face on Peacock this week, I got to review the first six episodes of the show.

From director Rian Johnson and actor Natasha Lyonne, Poker Face is a love letter to seventies television. It’s obviously indebted to shows like Columbo or The Rockford Files, but it owes just as much to classic wandering hero narratives like Kung Fu and The Incredible Hulk. It’s a glorious and thrilling piece of television, that is both a love letter and an update to the medium’s rich history.

You can read the piece here, or click the picture below.

New Escapist Column! On “The Last Jedi” as a Movie About Optimism in a Cynical Time…

I published a new piece at The Escapist over the weekend. Given that Star Wars: The Last Jedi just turned five years old, it seemed like a good opportunity to reflect on one of the most ambitious franchise films of the twenty-first century.

In the years since its release, a certain narrative has settled around The Last Jedi, arguing that the film is a subversion or deconstruction of the larger franchise. However, this seems unfair. At its core, The Last Jedi is a fundamentally optimistic movie, a celebration of the importance of standing against tyranny and a rejection of moral relativism in the face of oppression. It is an unabashedly earnest and sincere movie that believes that some things are worth fighting for, even when the situation seems grim and odds are stacked in opposition. It is an unapologetic love letter to the romance of Star Wars.

You can read the piece here, or click the picture below.

New Escapist Column! On “Atlanta” as One of Television’s Great Liminal Spaces…

I published a new In the Frame piece at The Escapist this evening. With Atlanta wrapping up its final season earlier this month, it seemed like a good opportunity to take a look back at one of television’s great liminal spaces.

Creator and lead actor Donald Glover frequently compared the show to Twin Peaks and The Sopranos, two very interesting choices for a show that has the basic structure of a sitcom built around four central characters. However, over the course of its four season, Atlanta became a surrealist study of millennial Black life in the United States, in particular the constant sense of being stuck “between” places without a firm status quo. Atlanta is a show that largely unfolds in shopping centres, nightclubs and hotels, and parties and in altered states. It’s a show that often feels dreamlike, its characters drifting through a chaotic world.

You can read the piece here, or click the picture below.

New Escapist Column! On “The English” and the British Western…

I published a new In the Frame piece at The Escapist yesterday evening. With the release of The English on Amazon Prime in the United States and on BBC in the United Kingdom, it seemed like a good opportunity to talk about the peculiar phenomenon of the British western.

The western is a quintessentially American genre. It is a foundation myth for the nation. As such, it is an awkward fit for British pop culture, given Britain’s historical relationship to the United States and the fact that Britain’s frontiers have never looked like that. However, given the intricacies of Britain’s relationship to its former colony, it is no surprise that the western has long been the subject of fascination for the British, and that the nation has put its own slant on the genre.

You can read the piece here, or click the picture below.

305. Batman Begins – Batman Day 2022 (#126)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Alex Towers and Phil Bagnall, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Christopher Nolan’s Batman Begins.

Following the death of his parents, billionaire Bruce Wayne finds himself struggling for a way to make sense of the world. Studying under the mysterious Ra’s Al Ghul, Wayne vows to devote his life to a war on crime itself. However, on returning home to Gotham, Bruce very quickly discovers that something very sinister has taken root in his home city.

At time of recording, it was ranked 126th on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On How “The Rogue Prince” Lets “House of the Dragon” Reflect the Modern World…

I am doing weekly reviews of House of the Dragon at The Escapist. They’ll be dropping every Sunday evening while the show is on, looking at the Game of Thrones prequel as it progresses from one episode to the next.

One of the more interesting aspects of Game of Thrones was the way in which it was a high fantasy series that used the language and conventions of the genre as what felt like a compelling commentary on American identity, filtering the anxieties of the War on Terror through the prism of dragons and free cities. House of the Dragon continues that trend, offering a show that seems to reflect a particularly anxious and unstable moment in American history.

You can read the piece here, or click the picture below.

290. Network (#219)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Ciara Moloney and Dean Buckley, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Sidney Lumet and Paddy Chayefsky’s Network.

Howard Beale is a veteran newscaster on a struggling network. When he is given his two weeks’ notice, Beale threatens to shoot himself live on the air as his final broadcast. The television journeyman becomes a media storm and ratings sensation, as the network eagerly seeks to capitalise on what could be a once-in-a-generation phenomenon.

At time of recording, it was ranked 219th on the list of the best movies of all time on the Internet Movie Database.

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