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New Escapist Column! On How “Glass Onion” Disrupts the Disruptors…

I published a new In the Frame piece at The Escapist this evening. With the release of Glass Onion on Netflix, it seemed like a good opportunity to look at Rian Johnson’s latest murder mystery.

There is a sly and self-aware gag buried at the heart of Glass Onion, one of the two Knives Out sequels that Netflix paid almost half-a-billion dollars for. Johnson’s latest film is a satire of tech disruptors, focusing on fictional visionary Miles Bron and his company Alpha. However, the movie’s social satire has a particularly pointed edge. Johnson is parodying precisely the sort of reckless tech disruptors that upended the cinematic landscape. In its own weird way, Netflix is perhaps the villain of Glass Onion.

You can read the piece here, or click the picture below.

New Escapist Column! On Edward Norton, “The Incredible Hulk”, and the Kinds of Movies Marvel Doesn’t Want to Make…

I published a new In the Frame piece at The Escapist this evening. Prompted by a conversation with a colleague Matthew Razak, I took a look at the troubled second film in the Marvel Cinematic Universe, The Incredible Hulk.

I have always had something of a soft spot for The Incredible Hulk, in large part because it feels appropriate that a movie about the Green Goliath should find itself caught between extremes. The Incredible Hulk was caught in a conflict between Edward Norton and Marvel Studios. Norton wanted an introspective character-driven superhero film, and Marvel… didn’t. In some ways, The Incredible Hulk offered as clear a roadmap to the future of Marvel Cinematic Universe as Iron Man, if only because it served to illustrate what Marvel didn’t want from their blockbusters.

You can read the piece here, or click the picture below.

Non-Review Review: Motherless Brooklyn

Motherless Brooklyn is a profoundly odd film.

On the surface, it looks like another one of those “movies they don’t really make anymore” that tend to get a small release around awards season, like Bad Times at the El Royale or Widows. It is an old-fashioned private detective story that starts with something relatively small before pulling back to reveal a vast and insidious conspiracy at work. It is a movie that is both a genre piece and a statement, and so seems an appropriate release for this late in the calendar.

Railing against the system.

However, on closer inspection, Motherless Brooklyn is much more surreal piece of work. The film was a passion project for writer, director and star Edward Norton. Norton had been struggling to bring the film to screen for the better part of two decades. It is a period piece in more than just its fifties New York setting. It feels like a time capsule. Although Motherless Brooklyn is only Norton’s second theatrical film as director, it arguably feels much more tailored to Norton’s style and interests than his actual directorial debut Keeping the Faith.

However, Motherless Brooklyn feels like it is lost in more than just time. The film is meandering, indulgent and unfocused. It has moments of incredible beauty and surprising power, but lacks the discipline to streamline everything else around those elements. Motherless Brooklyn is not a great film, but it is a strange one.

Evil plans.

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151. Fight Club – Summer of ’99 (#10)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Charlene Lydon and Alex Towers, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, continuing our Summer of ’99 season, David Fincher’s Fight Club.

1999 was a great year for movies, with a host of massively successful (and cult) hits that would define cinema for a next generation: Being John Malkovich, Magnolia, American Beauty, The Green MileThe Insider, The Matrix. The Summer of ’99 season offers a trip through the year in film on the IMDb‘s 250.

A successful young insurance claims adjuster finds himself comfortable existence literally blown to pieces after two chance encounters: first with his unlikely kindred spirit Marla Singer and then with charismatic anarchist Tyler Durden. However, what initially seems liberating quickly escalates into something that is much less comfortable.

At time of recording, it was ranked 10th on the Internet Movie Database‘s list of the best movies of all-time.

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142. American History X – Summer of ’99 (#34)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Charlene Lydon, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, kicking off our Summer of ’99 season, Toby Kaye’s American History X.

1999 was a great year for movies, with a host of massively successful (and cult) hits that would define cinema for a next generation: The Matrix, The Blair Witch Project, The Best Man, Cruel Intentions, Fight Club. The Summer of ’99 season offers a trip through the year in film on the IMDb‘s 250.

Danny Vinyard finds himself called to the principal’s office after submitting a salacious and controversial essay citing Adolf Hitler as a civil rights hero. There, the school principal Doctor Sweeney sets Derek another assignment: a personally essay exploring his relationship with his white supremacist brother Derek. Derek Vinyard was just released from prison that morning, and is about to discover that putting his life back together will not be as easy as he might have hoped.

At time of recording, it was ranked 34th on the Internet Movie Database‘s list of the best movies of all-time.

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Non-Review Review: Birdman (or, The Unexpected Virtue of Ignorance)

Birdman is a staggeringly cynical piece of work.

Alejandro González Iñárritu’s showbusiness satire has its knives out from the opening sequence, and never puts them away. It is a movie that is relentlessly snarky and bitter about just about any facet of the artistic process. The movie seldom pulls its punches, lawing into its targets with a vengeance. There are points where it almost seems too much, where it feels like Iñárritu might be better served to pull back or ease off for a moment as the film becomes just a little bit too much.

Showtime!

Showtime!

Then again, Iñárritu turns the film’s relentlessness into a visual motif, structuring Birdman as one long unbroken take. This structure is only slightly disingenuous. While there are any number of “cheats” that allow Birdman to stitch together multiple takes, the end result is still a hugely ambitious and impressive piece of work. Even viewers as cynical as the film itself may find themselves marvelling at some of the incredibly fluid transitions and extended sequences. Birdman‘s anger might occasionally come close to suffocating, but its energy is infectious.

That is to say nothing of the performance at the centre of the film, with Michael Keaton playing a washed-up has-been celebrity desperately (and pathetically) fighting for artistic credibility after a career spent in blockbuster cinema. One of the more interesting aspects of Birdman is that it seems just as dismissive of the attempts at artistic rehabilitation as it does of the original “sell out” work. Birdman is a wry, clever and vicious piece of work. It is also a phenomenal accomplishment.

You wouldn't like him when he's angry...

You wouldn’t like him when he’s angry…

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New Bourne Legacy Trailer

Hey, here’s the new trailer for The Bourne Legacy. It’s the latest film in the Bourne series (the original trilogy consisting of The Bourne Identity, The Bourne Supremecy and The Bourne Ultimatum). Matt Damon isn’t returning, but the new film will focus on Jeremy Renner, who seems to be having quite a year. The supporting cast is suitably impressive, with David Strathairn, Joan Allen, Albert Finney and Scott Glenn all returning – while adding Edward Norton, Rachel Weisz and Oscar Isaac. (Personally, I’m also actually quite geeked to see Stacey Keach, Željko Ivanek and Corey Stoll playing supporting roles as well.)

Hope you enjoy.

I have to say, I’m intrigued at the approach they’re taking – it looks like this film is being structured as a sort of a “side-quel” to the Bourne series, exploring events from another angle. While it’s very clearly an attempt to get the “Bourne” brand out there, I think it’s a pretty cool way of playing with narrative – it seems structured more intricately than a simple reboot, sequel, prequel or remake.

One of the things I’ve found really fascinating about 2012 as a year in mainstream cinema is the way that the studios have been playing with narrative links. Prometheus wasn’t a direct prequel to Alien, more like a spiritual predecessor. The Avengers isn’t a direct sequel to any of the Marvel films, but rather a composite of story threads flowing from each one. I know people decry the rise of franchise cinema (as if that’s something new), but I thing there’s some interesting stuff going on here. I don’t know quite how it’ll work out, but I am intrigued by the approach.

Carrying the Banner: Why Ed Norton Remains the Best Bruce Banner…

I had the pleasure of seeing The Avengers last week. It’s a solid film, and Whedon does a great job tying it all together. What Whedon does especially well is presenting us with a live-action version of the Hulk that really works. Whedon’s green goliath is treated like an actual character rather than a special effect or a plot point, and it looks absolutely incredible, appropriately enough. However, I can’t help but feel like the movie still struggles with the Bruce Banner aspect of the character, and that Mark Ruffalo isn’t a convincing replacement for Ed Norton, who was as perfect a fit for the rage-managing monster as Robert Downey Jr. was for the redeemable Tony Stark.

Distilled Banner?

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Non-Review Review: Stone

Stone began its life as a play. You get a sense of that watching the film – the only points during which it seems to come especially alive is when its two leads, Robert deNiro and Edward Norton, are playing off against each other. Both actors are genuinely great performers who have faded from the spotlight in recent years and, while the film isn’t consistent enough to put either back on the map, it does demonstrate some of the talent involved.

A Stone-cold killer?

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Non-Review Review: Red Dragon

I have a confession to make: I don’t much care for Manhunter. I know I love the work of Michael Mann, but the film just left me cold. Maybe it’s Brian Cox’s stale performance as Hannibal, or the final action sequence choreographed to Inna Gadda Vida, but I don’t react well to the film. I loved the original book – I’d argue that Harris’ Red Dragon surpasses even The Silence of the Lambs as the greatest forensic thriller ever written – and, I have to confess, I certainly quite enjoyed Red Dragon.

Guess whose back...

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