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Non-Review Review: Reservoir Dogs

I had the pleasure of attending the Jameson Cult Film Club screening of this film.

Reservoir Dogs is my favourite film amongst Quentin Tarantino’s accomplished filmography. It seems a strange choice, as most film fans would concede that it’s pretty great, but would readily point to Pulp Fiction as the definitive Tarantino film. However, I think that Reservoir Dogs has an elegant simplicity that elevates it, allowing Tarantino to demonstrate his unique skills in an environment where he isn’t too confined or too rigidly structured. In a way, it’s that wonderful structure that makes Pulp Fiction so exceptional, but Reservoir Dogs has a relatively modest scale that makes it a lot easier to appreciate Tarantino’s deft mastery of form.

Whiter than White?

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Film Festival Fatigue & True Cinematic Love…

I had the pleasure of attending the Jameson Dublin International Film Festival a few weeks back, and it was an intense pleasure. Two weeks of the celebration of the best of film, both new and old, national and international, big and small. However, as I caught thirty different film-related events over ten days, while still working regular hours, I couldn’t help but fight a sense of fatigue – getting up early to commute to Dublin for the festival and getting home at the strangest hours to write a few words and nod off for a few hours before beginning again. Don’t get me wrong, I wouldn’t trade it for the world, but I do wonder if that sort of thing could ever get so tiring that I might sired of writing about or watching movies? I wonder if I’ll ever suffer what might be described as “film fatigue.”

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Non-Review Review: 21 Jump Street

The review was embargoed until the 5th March 2012.

The obvious point of comparison to Jonah Hill’s big-screen adaptation of 21 Jump Street is the Ben Stiller and Owen Wilson version of Starsky & Hutch. After all, both take classic cult television shows and recycle them for modern audiences, taking dramatic plot devices that seem hilarious and goofy in hindsight and playing them as straight comedy. There is, however, one very crucial difference between that adaptation of a seventies cop show and this adaptation of an eighties cop show: 21 Jump Street works. Mostly.

White knights...

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Non-Review Review: Jo Nesbø’s Headhunters

While Jo Nesbø’s Headhunters might get a little bit too crazy and twisty in its final third, but it’s a brilliantly dark Norwegian thriller/comedy, headlined with considerable style by Aksel Hennie as corporate recruitment expert Roger Brown, a sleazy yuppie living well beyond his means to keep his wife in the style two which she has become accustomed. As the movie puts Brown through a sequence of painful and humiliating encounters, it is consistently entertaining, managing to walk the fine line between making sure we dislike Roger enough to be amused by his misfortune, but invested enough that we want to see the little (“1.68 metres”) bugger manage to escape the movie relatively intact.

Got milk?

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Non-Review Review: Project X

Project X is a mess, but it’s a high-octane and energetic mess, with an incredible youthful exuberance and a desire to throw anything it can at the wall to see if it sticks. Though it starts out a bit slow, it accelerates pretty quickly, with the film managing to hold itself together as the party on-screen starts to fall apart. The best way to describe Project X might be to define it as Superbad‘s hyper-active, less focused, more crass, more direct and less sweet younger brother. It lacks the heart that defined that other recent coming-of-age teenage comedy, but it more than makes up for its relative shallowness with an enthusiasm that’s infectious and hard to resist.

Razing the roof...

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Non-Review Review: Courage (Wymyk)

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

Courage is a fascinating little Polish film, with an interesting dramatic hook. Director Greg Zglinski offers a searing portrait of masculinity and impotence in the twenty-first century, where ever moment and action and decision seems to be documented for future use – our private failures of judgment ultimately become public spectacles, and in this era of globalisation and instant media connections, it’s impossible to escape the consequences of one bad split-second decision. While Zglinski’s film might overstay even its relatively short runtime, it does raise some interesting and challenging ideas about heroism in the twenty-first century.

Oh, brother!

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Non-Review Review: Baraka

This film was seen as part of the Jameson Dublin International Film Festival 2012. It will be getting a 20th anniversary re-release this year.

Released in 1992, it’s easy to consider Baraka as something of a spiritual successor to Koyaanisqatsi, a film which gave birth to an entire subgenre of non-narrative feature films designed to offer us insight into the working of our planet. It’s a natural comparison, as director Ron Ficke served as director of photography on that monumental film, and he clearly owes a debt to Godfrey Reggio’s masterpiece. However, I think there’s a substantive difference between how the two directors approach their subject matter, and the end result. While Reggio offers a more fascinating study of large-scale systems, Fricke manages a strange intimacy amidst his vast scale – there’s something considerably more human to Baraka, and I think that comfortably sets the movie apart. It looks as good as it did on initial release twenty years ago, and it still packs as much punch – even if it never looks quite as sharp as its sequel, Samsara.

Crazy world...

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February 2012 (Jameson Dublin International Film Festival) In Review

Well, it’s been a fun month. I’ve been blogging from Dublin’s annual movie festival, the Jameson Dublin International Film Festival, which ran for the eleven days leading up to the Oscars. I saw twenty-five films in the festival, two films outside it, and took part in two of the special movie-related events. It was quite a month of high-intensity movie-going experiences, and I think that the entire group responsible for organising the festival deserve considerable credit for pulling off. I thought it might be handy to centralise all my reviews and articles relating to the festival in one place, just for ease of reference. Some of these might be opening near you soon, some may get more limited releases, and some are already out, but these are the films I saw as part of the Jameson Dublin International Film Festival 2012.

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Non-Review Review: This Means War

It’s hard to find anything redeeming in McG’s This Means War, a romantic comedy that attempts to court the male demographic with promises of car chases and explosions and action sequences. However, the movie has some rather unpleasant undertones as it devolves into a competition between two male friends to see who can effectively trick a beautiful young woman into falling in love with them. Interestingly, the movie is primarily about these two guys and their relationship, with the (supposed) object of their affection serving as a glorified prop.

War and pieces...

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Jimmy Kimmel Presents… Trailer for Movie: The Movie…

I’ve been a bit all over the place of late, recovering from the Jameson Dublin International Film Festival. I’m just finishing up the last of my reviews of films caught at the festival, which will be up this week. Anyway, in the mean time, I thought I’d share this delightful post-Oscars parody from Jimmy Kimmel. Sure, the clip might run a little bit too long for its own good, but it has some wonderful laughs, and displays an astute knowledge of movie tropes and clichés. Enjoy.