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The Sequel Myth and the Death of Originality in Hollywood…

It seems that every other day somebody is taking the opportunity be bemoan Hollywood’s creative bankruptcy. The decision not to press ahead with Del Toro’s version of The Mountains of Madness sparked a similar debate a little while ago, and the success of films like The Fast & The Furious Five seem to be raising the topic once again as we enter summer. It’s become something of a mantra for film fans, quietly chanted and repeated, something that we can use to continually bash the studios over the heads with. And, truth be told, I’m tired of it.

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Non-Review Review: The Duellists

The Duellists is the first film from director Ridley Scott. While it certainly isn’t his best remembered or the most highly rated, it is a cracking piece of historical cinema that manages to do a lot with very little. It’s a simple little concept, set against an epic backdrop, elevated by two leads, a wonderful sense of historical fidelity, and a young director with a long career ahead of him.

Ridley Scott's first stab at directing...

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Non-Review Review: Wild at Heart

I’ve always had a soft spot for David Lynch, if only because – much like David Cronenberg – you always got the sense that his artistic vision was pretty unfettered by concerns about broad appeal or studio policy or anything like that. There’s a wonderful sense of freedom, in how he works. There’s a great quote from the guys at Pixar that they don’t make movies for kids, they make movies for themselves – if other people happen to enjoy it, well… that’s great too. That sums up a lot of what I respect about Lynch. Wild at Heart isn’t perhaps one of those moments where Lynch’s interests manage to overlap with truly great cinema (as they do, I would argue, for Mullholland Drive, Blue Velvet and The Straight Story), but it isn’t so completely scattershot as to be impenetrable, either.

Dancing in the... highways?

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Non-Review Review: Fahrenheit 451

It always struck me as strange that there should be such a fuss about adapting Fahrenheit 451. After all, a book about how great books are, and how they are inherently superior to anything that any other media can offer (film and television included) seems a strange choice of subject matter for a big-budget science fiction film. Still, Francois Truffaut’s 1966 adaptation isn’t all bad… just a little strange.

Book 'em, boys...

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Thor by J. Michael Straczynski Omnibus (Review/Retrospective)

With the release of Marvel’s big-budget superhero action movie Thor this summer, we’re taking a month to celebrate the God of Thunder. Check back each Wednesday for a Thor-related review.

J. Michael Straczynski’s run on Thor is a somewhat controversial one. In fact, this rather wonderful omnibus collection comes with little by way of textual extras. There is no introduction from a recognisable figure, nor any scripts included, nor any commentary or interviews. One can almost sense the discomfort in the air. The saga of Straczynski’s run on Thor is a long and complicated one, but it ended with the author departing both the publisher and the comic a lot earlier than anticipated. To this day, both sides have differing accounts of what occurred, and both insist that they are in the right. That’s a lot of subtext behind one lovely hardcover volume, but it’s something that was always in my mind – particularly as I approached the somewhat “crowded” conclusion. Still, it’s a great epic story, albeit one with a slightly disappointing ending.

Hammering home...

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One Hundred Mornings Opening at the IFI This Friday…

One Hundred Mornings, the post-apocalyptic movie from director Conor Horgan is opening at the Irish Film Institute this Friday, 6th May. For those interested in Irish cinema, the IFI will be hosting a free workshop and discussion with the award-winning writer director on Saturday 7th May. More details here. Meanwhile, the trailer is below.

Ex Machina: The Deluxe Edition – Volume IV (Review)

In an effort to prove that comic books aren’t just about men in spandex hitting each other really hard, this month I’m reviewing all of Brian K. Vaughan’s superb Ex Machina. And in June, I’ll be reviewing his Y: The Last Man.

What’s weird about the fourth ane penultimate volume of Brian K. Vaughan and Tony Harris’ superb superhero political science fiction mish-mash comic book is simple how much fun it is. I’m not suggesting for a moment that the first three volumes were anything less than superb, but there’s a sense of playfulness in this volume which just makes it seem like the creators are have the time of their lives. I was worried after the last volume that the underlying “conspiracy” story would overwhelm the saga as it reached completion, but it’s still just as fascinating and unpredictable as it was back when it began.

Justice for all?

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Scary Monsters and Super Freaks…

D’you know what would have been scarier than nothing?

What?

Anything!

– Bart and Lisa discuss Edgar Allen Poe’s The Raven, The Simpsons

The week before last, in reviewing Insidious, I made the observation that director James Wan made the mistake of “showing too much” in his horror film, and that movie itself suffered because it didn’t show any restraint in how it handled its creatures and monsters. The always wonderful Justin, in fairness, called me on my assertion correctly – who ever stated it was a rule that horror films can show too much? Surely it’s possible to show as much of something as you might want, provided you have enough talent and skill to do it well? Surely showing too much only becomes a problem when you aren’t skilled enough to deliver something genuinely terrifying?

Or is it something more primal? Is what you don’t see scarier?

Do I have a point?

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Non-Review Review: 1984

1984 is a solid adaptation of a classic novel, featuring a fantastic leading performance from John Hurt as Winston Smith. The movie (released to coincide with the year) suffered a bit at the time (and in retrospect) from not being the best adaptation of Orwell’s ground-breaking novel to make it the big screen in 1984-5 – being somewhat upstaged by Terry Gilliam’s masterpiece Brazil. While obviously not a direct adaptation of the novel (in fact, Gilliam has admitted he hadn’t even read the book at the time of release), the latter film explores the same core themes and ideas. However, virtually any film would pale in comparison when measured against a movie like Brazil (which ranks in my top ten films ever), and 1984 really deserves to be seen on its own merits.

Welcome to an edition of Big Brother where every room is a "Diary Room"...

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Non-Review Review: Toy Story 2

For my money, Wall-E is perhaps the strongest Pixar film from an artistic point of view. The Incredibles is perhaps the most consistently entertaining. Finding Nemo is the most emotional. Truth be told, I could probably find a way to rank almost every Pixar film so that it was my favourite in some way or another, because they’re all pretty much that good (although I’ll concede that Ratatouille, A Bug’s Life and Cars were merely “good” or “very good”). So, having completely picked apart any lavish praise I could shower on the film, I have  a very special fondness for Pixar’s Toy Story trilogy.

Just say Jesse...

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