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Non-Review Review: The White Buffalo

I’m sure there must have been a good movie in there somewhere. The story of Wild Bill Hickok hunting down the wild white buffalo from his nightmares through the Old West could have been a compelling one, even if it’s hard to imagine it ever being a classic. Instead, the movie is hackneyed cheese-fest that seems uncertain what to do with itself. It doesn’t help that Charles Bronson, sleepwalking his way through the production, gives the best performance of the film. If that’s not a bad omen, I don’t know what is.

What a load of bull...

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Non-Review Review: Shaft (2000)

It feels like something of a backhanded compliment to describe Shaft as John Singleton’s best movie since Boyz n the Hood. Singleton has been one of those directors who has found himself living in the shadow a tremendously influential and successful debut, struggling to find a way to match or surpass it. I think that his take on the most famous blaxploitation hero of all time, while deeply flawed, works so well because it seems intentionally light. It’s not attempting to be big or epic, or even especially socially conscious, it’s just trying to be a decently entertaining – if slightly cheesy – little thriller.

Who's the cat who won't cop out when there's danger all about?

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Non-Review Review: Please Give

Please Give is an interesting little dramedy, with some very well-observed points and a strong cast. It’s smart, it’s biting and it’s quite funny in places, with its wry commentary on some of the more cynical aspects of the human condition. However, I do find myself wondering why the lead characters, wonderfully superficial and weighted down by various forms of guilt, are really worth caring about at.

No mean Peet...

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Same Movie, Different Audience & The Variables of the Movie-Going Experience…

I saw Rise of the Planet of the Apes again. I was with a relative who hadn’t seen it, and I thought I’d tag along. Part of it was to determine whether the fact that I so thoroughly enjoyed the film had been a fluke, perhaps due to relatively low levels of anticipation going in, but also because it was a good movie, and one I thought might be worth watching again. Truth be told, I enjoyed the film as much the second time, perhaps even more. However, something occurred to me while I was watching it – the audience I was with reacted quite differently to one or two key moments, which (to be honest) also impacted how I looked at those scenes. I don’t think it radically altered my opinion of the film, but I found it interesting to note how watching the film with a different group of people could lead to a slightly distinct viewing experience.

Paws for thought?

Note: This article, by its nature, will include spoilers for two key moments in Rise of the Planet of the Apes. I suspect, if you’ve seen the film, you know which ones I am talking about. If you haven’t seen the film, I recommend you do before reading the article.

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Non-Review Review: Phone Booth

Phone Booth is proof that the high-concept thriller isn’t quite dead yet. A concept that had been floating around Hollywood for decades (with the master of suspense himself, Alfred Hitchcock, lined up to direct at one point), it seemed that – with the decline of the phone booth and the rise of mobile phones – perhaps the window in which to tell the tale might be closing. Of all the directors to bring the tale to the screen, I don’t think I ever would have expected Joel Schumacher to make one of the most intense and superbly intimate little thrillers ever written to the screen.

There's a lot on the line...

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Thoughts on Documentaries and Objectivity…

I caught The King of Kong at the weekend and I really enjoyed. It’s a fantastic underdog tale set in a fascinating subculture that really deserves to be seen. However, the movie was beset by claims after the fact that it had been somewhat unfair to Billy Mitchell, the reigning Donkey Kong champion who found himself cast in the role of villain. While fictional movies take liberties with their characters all the time, I can’t help but wonder what sort of standard should apply to documentaries. They obviously require some basis in fact, but to what extent is possible to be entirely fair and objective in bringing any subject to screen?

Something to chew on...

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Non-Review Review: Ringu

There are a handful of movies I will forever associate with a particular viewing experience – and some with the first time I had seen a given movie. I remember, for instance, seeing Star Wars: The Empire Strikes Back for the first time with my father in the local cinema during its nineties re-release. When I think of Bram Stoker’s Dracula, I recall the time I had to sit in the hall while the grown-ups watched it. Anytime I see The Shining, I think back to watching it in the wee hours of the morning with gran and granddad. The Japanese cult horror Ringu is something of a similar experience.

All's well that ends well...

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Non-Review Review: Unstoppable

I guess I’ve kinda marked Tony Scott as a more talented Michael Bay, in that he’s a director who manages all the tense and superficial elements of his action films particularly well, but that he also a strong eye for dramatic talent and seems to work much better with his leads – or, at least, draw stronger performances from them – than Bay. I was kinda thinking that as I was watching Unstoppable, pondering how Bay’s fascination with physical objects and explosions could have turned the film into a nigh-impossible mess, as the movie is literally based around the idea of a runaway train. Scott can’t quite find the human drama at the core of the story he’s telling, but he does try. And I think that effort alone makes the film watchable, if not remarkable.

Train-ing Day...

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Let’s be Franco: Actors Who Don’t Like the Interview Circuit…

I actually don’t feel strongly one way or the other about James Franco. I do kinda like that he was willing to experiment a bit by appearing as “Franco the performance artist” on General Hospital, respect the fact that he doesn’t care too much about his image to appear in films like Pineapple Express and Your Highness, but I also feel a little frustrated when I see how incredibly bored he seemed hosting the Oscars. There’s been a bit of on-line discussion about Franco’s public persona, and his perceived lack of interest in his own projects or in giving interviews, to the point where the actor has found himself being compared to Harrison Ford, one of the more notoriously difficult celebrity interviewees. However, despite all that, I find myself having quite a bit of sympathy for actors clearly not comfortable with dealing with the press circuit.

Going to great lengths to get away from it all...

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Non-Review Review: The Change-Up

This movie was seen as part of Movie Fest, the rather wonderful film festival organise by Vincent and everybody else over at movies.ie. It was well worth attending, and I’m already looking forward to next year. Good job all.

Body swap comedies are pretty much a subgenre unto themselves. There’s a fairly standard formula, much like the conventional romantic comedy, but the success or failure of a given movie rests pretty much entirely on the execution of that formula. It’s finding the wit and energy to inject into a familiar structure, to produce an interesting and compelling result. It’s been done with considerable frequency. However, The Change-Updoesn’t really generate enough laughs consistently to make a memorable addition to this category of comedy.

Just kidding around...

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