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New Podcast! Scannain Podcast (2019) #15!

It’s time for the Scannain podcast!

This week, I join Jay Coyle and Grace Duffy to discuss the week in film.  As usual, we talk about what we watched this week, including another in-depth discussion of Brie Larson’s directorial debut Unicorn Store, the cynicism of Netflix’s The Silence, the enduring appeal of Road House, the insanity of Jupiter Ascending, and the strange nostalgia of Hotel Artemis. In film news, there is a lot happening. Close to home, the IFI is hosting a season dedicated to memory on screen and has added The Loopline Connection to the online IFI Player. In international news, the latest Star Wars movie has a name and a trailer, Avengers: Endgame spoilers sweep across the internet, and the Cannes film festival announced its line-up.

All of this plus the top ten and the new releases.

The top ten:

  1. Missing Link
  2. Captain Marvel
  3. Peppa Pig: Festival of Fun
  4. Hellboy
  5. Little
  6. Pet Sematary
  7. Wild Rose
  8. Wonder Park
  9. Shazam!
  10. Dumbo

New releases:

Non-Review Review: Dragged Across Concrete

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. This was the Surprise Film.

Dragged Across Concrete is weird, unpleasant, mean-spirited and vindictive.

It is all of these things in a very knowing manner. This both adds to and detracts from its attempts to get under its audience’s skin. There can be something charming in a provocateur who needles the audience in an interesting or compelling way, who pushes the audience outside of their comfort zone. However, there is also something very tiring in a filmmaker who is only doing that for the sake of pushing the audience outside their comfort zone. Call it the Jurassic Park paradox; just because something is possible does not mean it is valid or necessary.

Indeed, the most frustrating part of Dragged Across Concrete is how much time and energy it devotes to being frustrating without any greater purpose. It is a film that is very consciously designed to push certain buttons, but without any really sense of why it would want to. Dragged Across Concrete is a deeply frustrating piece of cinema, and that frustration is only deepened by a hefty two-hour-and-fifty minute runtime. Watching Dragged Across Concrete, it can be hard to tell whether that frustration is more or less pure for its clarity of purpose.

However, it is abundantly clear that it does not make for a good film.

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