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Non-Review Review: The Vast of Night

The Vast of Night is a loving fifties homage, with more than a few contemporary resonances.

The film is structured so as to evoke pulpy science-fiction, opening on a slow push in on an old black-and-white television set airing Paradox Theatre, a show clearly designed to evoke the various fantastical anthology shows modelled after The Twilight Zone. Director Andrew Patterson keeps reminding audiences of this framing device, occasionally pushing out of his narrative on to the grainy distorted television screen and even occasionally cutting to black to underscore the fact that the narrative the audience is watching is being controlled.

Zero to fifties in only ninety minutes!

The premise of The Vast of Night is remarkably straightforward. One summer evening late in the fifties, something strange happens in a New Mexico town. As the bulk of the town gathers for a big basket ball game, only a handful of residents remain at home. Fay dutifully mans the town switchboard, while the charming DJ Everett handles the radio broadcast for the benefit of “the five of you out there listening.” However, his radio show is briefly interrupted by a strange noise, sparking an investigation that leads to somewhere very strange indeed.

The Vast of Night doesn’t really have too many surprises. After all, the basic premise all but suggests an inevitable conclusion: what could possibly be causing strange signals in New Mexico in the late fifties? However, The Vast of Night is elevated by a number of key factors. Patterson brings a very confident and assured direction to the story, making The Vast of Night a very compelling watch given its relatively low budget and tight focus.

Radio gaga.

However, writers James Montague and Craig W. Sanger deserve a great deal of credit for the script. The Vast of Night is a film that takes great pleasure in the trappings of its late fifties setting, and is keenly aware of the context in which its characters operate. “I am not now, nor have I ever been a member of the communist party,” Fay jokingly records into a microphone early in the film, while later events include accounts of the horror of radiation. The Vast of Night is a loving homage to the era in which it is set.

However, more than that, The Vast of Night understands the strange tethers that tie that idealised past to the more complicate present. By its nature, The Vast of Night is a film about hearing and listening. More than that, though, it is a story about the choices that people make in what they choose to hear and who they choose to listen to. It is a film about conversation, about signal, about noise, about cross talk, and about decay. The Vast of Night is a story about the breakdown of communication, and the horrors that unfold in what society tunes out as white noise.

Interview to a kill.

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Not So Super, Hero: What Modern Superhero Blockbusters Could Learn From “Akira”…

This Saturday, as part of the annual “Anime April”, I’ll be discussing Akira on The 250, the weekly podcast that I co-host discussing the IMDb’s Top 250 Movies of All-Time. However, I had some thoughts on the film that I wanted to jot down first. You can listen to last week’s episode on Nausicaa of the Valley of the Wind here. You can listen to our episode on Akira here.

Akira is a startlingly influential film.

Even if a person hasn’t seen Katsuhiro Otomo’s animated masterpiece, they have undoubtedly felt its influence rippling through popular culture in various media. In music, Kanye West cites it as his “biggest creative inspiration”, to the point that his video for Stronger is almost a shot-for-shot remake. Rian Johnson has cited Akira as a major influence on his own Looper. Josh Trank and Max Landis’ Chronicle has a number of obvious similarities to Akira. Even outside of these direct references, individual elements of the film continue to have an outsized influence on American popular culture. The iconic red bike pops up in Ready Player One. Even individual shots have been mimicked and imitated, such as the fantastic “Akira bike slide” from early in the film.

Inevitably, there has been much talk of a potential Americanised remake of Akira. After all, there have been other big-budget live action adaptations of cult Japanese projects like Ghost in the Shell or Alita: Battle Angel, and so it is surprising it has taken so long. There were rumours of an adaptation by Albert Hughes that might star Morgan Freeman. (James Franco might have headlined.) More recently, Jordan Peele declined the invitation to direct the adaptation, despite his affection for the source material. The most recent rumours suggested that Leonardo DiCaprio might be producing a version directed by Taika Waititi, which would shift the action from Neo-Tokyo to Neo-Manhattan. There were other significant changes made to the source story.

There are a variety of reasons why Akira has been so difficult to adapt. Most optimistically, it may simply be a case that so much of what made the original film iconic has already been filtered through to audiences in the movies indebted to it, like Looper or Chronicle; this is the challenge adapting John Carter of Mars following the success of films like Star Wars or Flash Gordon. More pragmatically, Akira is a story rooted in a very specific cultural context. It is not an American story, it is a story anchored very specifically in eighties Japan. Of course, this is not necessarily a problem; samurai films like Shichinin no Samurai or Yojimbo could be reworked for American audiences as cowboy films, their cultural context shifted in the journey across the Pacific. Still, it is a challenge.

However, this challenge of cultural translation suggests one of the fundamental issues with adapting Akira for American audiences. It is hard to define Akira in terms of a single genre; it is a coming of age science-fiction deconstruction of masculinity infused with a psychedelic sensibility. However, in terms of visual style and narrative flow, the movie’s closest relatives in contemporary American cinema are superhero films. Superheroes are, after all, the dominant American cinematic mode of the twenty-first-century to date. Indeed, a modern audience approaching Akira might be tempted to read it in the context of that genre. If Chronicle is to be considered “the American Akira”, it is notable that it uses the language of the superhero genre to translate the story.

However, there is something fundamentally different about the way in which Akira approaches the idea of the superhero figure as compared to mainstream superhero films, and this difference might demonstrate why an adaptation of Akira for American cinema might pose such a challenge.

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66. Singin’ In the Rain (#92)

Hosted by Andrew Quinn and Darren Mooney and this week with special guest Grace Duffy, 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, Gene Kelly and Stanley Donen’s Singin’ in the Rain.

Regarded as one of the best musicals ever made, Singin’ in the Rain focuses on the transition from silent film toward talkies. With his studio embracing sound, leading man Don Lockwood begins to question his ability and his ability in a rapidly-changing industry. But love and good fortune are waiting just around the corner.

At time of recording, it was ranked the 92nd best movie of all time on the Internet Movie Database.

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Mon Capitan – Captain America and International Audiences

With The Avengers universe building up – Marvel’s plan to introduce a bunch of comic book characters through solo films and tie them together into one big team-up movie -, there is one of the prequels (if we can call them that – they aren’t really prequels or sequels and some aren’t even origins) that I am really interested in. It isn’t Favreau and Downey’s Iron Man 2, nor is it Branagh’s Thor. I am most interested in how the Captain America movie comes about – particularly at the moment. This has nothing to do with the charmingly awful version we saw about twenty years ago. This is more to do with how the most blatantly American superhero will do overseas.

America, F%!& Yeah!

America, F%!& Yeah!

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