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Non-Review Review: Anaconda

Anaconda is a B-movie. It’s not a homage to a B-movie, or a love letter to that type of film. It’s not a nostalgic throwback, or an attempt to capture some of the elements of those old cheesy productions. It actually is a B-movie. There’s no real attempt to execute the film in a manner that rises above those, or even captures that type of filmmaking at its best, it’s just a solid example of what a B-movie might look like, were it produced today. It’s hard to argue that Anaconda is a good film – and I’ll readily concede that it’s actively a badone – but there is some charm to be found it, if only from the way that all the hyper-trashy elements seem to come together in what appears to be a perfect storm of creature feature cheese.

I always had a crush on Jennifer Lopez...

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Mark Millar’s Run on Ultimate Fantastic Four – Vol. 3 (Hardcover) (Review/Retrospective)

Celebrating the 50th anniversary of the Fantastic Four, I’m taking a look at some of the stories featuring the characters over the past half-century.

Mark Millar isn’t quite the tough guy he makes himself out to be. Asked a few years ago about whether the birth of his child might tame some of his more sensationalist tendencies, Millar replied that – if anything – he would be even more motivated to push the envelope in order to demonstrate he hadn’t mellowed. And, in fairness, the years since have seen ideas like Kick-Ass or Wanted or Nemesis, all excessively and ridiculously cynical, graphic and violent. However, I maintain that Millar is a stronger writer when he channels his inner softer romantic – for example, demonstrating the respect he showed Superman in Red Son. Taking over Ultimate Fantastic Four for a year (perhaps on a trial run before writing for regular Fantastic Four), you get a sense that Millar has a genuine affection for these characters and their world – too much to try to make them “darker and edgier”, for example. While his run on Ultimate Fantastic Four isn’t the best thing he’s written, it is sharp and entertaining – and delivered with enough energy that it can’t help but warm the reader’s heart.

Never a drag...

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Right In Time: Are Some Concepts Just Too Silly For Movies?

I think it’s happened to all of us at some point. We see a poster for a film, or the start of a trailer that looks fascinating – all the right talent is involved to grab our attention, the technical stuff looks well-executed, it’s stylish and smart… and then we catch the plot of the film. It’s a plot that kind of makes us pause, drawing an almost unconscious, “huh?” from our collective lips. Maybe we read it twice to try to make some sense out of it, but there’s no joy. It still sounds as absolutely and impossibly silly as it did when we first read of the plot. It has happened to me quite a few times over the years, as I’ve found myself wondering how the hell such a concept could work on the big screen. I’ll confess, it happened when I read the plot summary for In Time, directed by Andrew Niccol, which drew this appropriate response

More at The Shiznit...

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Non-Review Review: Targets

Targets still feels quite a bit ahead of its time, which is quite something for a film intended to transition between the classic horror monster movies and the more sinister and grounded modern horrors. Indeed, Boris Karloff’s last starring role seems to prefigure a shift in the type of horror movies flooding the cinemas, years ahead of the more iconic and mundane “slasher” icons who succeeded Dracula and Frankenstein as the monsters at the matinée. Targets is an intriguing and remarkable little film, charmingly understanded and perhaps appealing for the lack of pomp it attempts to generate.

The horror!

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Critical Revisionism: Retrospective Re-Evaluation…

It’s funny. I always figured that long-term critical re-evaluation was sort of a one-way street. I guess it always seemed that people were talking about “classics” that got an unfair rap from critics and audiences on initial release, but have subsequently become amongst the most influential films within their genre. I’m talking about movies like Blade Runner or The Thing, movies that were attacked on initial release, but have undergone a massive transformation and vindication in popular consciousness. I generally figured that good films that got bad reviews would eventually be found and praised for the quality productions that they were, while over-praised mediocre (or worse) films would languish in purgatory, forgotten about, save the occasional television re-run. So I’m surprised at the way the tide seems to have turned against Juno in the five years since the film’s original release.

Well, that's one response...

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Non-Review Review: Staten Island

Staten Island is a convoluted little film that seems to shameless emulate several anthology films, with the most obvious influence being seen in Quentin Tarantino’s Pulp Fiction, borrowing the device of telling three interlocking but distinct stories set in different timeframes relating to the same bunch of characters. Still, that’s not necessarily a reason to dislike the film, which manages to offer an interesting, if not comparable, set of tales. James DeMonaco probably should have realised that borrowing so heavily from a classic film sets a ridiculously high standard, and one the movie falls far short of reaching. Still, there are moments where the film does work, even if they seem evenly-spaced with awkward and pointless sequences.

One psychotic mobster, sitting in a tree...

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Non-Review Review: The Warrior’s Way

I don’t think that pulpy nostalgia lends itself particularly well to cinematic reimagining. We’ve seen a variety of high-concept mish-mashes on the big screen in the past decade or so. There was a time when Freddie vs. Jason was confined to the bargain basement of your local DVD store, but we’ve seen major theatrical releases like Cowboys & Aliens or Aliens vs. Predators in the past number of years – all based around the idea that you can pit a cool concept against another cool concept and the resulting movie will be “super-cool.” Essentially an opportunity to answer the age-old question of “who would win in a fight between cowboys and ninjas”, The Warrior’s Way has a few really enjoyable and gleefully silly moments, but they tend to get lost in the midst of an overly-stylised and too-heavily-green-screen-ed moments, with a skilled cast unable to inject life into a range of characters who are struggling to reach the second dimension.

Give it a stab?

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Non-Review Review: Moneyball

I know nothing of baseball. Unlike the other great American sporting pastime of American Football (or, I guess, “football” to them), I simply can’t wrap my head around the activity, which seems (to me) to be a strange mix of rounders and the imaginary “whack bat” from The Fantastic Mr. Fox (which was undoubtedly intended as a parody of cricket, to mix my metaphors even further). It takes a lot for me to invest in a movie about an activity that I can barely comprehend, and Moneyball accomplishes that, by managing to craft one of the most telling and relevent sporting movies I’ve seen in quite some time. I think the film does struggle to establish an emotional connection, but it’s a very clever and very intriguing little movie.

Field of dreams...

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Non-Review Review: Ocean’s Thirteen

I have a soft spot for Soderbergh’s Ocean’s Thirteen. Yes, it’s big and vacuous and ultimately empty, with a bunch of celebrities sitting around and enjoying each other’s company, but it’s also fun and diverting, composed by a director with a wonderful eye. I’d argue that it’s almost as solid as Ocean’s Eleven, and a damn sight stronger than Ocean’s Twelve.

In con men circles, that would be called "the Selleck"...

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Non-Review Review: Route Irish

Ken Loach’s Route Irish is a fascinating little thriller, even if it does ultimately feel quite shallow and end in a rather unsatisfactory manner. Indeed, it’s very hard to construct a mystery where the audience already knows the answer, based on experience within the genre. Framed as an investigation into the death of a contractor in Iraq, the culprits behind the assassination are obvious from the moment the film starts rolling, which means that none of the twists and turns pack any punch – because we already know the answer. However, Loach is a director skilled at offering atmosphere and mood, and he makes a valiant effort to overcome the script’s rather obvious deficiencies.

Paying the ferryman...

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