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Non-Review Review: Pavarotti

Pavarotti is pretty much exactly what one might expect from a Ron Howard documentary looking at the life of Luciano Pavarotti.

Howard is often overlooked or dismissed as a filmmaker, in large part because he never cultivated the same sort of auteur persona associated with other great American directors like Steven Spielberg or Robert Zemeckis. Indeed, it’s often quite difficult to pin down what exactly makes a Ron Howard film distinctly his own, which is something of a compliment. Howard has a versatility and adaptability that makes him one of the most enduring and successful major American film directors, with his filmography including films as diverse as Splash, Willow, Ransom, A Beautiful Mind and The DaVinci Code.

Nailing the high note.

However, there are certain recurring motifs that can be spotted in his work. In particular, Howard has something of a minor fascination with competence, returning time and time again to the idea of people who are very good at doing what they do. Some of Howard’s best films read as odes to competence, simply watching highly capable people in tense situations, demonstrating their skill and craft; Apollo 13, Rush and even Frost/Nixon. It is tempting to read far too much into this, to ask whether Howard sees something of himself in his subjects, the skilled craftsman who delivers exactly what’s needed more times than not.

This perhaps explains the shape of Pavarotti, Howard’s latest effort. It is a film that is very much interested in the how of its subject, more than the why. The film largely avoids trying to explain the eponymous tenor, and comes alive when discussing the maestro‘s technique, craft and organisation. There is a genuine appreciation of the skill and technique on display in Pavarotti, which is very engaged in the mechanics of how the singer accomplished so much of what he did – both in terms of actual performance, but also in terms of business management. The only problem is that this doesn’t leave much room for Pavarotti as a man.

Scoring highly.

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136. Texas Chainsaw Massacre: The Next Generation – Independence Day 2019 (-#45)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Jess Dunne and Luke Dunne, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Kim Henkel’s Texas Chainsaw Massacre: The Next Generation.

Prom should be the best night of Jenny’s life. However, an unexpected detour winds up taking Jenny and three of her friends on an unexpected detour down the back roads of rural Texas. While exploring, the teens stumble upon a horror nestled snugly at the heart of the Lone Star State.

At time of recording, it was ranked 45th on the Internet Movie Database‘s list of the worst movies of all-time.

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Non-Review Review: What We Left Behind

Part of what is so remarkable about What We Left Behind is the way in which it feels more like a testament (and love letter) to how series producer and documentary co-directory Ira Steven Behr saw the Star Trek: Deep Space Nine than an exploration of the show itself.

This is not a surprise. Indeed, the poster for the documentary notably features Behr holding the eponymous space station in the palms of his hand, as much trying to figure it out for himself as offer it to the audience watching. Behr jokes that the documentary began production in 2012, but spent three years trying to figure out its identity and its angle. With its release in 2019, this puts Behr in the paradoxical position of having lived with What We Left Behind for almost as long as he lived with Deep Space Nine itself.

There isn’t too much in What We Left Behind that a dedicated fan won’t already know about the show’s production and history, but that’s not the point. An early sequence in the documentary exists largely in order to caution the viewer against interpreting the accounts offered in the documentary too literally. Repeatedly, actors and writers contradict themselves and each other. At one point, Robert Hewitt Wolfe casually recalls the finer details of Shadows and Symbols better than Hans Beimler, who actually wrote the episode. “I wasn’t even on the show at that point!” Wolfe jokes.

However, the documentary comes back time and again to the second season episode The Wire in order to explain these competing accounts and contradictory stories. They all hint at some greater truth.

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Non-Review Review: Metal Heart

Metal Heart is a charming and zesty coming age tale.

Written by Paul Murray and directed by Hugh O’Conor, Metal Heart owes a lot to the subgenre of female-focused teen dramedies like Angus, Thongs and Perfect Snogging. It’s the story of Emma, a teenager awaiting her Leaving Cert results and trying to navigate the path to young adulthood, unaware of the various obstacles that stand in her path – including her own preconceptions. The (metal) heart of the film lies in the dynamic between Emma and her fraternal twin Chantal, but there are a host of other complicated dynamics for the young woman to navigate along the way.

A large part of the charm of Metal Heart comes down to the strong central cast. O’Conor has drawn together an impressive ensemble for his debut theatrical feature. The adult players include Irish film veterans Moe Dunford, Dylan Moran and Jason O’Mara. However, the best performances in Metal Heart often come from its teen performers. Jordanne Jones is remarkable in the central role of Emma. Leah McNamara does good work as Chantal. Aaron Heffernan is surprisingly affecting in the role of obligatory comic relief as Chantal’s sweet-but-dumb-as-a-bag-of-rocks boyfriend Alan.

Metal Heart has a genuine sweetness to it, which infuses and informs the film. It’s a lovely piece of Irish cinema.

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Non-Review Review: Brightburn

Brightburn is effectively an elevator pitch movie. It’s a heady cocktail combining Man of Steel, The Omen and We Need to Talk About Kevin into a single ninety-minute movie.

Brightburn often feels more like a sketch extended to feature length rather than a movie of itself. Its characterisation is light, its worldbuilding is shallow, its premise is not so much developed as directly stated. With the notable exception of Elizabeth Banks, who largely anchors the film in emotional terms, the performances are largely blank and generic. This is especially true of Jackson A. Dunn, who is cast in the title role. There is something very threadbare about Brightburn, as if the film is operating on nothing more than its fairly simple premise.

Red eyes at night…

Oddly enough, this all serves to make Brightburn more effective than it might otherwise be. Brightburn is a single-minded film, arguably powered entirely by its own high concept. That high concept is ingenious, and enough to sustain the film across the entirety of its ninety-minute runtime. Brightburn feels relatively light, but that is almost by design. There is little ambiguity about what it is doing, and why it is doing it. There is no clutter, no distraction, no wondering attention. Brightburn is little more than its central narrative engine, but that engine is a powerful and compelling force.

Brightburn is not a subtle film. It has all the nuance of its title character, smashing through wood as though it were wet cardboard. Somehow, that lack of subtlety makes it all the more effective.

Holy Moses.

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134. Rush (#206)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Grace Duffy, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Ron Howard’s Rush.

In the early seventies, the rivalry between James Hunt and Niki Lauda was the stuff of legend among Formula 1 enthusiasts. Two very different men competing for every different reasons, Hunt and Lauda formed an unlikely bond that sustained and motivated both of them to push themselves further than their limits.

At time of recording, it was ranked 206th on the Internet Movie Database‘s list of the best movies of all-time.

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New Podcast! Scannain Podcast (2019) #23!

It’s time for the Scannain podcast!

This week, I join Grace Duffy and Alex Towers from When Irish Eyes Are Watching to discuss what we watched, the week in film news, the top ten and the new releases. Grace has recently watched The Bling Ring, Alex has seen I Am Cuba, and I have watched the entire Three Colours trilogy.

In terms of film news, the Virgin Media International Film Festival is taking five Irish films to the Shanghai International Film Festival, the Irish Film Institute has launched a fundraising initiative to pay for upgrades to its facilities, and a late-breaking Emmy voting scandal is in the news.

The top ten:

  1. Avengers: Endgame
  2. John Wick: Chapter III – Parabellum
  3. Ma
  4. Detective Pikachu
  5. Take That: Greatest Hits Live
  6. Godzilla: King of the Monsters
  7. Rocketman
  8. X-Men: Dark Phoenix
  9. The Secret Lives of Pets II
  10. Aladdin

New releases:

  • Balloon
  • Diego Maradona
  • The Hummingbird Project
  • We the Animals
  • Men in Black International

You can listen to the podcast directly here.

Non-Review Review: Toy Story 4

Toy Story 4 is a lovely grace note.

Understandably, the largest tension that exists within Toy Story 4 is the question of whether the movie is “necessary”, as much as crowd-pleasing feel-good film must be “necessary.” Rather, it’s the question of whether its presence enhances or diminishes the immediately previous film in the franchise. Toy Story 3 was in many ways a pitch-perfect franchise closer, the perfect place in which to leave these characters and this world. It was bittersweet and deeply moving, striking a perfect balance between providing closure and suggesting that the adventure continues.

The real Toy Story is the toys we made along the way.

This creates an interesting challenge for Toy Story 4. Because Toy Story 3 provided such a fitting ending, it is not enough for Toy Story 4 to simple be amusing or engaging. To quote another popular Tom Hanks vehicle from the nineties, it has to “earn this.” To a certain extent, Toy Story 4 exists in conversation with Toy Story 3, and with the notable handicap of being unable to play many of the same emotional beats as strongly. “This is the epic last go-round” is a card that is difficult to play in two consecutive movies. So, quite apart from how funny and how thrilling and how clever Toy Story 4 is, it faces an uphill struggle.

It is to the credit of Toy Story 4 that it justifies itself so effectively. A lot of this is down to canny structuring; Toy Story 4 is much less of an ensemble piece than any of the two previous films in the series, focused very tightly on Woody as its focal character. This provides a nice change of pace, even compared to the fun “toys mount a rescue” template of Toy Story 2. To a certain extent, Toy Story 4 feels – in terms of tone, plot and character – much closer to the original Toy Story than any of the intermediate films in the franchise. This allows it a certain freshness and lightness on its feet.

A forkin’ delight.

However, the smartest thing about Toy Story 4 is that it understands its position. Toy Story 4 is shrewd enough to understand that it can neither ignore nor repeat Toy Story 3. Indeed, Toy Story 4 is cognisant of the fact that it must be an ending of a sort, but also a different kind of ending than Toy Story 3. The film has to both justify and distinguish itself, fitting with what came before while finding something unique to say. This is a delicate balance to strike, and it is to the credit of Toy Story 4 that it succeeds as thoroughly as it does.

Toy Story 4 exists in the shadow of Toy Story 2 and Toy Story 3, but most animated films do; they are both among the very best films that Pixar has produced, making them among the very best animated films ever produced. Toy Story 4 works well as an epilogue or a coda. It’s charming, smart, funny and very moving in the places where it needs to be. Toy Story 3 existed at the full stop at the end of the story, but Toy Story 4 draws a line under it.

Home on the range.

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Non-Review Review: X-Men – Dark Phoenix

It reflects the strange state of the modern multimedia landscape that X-Men: Dark Phoenix feels almost like a plucky underdog.

This is a major studio summer blockbuster with a budget of well over one hundred million dollars. More than that, it is the twelfth film in a series that has historically been both critically and commercially successful; the films have earned over $5.7bn dollars worldwide, eight of the twelve films have positive scores on Rotten Tomatoes, seven of those twelve have been popular enough to end on the Internet Movie Database‘s top 250 films of all-time. The current franchise stars a two-time Oscar winner. The last film in the series earned an Oscar nomination for its screenplay.

A hot property.

Dark Phoenix should be an event. Instead, it arrives with a relative whimper. The release date was pushed back repeatedly, first from November 2018 to February 2019, and then to June 2019. It has been hounded by largely unfounded industry gossip about terrible test screenings. It is tracking for the lowest opening weekend in the franchise. In the time between the film entering production and its eventual release, it has been somewhat overshadowed by news that Disney are to buy 20th Century Fox, and that this franchise will be rebooted.

“I am inevitable,” Thanos famously boasted in Avengers: Endgame, the literal manifestation of death and time who existed to be vanquished by the assembled heroes. He might have been speaking of the influence of Disney. Dark Phoenix crashes against that inevitability, shattering and snapping against those immovable objects. Dark Phoenix is a mess, a disorganised husk of a movie carved out in an editing booth and built from last-minute reshoots. However, it is not quite the disaster that it should be. Instead, it seems almost endearingly defiant, a blockbuster flavoured with passive aggression.

Raining on their parade.

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132. Glitter (-#18)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Stacy Grouden, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Vondie Curtis-Hall’s Glitter.

Spotted as a back-up vocalist by fly D.J. Julian “Dice” Black, singer Billie Frank finds herself whisked away into a world of stardom and celebrity. However, Billie quickly discovers that fame and fortune do not offer the comfort and security that she has always craved.

At time of recording, it was ranked 18th on the Internet Movie Database‘s list of the worst movies of all-time.

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