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Non-Review Review: What Lies Beneath?

What we’ve got here is a solid, old-fashioned ghost story with more restraint and grace than any number of Hollywood shockers. A slow, moody and intense look at the collapsing marital relationship between Claire and Norman Spencer after their daughter goes to college, it takes its time getting were it’s going, but manages to seem a classy flick.

I was also shivering a bit after watching the movie...

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Non-Review Review: Toys

What an odd film. It’s bright and colourful and simplistic and airs on Sky Family and full of Robin Williams flailing around in a way that is sure to impress small children. On the other hand, it features a lot of curse words, some rather disturbing violence and fairly explicit sexual references (including a father-son-nurse romantic triangle, escalated by a pity shag). It’s arguably too plain and niave to draw in an adult audience (with Barry Levinson of all people pioneering the MTV school of film-making for audiences with ADHD) and yet too adult and sophisticated for children.  Who is going to want to play with these toys?

Oh, ball(s)...

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Non-Review Review: Last House on the Left (2009)

Wes Craven is a very odd man. On one hand, you have the luminary who gave us the breathtakingly original slants on the horror movie which we saw in A Nightmare on Elm Street, New Nightmare and the Scream franchise, along with his talent as a straight-forward thriller director in Red Eye. On the other hand you have the king of schlock, the man behind pointless gore fests like the original Last House on the Left or The Hills Have Eyes or even Dracula 2000. And, on a third severed hand you’d probably find lying around his trailer somewhere, you have the Wes Craven who wholeheartedly approves and supports schlokier remakes of his schlokiest films. Like this, the remake of Last House on the Left.

lasthouse

The only thing to fear is the quality of the movie itself...

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Non-Review Review: Gone in Sixty Seconds

Hmm… A perfectly adequate action movie. Nothing more, nothing less. Certainly not a top-of-the-line model.

cars

Hardly an original model...

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Non-Review Review: W.

Oliver Stone famously rushed just about every aspect of this production in order to get it into cinemas before last year’s November election. Does that affect the movie? It does and it doesn’t. It doesn’t in that Stone seems to have a clear image of the President in his head and it’s perfectly captured on screen. It does affect the movie in that Stone has to choose an arbitrary cutoff point for his movie, since he can’t end it with the end of Bush’s presidency. So he chooses the re-election of George W. Bush in 2004 to serve as the film’s ending. That point arguably suits the central thesis of Stone’s psychological profile of the man, butit also serves to make that thesis seem heavy-handed or forced. The other side of that coin is that I doubt the Stone would have been able to market and sell the film for a few years after the end of the Bush administration, and the fact that so vintage a diretcor as Stone can still make such a raw and energetic film is a testament to his abilities (that some of us may have doubted after World Trade Centre and Alexander).

bush

Misunderestimate at your peril...

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Non-Review Review: In Bruges

Possibly one of the best depictions of Irish humour that I’ve seen captured in celluloid, In Bruges is a fascinating little story of honour, loyalty, stupidity and a small little town in Belgium. The movie was a highlight in the very solid pantheon of 2008. Featuring a sharp script, a fantastic cast and some really lovely scenery, the movie stabnds as one of the best comedies I’ve seen in yonks. And a yonk is a long time.

bruges

Irish charm...

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Should Marvel Look at Merging Some of Its Smaller Projects?

There’s been a lot of buzz generated about the new “shared universe” that Marvel is generating on-screen in the run up to The Avengers, being released in 2012. It has generated fantastic buzz and discussion given there are only really two scenes that have been screened suggesting how the the format might work: the presence of Samuel L. Jackson at the end of Iron Man, welcoming Tony Stark into a wider “universe” and the one-scene appearance of Robert Downey Jnr. at the end of The Incredible Hulk. Undoubtedly next year’s Iron Man 2 will feature even more treats (as will Thor and Captain America: The First Avenger), but it’s interesting to see the fuss that two tiny scenes have generated. I really do think that Marvel are on to box office gold here, and I also think it’s an interesting (and honest) attempt to transfer the medium of comics to film. However, these are all playing into one giant box office buster. Might it be worth taking the same concept and applying it to some of Marvel’s smaller screen franchises?

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Fighting over top billing...

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Actors & Politics: A Dangerous Combination…

There is an interesting article in The Guardian written by Samantha Morton, which lauds Nicole Kidman’s decision to announce that Hollywood treats women as sex objects and Matt Damon’s announcement that he won’t do excessively violent films. They are both valid points for discussion, but I’m never quite sure what to make of it when an artist makes a public anouncement like that, clearly politicising their work. Anyone who neede Nicole Kidman to tell them that Hollywood treats women as objects obviously hasn’t been paying attention to any film released ever, and I doubt anyone will be particularly surprised to here Matt Damon won’t turn up as a lead in Saw. That’s not to diminish their observation, but part of me is always uncomfortable abou the increasing politicalisation of actors and celebrities in our culture.

kidman

Not kidding around...

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Are Zombies the Monster of the 21st Century?

They say that horror movies and (before that) ghost stories reflect the unconscious fears of the time. So, for example, vampires allayed the fear of burying members of the community alive – if there were scratch marks on the inside of their coffins, it was because they were monsters, not because your doctor made a mistake. Or Mary Shelley’s Frankenstein was a cautionary tale for a society just on the cusp of the age of reason – a warning not to dive too far into that pool labelled ‘scientific progress’. Monster stories and ghost stories allow us to put aside our fears even for a moment by expressing them in their most ridiculous forms – I don’t think that facet of human nature has disappeared over the past century or so. If we accept this line of reasoning, are zombies the current expression of our deeply buried fears? And, if so, of what?

At least they are taking good care of their teeth...

At least they are taking good care of their teeth...

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It’s Screen Scare Week!

In the lead up to Halloween, we’ll be taking a look at some the horror genre. Check back nightly at 3am (the witching hour!) for a new article each night on the weird and the wonderful of cinema, looking at:

Plus, check out some articles from earlier in the month, like:

Hopefully that’ll get you in the macabre mood for the freaky festivities next weekend…