• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

Non-Review Review: The Magnificent Seven

The Magnificent Seven is a western, pure and simple.

It is not a deconstruction. It is not a reconstruction. It is not filtered through the lense of postmodernism or through the prism of postcolonialism. It does not interrogate the underlying assumptions of the western, nor does it explore the relationship between the myth of the frontier and the brutal reality. From beginning to end, through and through, The Magnificent Seven is very much a straightforward execution of the familiar western tropes delivered with a minimum of irony or reflection.

"Ain't we magnificent?"

“Ain’t we magnificent?”

There is a certain charm to this. Director Antoine Fuqua takes great pleasure in running through the standard western tropes, particularly those epic tracking steadicam shots of riders galloping through acres of beautiful countryside as the theme music builds. There is a certain pleasure to be had in The Magnificent Seven as a film resistant to modernisation, a film content in the assumption that the language and iconography of the genre does not need to be tweaked or updated beyond the application of some computer-generated imagery and a modern cast.

There is also something deeply frustrating in all of this, something that reduces The Magnificent Seven to a rather lifeless collection of western imagery tied together in a fairly unimaginative way without anything particularly bold or exciting to say.

The sky's the limit.

The sky’s the limit.

Continue reading

Non-Review Review: Café de Flore

Café de Flore is very much a game of two halves. The first half is almost a psychedelic stream of consciousness collecting a series of intriguing and interesting moments that seem to refuse to add up. It perfectly evokes Pink Floyd, somewhat appropriate given how frequently the movie returns to the haunting opening of Dark Side of the Moon and even incorporates the iconic prism into its logo. However, the second half not only fails to live up to the promise of the more surreal first part of the film, it comes with several worrying implications that seriously undermine what had been a fascinating meditation on the way that music shapes our experiences.

Taking steps in the right direction?

Continue reading