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Is Film Criticism Ever Objective? Can Disliking a Film Ever Be Wrong?

Toy Story 3 seems to be pretty much universally loved. I say ‘pretty much’, because there are currently two negative reviews on-line about it. To put that in context, that’s two negative reviews out of nearly one-hundred-and-fifty on Rotten Tomatoes. As always happens with this sort of thing – reviewers expressing a ridiculously unpopular opinions – this has prompted a bit of a reaction on-line:

They rail against anyone who likes it, happily sitting alone on their bitter, hate-filled island. An island of wrong. Hundreds of film critics have proclaimed their love for Toy Story over the course of three movies and the two baldies who hate it can’t really tell us why. Most of the time film is subjective. This time it’s not.

So, is film criticism ever objective? Can an opinion ever be wrong?

Can you believe the Buzz about this film?

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Non-Review Review: Get Him to the Greek

I’m a big fan of Russell Brand but he seems to be somewhat overshadowed by Jonah Hill in Get Him to the Greek.  Hill easily steals the show and is the main reason this film is funny, I may even go as far as saying he’s the only reason this movie is funny.  Without Hill this movie may have fallen down, but luckily he keeps everything a float throughout the course of the film.

It's only rock'n'roll but we like it...

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Glass Houses: The Music of Philip Glass

I have the pleasure of checking out Philip Glass at the National Concert Hall tonight. Despite the fact that I know next-to-nothing about music, I’m quite fond of Glass’ rather wonderful compositions – mostly through pop culture osmosis. It seems that Glass is the go-to guy if you need something wonderfully emotional and catchy, yet grandiose and sweeping to accompany a given film. He’s done countless soundtracks, but these are the big “on-screen” moments which I think of when I think of Glass.

First up, Watchmen. There’s a wonderful sequence on Mars scored to Glass’ Prophecies and Pruitt Igoe, which is perhaps the best scene in the entire jumbled up and deeply flawed film, as the past and present collide to the ominous soundtrack and narration. However, I can’t find that, so watch the trailer instead.

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Why Del Toro Departing The Hobbit is a Good Thing…

The Hobbit is dead. Long live The Hobbit. Look, we all know it’s going to happen. Like the next James Bond film, the economics of the situation dictate that it must happen – a spin-off from The Lord of the Rings is too lucrative an opportunity to pass up, it’s an excuse to print money. Think of all the simple/theatrical/standard/deluxe/super/extended versions of the films have been released on video/DVD/HD DVD/Blu Ray. Now double that. So now you know why The Hobbit is going to happen, eventually. Unfortunately, I think we all know it’s not going to happen soon. And I’m here to tell you why Del Toro departing the film is actually a good thing.

Down the hobbit hole...

Note: This is part of a two-part article. Andrew over at the always wonderful Andrew at the Cinema is offering this article a jolly good rebuttal. Pop over and give it a read. Just make sure to spend a few minutes appreciating my flim-flam arguments before he pretty much destroys them with his advanced reasoning.

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Has Jonah Hex Killed the Comic Book B-Movie?

The reviews for Jonah Hex are not good. The box office for Jonah Hex is equally not good. I think it’s safe to say that there won’t be a sequel. But are the implications deeper than that? I’ve certainly read some suggestions that this might not just be a bad result for the bad ass, facially-scarred cowboy, but for fans of minor comic book characters in general:

Remember all those ambitious plans DC and Marvel’s film crews had to use their massive character libraries as movie R&D? After sub par returns for Kick-Ass, The Losers (two movies that deserved better box-office) and with Jonah Hex a near-certain bomb, fans may want to dial down those dreams of an Ant-Man or Booster Gold movie.

When the bell finally tolls in Hollywood for films based on B-list comic book characters – and you can bet Quasimodo is warming up in the bell tower — you might be able to blame Jonah Hex for being the tipping point.

So, has Jonah Hex killed any chance for lesser known characters on the big screen?

Has Jonah put a Hex on less popular comic book characters?

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Non-Review Review: Yes Man

Yes Man is a fairly standard romantic comedy with an inventive (but one-note) high concept. It does, however, have an ace in the hole: Jim Carrey.

Keep Pottering on...

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Who Do You Trust? Directors and Faith…

I remarked last week that I wholeheartedly trusted Christopher Nolan when he decided not to recast the Joker role in Batman 3, despite the fact that the character was rumoured to play a large in the planned sequel to The Dark Knight. However, it got me thinking as to what my reaction would have been had he announced that he was recasting the role, and that it was essential to the finale of his planned trilogy, and that (having worked with his star) Heath might even understand. I don’t know – I probably would have been a little skeptical and uncertain; I may even have hesitated at the suggestion. I accept, however, I probably would have trusted him on it. It’s a scarce commodity these days when the internet has given everyone a voice with which to trumpet their opinions and everybody has an opinion on everything. So, when should we trust a director? When do I trust a film maker, no matter what they choose to do?

Now that's trust...

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Non-Review Review: 88 Minutes

Remember when Al Pacino was great? Yeah, it was a while ago.

Wow, they're really trying to keep Pacino out of that taxi, aren't they? Not that I'd blame him for trying to get away from this film...

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Non-Review Review: The Box

I have an offer to make. If you push the button, two things will happen. First, someone, somewhere in the world, whom you don’t know, will die. Second, you will receive a payment of one million dollars. You have 24 hours.

“Arlington Stewart”

Such is the premise of The Box, a movie based on a short story by science fiction icon Richard Matheson, but one of the movie’s many problems is that director Richard Kelly apparently doesn’t find that premise interesting enough to sustain his film. That seems inherently pithy, considering that Matheson’s story Button, Button has been adapted for The Twilight Zone and as a radio play for CBS Mystery Theatre – there must have been something there. Instead, Kelly uses the eponymous box as a jumping off point into what can only really be described as “abstractsville”, taking a left at “crazy town”. There are moments in this film which work, but they are few and far between – there are large stretches of time when it is just infuriating.

James Marsden counts up the box office receipts... they aren't good...

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Are Spin-Offs the New Sequels?

It seems that year-on-year, the cinemas are flooded with sequels to banal action movies. This year we have Iron Man 2, Shrek 4, Predators and Sex and the City 2, among others. It’s been that way for years. If you summer blockbuster isn’t an adaptation (of television show, novel, comic book, earlier film or even video game), chances are that it is a sequel (or a prequel). It makes shrewd business sense. Given the huge amount of money spent on these tentpoles ($150m for just the production budget, let alone other costs), so it feels somewhat safer to spend it on a known quantity. Franchises have built in fanbases, more merchandise, already had several DVD releases (which means more people are aware of it than casual cinema goers), which means a bigger audience, more awareness and more money. It can be quite exhausting, however, from a cinema goer prospective. However, Hollywood likes to innovate in its own insanely boring way. Much as they redefined cinema by bringing back a gimmick from the fifties, and turned the glut of sequels into prequels, it appears Hollywood has found a new way of generating money from established properties: the spin-off.

Think of the Gross, baby!

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