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Non-Review Review: Night at the Museum III – Secret of the Tomb

Night at the Museum III: Secret of the Tomb is fairly inoffensive family fare. It largely sets out to do what it wants to do – providing a sense of closure to the hits series while encouraging its all-star cast to have a bit of family-friendly fun together. The movie is hardly the most compelling adventure; it never manages to generate substantial stakes, it introduces a convenient third-act villain as the plot demands, it is frequently distracted by individual set pieces. At the same time, it feels like the movie largely hits the targets that it sets for itself.

Knight at the Museum...

Knight at the Museum…

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Non-Review Review: Exodus – Gods and Kings

Exodus: Gods and Kings might be more traditional in structure and execution than the year’s other big biblical epic, but it shares a lot of the same core sentiments of Noah. Both films posit the Old Testament God as a primordial and almost unfathomable force, transforming biblical parables in epic horror stories. Both accept the divine as inhuman, almost by definition; both offer harrowing and unsettling depictions of stories that many viewers will know from childhood or have heard dozens of times before.

Exodus: Gods and Kings suffers a bit with its pacing, trying to boil the core Moses stories down into a single two-and-a-half hour narrative. The film runs through a check list of iconic moments, struggling to squeeze so much in that the story of the reed basket is mentioned only in passing. Instead, the film moves from Moses’ relationship with Ramses II through to his exile through to his epiphany through to his military rebellion through to the plagues through to the exodus.

"Well, I got back to Gotham in six days, I think I can get us to the Promised Land."

“Well, I got back to Gotham in six days, I think I can get us to the Promised Land.”

It is an epic story in almost every sense of the word, and Exodus: Gods and Kings struggles to contain it all. Often key elements are only present for moments before the film has to hurry along – the burning bush lingers in the background; the golden calf is glimpsed only from the distance. So much ground is covered that it is occasionally difficult to maintain focus, as Moses seems to lose and gain families with each passing act break. Exodus: Gods and Kings holds itself together under the pressure, but the strain can be felt.

Nevertheless, Exodus: Gods and Kings largely works. Feeling more like Kingdom of Heaven than Gladiator, the movie does a wonderful job of building a massive and sprawling (and foreign) world. Exodus: Gods and Kings looks and feels like a more traditional biblical epic than Noah, and Scott’s efforts to ground the film in a tangible reality only serves to enhance the awe-inspiring scale of the horror on display here. Exodus: Gods and Kings is an exploration of faith and devotion, asking uncomfortable questions and leaving the answers to the audience.

"Let us sit upon the ground and tell sad stories of the death of kings..."

“Let us sit upon the ground and tell sad stories of the death of kings…”

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Stan Lee’s Iron Man – The Invincible Iron Man Omnibus, Vol. 1 (Review/Retrospective)

To get ready for Iron Man 3, we’ll be taking a look at some Iron Man and Avengers stories, both modern and classic. We hope to do two or three a week throughout the month, so check back regularly for the latest update.

Working in collaboration with a stable of fantastic artists, Stan Lee created so many iconic characters and franchises at Marvel Comics that you could easily believe that everything he touched turned to gold. His work on The Fantastic Four, Thor and The Avengers with Jack Kirby so perfectly captured the sci-fi spirit of the sixties, and his creation of The Amazing Spider-Man with Steve Ditko redefined comic books, so it’s hard not to imagine that everything Lee set his mind to worked out perfectly.

Of course, inevitably, there were books that didn’t quite work right out of the gate. While his first reboot of Captain America was so awkward that he had to retroactively re-write the stories to feature a crazed Captain America impersonator, a lot of these titles were given the time and space necessary to try to figure out how to make them work. You’d be forgiven for thinking that Lee was quite sentimental towards some of his creations, with the awkward development history of The Incredible Hulk suggesting that Lee was going to try to figure out any way to make that character gel.

The Invincible Iron Man was never quite that troublesome, but he also never entirely clicked under Lee’s pen. While none of the character’s re-tools and re-workings are as severe as the kind of things that Marvel tried to do with the Hulk, there’s a very clear sense – reading this mammoth collection of Tales of Suspense short stories – that Lee wasn’t entirely sure about how to write Iron Man.

I am Iron Man!

I am Iron Man!

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Non-Review Review: The Mummy (1932)

The Mummy is often unfairly dismissed as an inferior attempt to emulate the success of Dracula. It’s from the same writer, John L. Balderston, and the credits are even set to the same music – the powerful Swan Lake theme that opened that other iconic horror. I’d argue that the influence of Frankenstein can also be keenly felt on the picture, and not just in its leading actor. However, I think The Mummy is often unfairly overlooked when examining the Universal Monster Movies, playing more like a creepy existential romantic epic than a conventional creature feature horror film.

He needs his beauty sleep…

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Moses Jones (Review)

The wonderful folks at the BBC have given me access to their BBC Global iPlayer for a month to give the service a go and trawl through the archives. I’ll have some thoughts on the service at the end of the month, but I thought I’d also take the opportunity to enjoy some of the fantastic content.

The thing about Moses Jones is that it, quite simply, blaxploitation. I don’t mean that’s a comedy or a wry deconstruction, the BBC equivalent of Black Dynamite or Undercover Brother. It’s a modern example of blaxploitation rather than a post-modern examination. It offers serious issue-based drama, playing its subject matter with complete seriousness and utter respect. For most of its runtime, it actually works quite well as an attempt to pull the conventions of blaxploitation narratives into the twenty-first century and transport them from the mean American streets to inner-city London. While the ending falls apart under its own weight, and a desire to wrap up absolutely everything in a neat little bow, there’s quite a bit to like about this BBC detective show.

Holy Moses...

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Non-Review Review: The Mummy

Maybe there’s a reason I’ve got ghosts and ghouls on my mind despite the fact that Halloween is approaching and the first Nightmare on Elm Street trailer was just released. I happened to catch The Mummy playing on Sky movies on Sunday night and it was one of those rare films that the family just dropped everything and started watching, despite the fact we’ve seen it before. Ignoring the law of diminishing returns that affected the sequels, The Mummy is solid action-adventure-horror romp that stands equally well as a companion to Raiders of the Lost Ark as it does as a subconscious herald of the coming wave of remade creature features.

Oh, mummy!

Oh, mummy!

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