• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

141. Escape Plan 2: Hades – This Just In (-#100)

Hosted by Andrew Quinn and Darren Mooney, and with special guests Babu Patel and Giovanna Rampazzo, This Just In is a subset of The 250 podcast, looking at notable new arrivals on the list of the 100 worst movies of all-time, as voted for by Internet Movie Database Users.

This time, Steven C. Miller’s Escape Plan 2: Hades.

At time of recording, it was ranked 100th on the list of the worst movies of all time on the Internet Movie Database.

Continue reading

Non-Review Review: Ying (“Shadow”)

This film was seen as part of the Virgin Media Dublin International Film Festival 2019. Given the high volumes of films being shown and the number of reviews to be written, these may end up being a bit shorter than usual reviews.

Shadow is a mess.

Shadow aims for opera, but winds up in soap opera. The film’s plotting is a mess of internal contradictions grasping desperately at pseudo-profundity. The film’s structure is completely chaotic, with what should be the climax of the third act coming about a half-an-hour before the end credits in order to make room for even more plot twists and betrayals and reversals. Shadow simply does not work on a number of fundamental levels.

And yet, in spite of that, there’s an incredible charm to the film. Director Zhang Yimou commits wholeheartedly and unquestioningly to his premise, right down to the heavily desaturated-to-the-point-of-almost-being-black-and-white colour scheme. Shadow never seems to have any hesitation or self-doubt as it commits to an increasingly convoluted plot and a series of increasingly absurd visual flourishes. It is as exhilarating as it is infuriating.

Shadow is a movie in which an invading army cocks their razor umbrellas before riding said umbrellas through the streets of a city under assault. It’s completely off the wall, but also impossible to completely resist.

Continue reading

New Podcast! The X-Cast – Season 3, Episode 19 (“Hell Money”)

I’m back on The X-Cast this week, covering Hell Money with the great Carl Sweeney.

This is an interesting one. Everybody has their own personal underrated favourites, whether in film or on television or in any other media. Pieces of art on which we feel much more strongly than the consensus, and in which we see a bit more than our fellow audience members. In my case, this is true of quiet a few episodes of The X-Files, typically episodes that meet with a shrug from the collective audience, but with which I’ve fallen head-over-heels in love. Hell Money is one of those episodes.

The truth is in here. You can listen to the episode here, or click the link below.

Continue reading

Non-Review Review: China Salesman

China Salesman is fascinating disaster.

China Salesman is not a good film by any measure, but it is strangely compelling. There is something intoxicating about the film, in spite of its myriad flaws – the awful script, the atrocious dubbing, the clumsy editing, the terrible performances, the muddled storyline, the abundance of nonsensical technobabble. Part of this is down to the sheer abundance of energy that director Tan Bing brings to proceedings. China Salesman whips and whirls, cranks and zooms, pans and swirls with a kinetic energy that renders these flaws almost bedazzling, offering an effect that in some ways evokes a bad trip.

The gun show.

However, China Salesman is perhaps most interesting as a mirror and a prism. It is, like Wolf Warrior II, very much the Chinese equivalent to those old patriotic eighties American action movies like Delta Force or Iron Eagle, the kind of populist nationalist cinema that is currently channeled through franchises like Transformers. As such, there is something intriguing in seeing the image that China Salesman projects into the world, as an assertion of multinational intent to the rest of the world and as a statement of patriotic self-image to the country itself.

China Salesman is terrible. It is also terribly interesting.

The old man and the Seagal.

Continue reading

Iron Fist – The Blessing of Many Fractures (Review)

As “The Last Defender”, Iron Fist bears the burden of tying most heavily into The Defenders.

This is not a surprise. This has been a large part of the Marvel Studios model, with productions teasing concepts and characters that will not arrive for quite some time. By the time that Thanos moves against Earth’s Mightiest Heroes in Avengers: Infinity War, it will have been more than half a decade since the stinger at the end of The Avengers teased his looming threat. Even since Samuel L. Jackson appeared at the end of Iron Man and Robert Downey Jr. dropped by the stinger in The Incredible Hulk, these teases have been a way of doing business.

Glowing yellow peril.

As such, it makes sense that the company would put a lot of groundwork into setting up the summer’s big-ticket crossover between the four different Marvel Netflix shows. Jessica Jones and Luke Cage had largely been their own thing, while Daredevil had devoted a considerable amount of time and effort to introducing concepts and ideas that would pay off down the line. However, as the last of the shows to be released before the big summer event series, Iron Fist carries a heavier burden than any of its predecessors.

Unfortunately, Marvel and Netflix seem to have wholeheartedly committed to the idea of the Hand as the enemy of choice for this eight-part crossover miniseries. And so Iron Fist gets burdened with the Hand.

“Time for snooping.”

Continue reading

The X-Files – Alpha (Review)

This July, we’re taking a trip back in time to review the sixth season of The X-Files and the third (and final) season of Millennium.

After a couple of misfires in the first few seasons, The X-Files had most steered clear of “classic” monsters. The first season had struggled with werewolves and ghosts and cryptozoology in Shapes and Shadows and The Jersey Devil respectively. 3 had been the show’s first “true” vampire episode, and had ended up as a bit of a mess. Perhaps it indicated that The X-Files was not a show that did “traditional” monsters particularly well; or maybe it was just a sign that the creative team were still figuring out how to make the show.

There was some evidence that the show might have been getting better at this sort of thing. In the fourth season, Elegy had been a (mostly) effective traditional ghost story. In the fifth season, Bad Blood had demonstrated that it was possible to make a good episode of The X-Files about vampires. Perhaps it was time to try another werewolf story. After all, the budget on The X-Files was bigger than it had ever been. There would likely be no better time to tell a classic werewolf story. Sadly, Alpha is anything but a classic werewolf story.

Hungry like the wolf...

Hungry like the wolf…

Continue reading

The X-Files – Hell Money (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

Hell Money is an oft-overlooked episode of The X-Files.

The positioning in the third season probably doesn’t help. It comes directly after Teso Dos Bichos, probably the season’s weakest episode. It is also positioned in the gap between Pusher and Jose Chung’s “From Outer Space”, two broadly-loved episodes that serve as pitch-perfect examples of The X-Files both on- and off-format. In contrast, Hell Money is something a little stranger. It is not as conventional as Pusher, nor as radical as Jose Chung’s “From Outer Space.”

Seeing is believing...

Seeing is believing…

Instead, Hell Money is an episode of The X-Files that loosely fits the show’s format. Mulder and Scully investigate a bunch of macabre murders where sinister forces are at work. However, in keeping with the broad themes of the third season, the evil in Hell Money takes a particularly banal form. There are no monsters here; at least, not any supernatural monsters. The only ghosts that haunt the narrative are metaphorical. There is a culture alien to our leads, but one a bit more grounded than extraterrestrials.

Hell Money is a clever and thoughtful piece of television that feels subtly and harrowingly subversive.

The writing is on the wall...

The writing is on the wall…

Continue reading