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Non-Review Review: Collateral

Collateral is a masterpiece. I think the only Michael Mann movie I’d rate against it would be Heat, which puts it in very good company. It’s probably my favourite neo-noir film, and I actually ranked it as my favourite film of 2000-2009. There are a lot of reasons for that: I think it’s the best example of digital video cinematography I’ve ever seen, the script is superb, the two leads are fantastic and it’s an utterly compelling examination of urban isolation. The screenplay was originally set in Manhattan, but I think the decision to transpose the story of a cabbie and his client to Los Angeles was actually quite clever – there’s generally an eerie emptiness and anomie to how life in Los Angeles is portrayed, and Collateral captures it perfectly.

Top gun...

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My Top 50 Movies of the Decade…

Alright here it is, my top fifty films of the decade. I’ve decided to stop complaining about Donal Clarke’s list in the Irish Times and just let rip myself. There’s more than a few crazy choices down there, but – after a week in the works – I’m happy with it. I doubt that a lot of other people will be.

Like the Oscars, but... you know, better...

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Cruise Control – Thoughts on Tom Cruise

I am going to just come out and say this. I like Tom Cruise as an actor. I think he’s hugely talented and vastly underrated. I think he suffers from a subset of the Sean Penn Syndrome that affects Christian Bale – his wacky personal life tends to overshadow his on-screen roles, which is a damn shame, given the talent that’s been hinted at repeatedly throughout his career.

A pleasant cruise...

A pleasant cruise...

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A Man’s Mann…

I have to confess I was not overly impressed with Public Enemies. In fairness, it was mostly down to the choices Mann made in filming the work – the high definition cameras and the insistence on shakey hand held movement. You might argue that it was a choice designed to place us in the real world of the Great Depression – to put us on the streets with Dillinger and immerse us in his world rather than the sanitised grandiose version of the 1930’s that typically finds its way on to our screens. This ignores one fundamental fact about Mann’s film making: it is no less grandiose or fantastic than those myths of times past. Mann is a film maker who works best exploring the dynamics of a masculine ideal that never existed. His male characters are drawn in the mold of a classic image that never actually existed.

I'll bet Pacino ordered the Large Ham. Overdone. VERY LOUDLY!

I'll bet Pacino ordered the Large Ham. Overdone. VERY LOUDLY!

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