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Watch Out! The James Cult Film Club is Doing Intermission, 18th June 2013, Dublin!

I’m a big fan of the Jameson Cult Film Club. It exists as an ode to classic movies, finding a way to stage beloved classics in a way which encourages audiences to re-engage with them. Transforming a piece of Dublin into a set from the film, hiring actors to bring certain key sequences to life, even serving appropriate snack food, these events are a joyous celebration of pop cinema.

Their next film will be interMission, which is one of my favourite Irish films of the past decade. It feels appropriate to celebrate the movie’s tenth birthday with a celebratory showing at a secret location in the cinema. It’s a great choice, and it’s always a good excuse to celebrate a quality piece of Irish cinema.

intermission1

Anyway, we’ll hopefully have some tickets to give away in the next week or so to the showing on the 18th June. As with all the Jameson Cult Film Club screenings, the event is free of charge – which is quite nice, I have to say. Tickets are randomly raffled off, and you can sign up as a member at the Jameson Cult Film Club website. If you want some examples of their good work, we’ve got some photos from their screenings of The Blues Brothers, Silence of the Lambs and L.A. Confidential, among other things.

I’m normally quite wary of offering whole-hearted unqualified endorsements on the blog, but it’s really something I’d recommend that every cinephile should try at least once. And, if you’re reading this from outside of Ireland, feel free to check out interMission for a decidedly Irish piece of cinema. Only In Bruges really comes close to it – and that really falls into the quasi-ambiguous “Father Ted” category of “is it an Irish piece of entertainment?”

intermission

In the meantime, I’m off to make myself some tea. Maybe even with brown sauce.

Non-Review Review: Summer in February

Summer in February is a lazy and contrived piece of pretentious twaddle. Exploring the true story of a colony of artists living off the coast of England in the early years of the twentieth century, it never offers anything more than a fleeting sketch of its characters and the world they inhabit. Benjamin Wallfisch’s powerhouse period score does a lot of heavy lifting, but it can’t do anything to keep the movie afloat. At one point, early in the film, artist AJ Munnings settles a hefty bar tab with an improvised drawing on the back of a bill. This film feels like it would be hard-pressed to pay for a glass of tap water.

summerinfebruary3

Ride away from the cinema! Away!

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Non-Review Review: The Hangover, Part III

There was a time when The Hangover seemed like a breath of fresh air. It wasn’t so much an original story or set-up. Rather, it was a devil-may-care attitude and unrepentant immaturity. It was bold and it was willing to do absolutely anything it needed to in order to get a laugh. It worked because of that sheer commitment and energy, energy that is mostly absent from this final instalment. “Leslie Chow is madness,” a character boasts at the climax of the film, talking about one of the franchise’s popular recurring characters – but he may as well be talking about the film itself. “You don’t talk to madness,” he insists. “You lock it in your trunk…”

It’s a nice call back to the very first film and the first time we met Ken Jeong’s “Mr. Chow”, but it also speaks to the weaknesses of The Hangover, Part III. Somewhere along the way, the madness was lost. The high-octane “anything can happen” spirit of the original film leaked out of the two sequels. I’m fonder of The Hangover, Part II than most, but it is a cheap imitation, a repeat of a joke that was hilarious the first time and passable a second.

It’s to the credit of Todd Phillips that he doesn’t try to emulate the same formula a third time. I appreciate that a few efforts are made to push the trilogy into a shape resembling a circle, but it feels so much more contained and so much more rote than it did all those years ago.

I wouldn't get too excited, Alan...

I wouldn’t get too excited, Alan…

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Non-Review Review: Byzantium

Byzantium is visually stunning and thematically fascinating, a thoughtful and well-constructed vampire tale from the director of Interview with a Vampire. Neil Jordan’s latest bloodsucking epic might lack a narrative cohesion and take a while to get going, but it’s still an interesting exploration of the genre. Jordan has a wonderful skill for composition, and his flair ensures that the story of two ageless female vampires always looks breathtaking, even if the story does take a while to get going.

Talk about running red...

Talk about running red…

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Non-Review Review: The Fast & The Furious 6

The ideal The Fast & The Furious film could only properly be summated with hand gestures and poorly improvised sound effects. “Rrrrrrr….” and then (wavy hand movement) and then “smack!” and then (index finger jams into opposite palm), followed a “bb’tccccch…” and (outward gesture of hand indicating explosion). Fast Five came close to being that perfect macho car chase film, one less concerned with plot and performance than a riveting high-octane spectacle treating its human cast as much like props as the vehicles they drive.

The Fast & The Furious 6 backs away a great deal from the charm of the previous film. There’s the same dumb action set pieces delivered in a charmingly intense manner by Justin Lin, but the script feels over-plotted. There are lots of big emotional moments between an ensemble that really wasn’t built to give those sorts of performances. There are lots of shocking revelations from events several films earlier. There are lots of personal conversations where Lin has no idea what to do with the camera but circle around his actors and hope that the audience doesn’t get too bored.

Not so fast...

Not so fast…

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Non-Review Review: Epic

Epic looks stunning. While it doesn’t necessarily push the envelope in terms of 3D rendering or animation, it’s often quite beautiful to watch. Even in 3D, the vibrant greens radiate off the screen, with the characters having a pleasant elasticity to them. The action sequences are well-staged and the choreography is generally impressive. However, despite this, Epic winds up feeling rather shallow. Perhaps it’s a result of the decision to develop the world as a priority, rather than the characters inhabiting it.

The story is more a collection of familiar tropes and set-pieces than a compelling narrative, and none of the lead characters are ever developed beyond basic archetypes. There’s the plucky heroine, the roguish hero, the gruff mentor, the free-spirited wise oracle, the drôle accented bad guy, the comic relief and even the kooky dad. None feel of any real substance, which is a problem when you’re executing a plot as straight-forward as this.

It's a slug's life...

It’s a slug’s life…

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Non-Review Review: Dead Man Down

This is intriguing. Dead Man Down feels like a blend of a European revenge thriller with a more straight-forward American crime film. Director  Niels Arden Oplev has established his credibility with his work on the original version of The Girl With the Dragon Tattoo, even it I am less fond of the film than most. His first America film is an interesting experiment, even if Oplev can’t quite pull it off as seamlessly as the material requires.

Dead Man Down buckles a bit under the weight of two sets of genre requirements. It is by turns quiet, withdrawn and introspective, but also loud, overwhelming and exposition-filled. These two facets of the film – feeling like the demands of a European film against an American mainstream release – seem to be at war with one another. The result is something that is more interesting than entirely satisfying.

They do make a bloody mess...

They do make a bloody mess…

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Non-Review Review: Evil Dead (2013)

Evil Dead does has a bit of a quirky charm to it, serving as perhaps the best-made horror throwback I’ve seen in quite some time, much more effective than most of the recent splurge of exorcism movies. As far as competent execution of classic horror movie tropes go, complete with the sense of “something gruesome’s gonna happen” dread and a healthy amount of gore, Evil Dead succeeds admirably. There are some issues in the final act, but Evil Dead checks all the necessary boxes, and does so with a minimum amount of fuss or pretension, which makes it a surprising enjoyable watch for those looking to enjoy a good old-fashioned video nasty.

That said, it can’t help but feel a little awkward, through no fault of its own. Sam Raimi’s Evil Dead was a genre classic which worked in a large part because it eschewed all but the most basic tropes of horror storytelling, refusing to dress a video nasty in anything too fancy. The movie came to embody a particular subgenre of horror, and it wore its grotesqueness on its sleeve. Last year, Cabin in the Woods offered a fitting follow-up, a capstone to that approach to horror. As such, through no fault of its own, this version of Evil Dead feels like it arrived a little late.

Down the rabbit hole...

Down the rabbit hole…

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Non-Review Review: Olympus Has Fallen

It’s easy to see why Die Hard is such a popular action movie template. It’s a formula that is very hard to do wrong. Sure, you might end up with a clumsy and disjointed mess of movie, but the format of man trying to save hostages in a base under siege is so straight-forward that it’s almost always an effective vehicle for an action film. Olympus Has Fallen takes that familiar movie outline and rigidly adheres to it. After all, once you’ve figured out the formula, all you have to do is plug in a few variables and a movie practically makes itself. As compared to a boat or a train or in a stadium, Olympus Has Fallen at least has ambition. It’s Die Hard in a White House.

It’s a clumsily constructed film, one that doesn’t excel at anything and fumbles at quite a few things. However, there’s only so far you can screw up a formula and Olympus Has Fallen winds up being a watchable, if very far from exceptional, mid-tier action film.

"Look, this is what happens when terrorists attack while Bruce Willis is on holiday..."

“Look, this is what happens when terrorists attack while Bruce Willis is on holiday…”

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Non-Review Review: Oblivion

Director Joseph Kosinski wears his science-fiction interests on his sleeve. Tron: Legacy was obviously an update of an eighties science-fiction cult classic, and Oblivion feels like another form of pulpy homage. At its best, Oblivion feels like a spiritual successor to those wonderful cult science-fiction movies of the seventies and eighties, by way of classic version of The Outer Limits. Oblivion isn’t the strongest piece of science-fiction I’ve seen this year, nor the most ambitious, nor the most intelligent.

The movie is full of twists and turns, but few that any genre aficionado will fail to see coming. Instead, the movie largely works because it feels like an affectionate homage to those old-school post-apocalyptic pulpy sci-fi adventures. It’s cinematic nostalgia, but it’s lovingly crafted and skilfully rendered. Kosinski might not be the best storyteller working in the business, but he has a wonderful eye and keen sense of how to construct a beautiful scene.

On top (what remains of) the world...

On top (what remains of) the world…

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