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Non-Review Review: Room 237

Room 237 is an ode to cinema. Not just Stanley Kubrick’s The Shining, mind you, despite the fact that fact that Kubrick’s horror film is the focus of the film’s talking heads (or disembodied voices) discussion. No, Room 237 is a celebratory tribute to every discussion and dissection of popular film, no matter how plausible or implausible, no matter whether conducted in print, on-line or in the pub with friends. Director Rodney Ascher’s documentary is as interested in the personal lives of its subjects – where they came from, with regards to the film – as it is with their views on the film itself.

In case you can’t tell, I was very taken with it.

Cut it there, Jack!

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Non-Review Review: Into The Abyss

This film was seen as part of the Jameson Dublin International Film Festival 2012.

Capital punishment is always a thorny issue to tackle, if only because of the delicate relationship between the victim and perpetrator of the original crime. It’s easy to seem sly or manipulative while painting the convicted murder as some victim of society or social injustice, while ignoring the impact of their actions on the family and friends of those they killed. Werner Herzog is always a deeply fascinating director, whether of narrative films or documentaries.

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Non-Review Review: Koyaanisqatsi

Koyaanisqatsi is a word that comes from the language of the Hopi. It’s handily translated at the end of the film, with one of the meanings lending the film its unofficial subtitle: “life out of balance”. Brought to the screen by director Godfrey Reggio and composer Philip Glass (not that you’d know it from the film’s sparse opening credits which simply identify the film as “a Francis Ford Coppola production”), it’s safe to say that Koyaanisqatsi is one of a kind. Or, given the two sequels, one of three of a kind, but that’s still quite impressive.

Let there be light...

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Non-Review Review: The Fox and The Child

Myself and the girlfriend caught The Fox and The Girl (or Le Renard et L’Enfant) on Sky last night. It was a film with more than a few beautiful moments, but left us with the distinct impression that director Luc Jacquet works a lot better with animals than he does with humans.

Half-good, half-bad...

Half-good, half-bad...

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