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Sequel Query: Hollywood’s Fascination With Sequels…

Can you remember a year when the summer wasn’t dominated by sequels or spin-offs or reboots or prequels? If you can, most of them were probably adaptations. There’s been a lot of back-and-forth recently about the abundance of such films in the summer lineups, so I thought it might be worth a little exploration into the history of the sequel and of Hollywood blockbusters, and also worth considering the suggestion that has been mooted a lot recently: are movie-goers tiring of sequels?  

Even death couldn’t keep Spock out of the next Star Trek movie…

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Non-Review Review: For a Few Dollars More

Early in the movie, our anonymous bounty hunter, Blondie or The Man With No Name or whatever you want to call him, wanders into a tavern looking for his target. Identifying the bandit gambling at a table, inches from an impotent sheriff, the hunter wanders over to his mark. He silently grabs the cards and starts counting them out. The hardened criminal stares up silently, and he plays along. The game is poker. The two men settle their hands and trade their cards. The villain lays out his cards on the table. It looks good, and then the stranger reveals his cards. Of course, his hand is better. The gambler at the table looks up to this drifter who has so silently intruded on his game. Apparently behind the audience, he asks what the stakes were. As it always is in stories like this, “Your life.”

You know how it ends.

Sometimes you have to take the Good with the Bad...

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Dennis Hopper

I’ve been kinda sitting on my hands about this. I mean, far more eloquent and informed writers and sources have draft eulogies to the man. And movie stars pass away all the time, yet I’ve never paused to acknowledge them here. I don’t know, I guess I should probably write something, if only for my own reflection in years to come. This isn’t a well-informed article. These are just my memories and associations of Dennise Hopper.

Dennis Hopper, 1936-2010

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Does Machete Matter?

I imagine that Robert Rodriguez was bracing himself for controversy over his new film Machete. Given the uproar that the use of foul language in Kick-Ass caused, I think it’s safe to say that Rodriguez’s retro “mexploitation” film was just asking for trouble when it came out. I anticipated a lot of politically correct discussions about the film’s premise, and potentially some discussions of negative stereotypes it might evoke. However, I certainly could not have suspected that it would provoke some sort of “race war”.

Knife to see you...

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They’re Adapting: Why is “Unfilmable” Such a Dirty Word?

The word “unfilmable” is thrown around a lot these days. Mostly quite unfairly, but sometimes somewhat justly. It’s typically used as a go to word when somebody is genuinely terrified of what an adaptation of a certain work may look like, but don’t want to concede that the thought of what Hollywood will do to a clever and insightful idea chills them to the very bone (this is the system which turned down a chance to make Fahrenheit 451 because they couldn’t sell it to thirteen year olds). However, the word itself simply suggests that there are some ideas, stories, narratives, presentations, whatever that simply can’t be transitioned from one format to another – here, of course, the other is always cinema or television. So, is it ever fair to describe something is “unfilmable” and is there any shame in the idea?

Lost in Adaptation...

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Non-Review Review: The Road

Fire is a recurring image in the work of Cormac McCarthy. Particularly the notion of a generational line “carrying the fire” and being the good guys. There’s a moment at the end of No Country For Old Men, another adaptation of McCarthy’s work, where the tired sheriff played by Tommy Lee Jones shares a weird dream he’s been having with his wife, where he finds himself walking down a long road, and he passes his father – who is carrying a torch. It’s a powerful image, which really cuts to the heart of the piece. For those wondering what that road and that torch may actually look like… well, there’s this.

The Road less traveled...

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I Love the Eighties: Blockbuster Edition

I am a child of the eighties. It’s a bit of an irony that I am too young to actually recall any of the decade, but still feel more than a pang of nostalgia about it. Evidently I’m not the only one. Perhaps it’s in recognition of the turn of a new decade or the rise of a younger generation, but even a cursory glance at the big budget blockbusters coming our way this summer reveal that the times, they are a-changing. No longer is our fascination with quirky seventies sex comedies or gritty urban cop dramas of that decade: this year, we’re going back to the eighties.

The Expendables is a blast from the past...

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Robbin’ the Hood: Give The People What They Want…

I’ve been thinking (dangerous, I know). Specifically about Ridley Scott’s Robin Hood. I’m going to be honest with you, I was more than a little surprised at the way the film was put together. The film is, to borrow from the parlance of the times, an “origin” story. It’s about Robin, but before he was Robin. There is a single robbery over the entire course of the film, and it doesn’t really amount to much – it’s hardly the stuff of infamy. Instead, Robin is off doing battle with the French in a very manly, water-logged fashion. I tried to judge the film on its own merits (and I think my review is fair), but I’ve found myself thinking over the same question a lot since I saw it: Aren’t a lot of people going to be disappointed that there’s essentially little-to-none of the conventional tropes of a Robin Hood movie present?

Bringing the Hurt...

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Iron Man 2 – Who Is Keeping Score?

Occasionally something small and quirky comes to my attention which I can’t help but post here. In this case, it’s a unique (and clever) way of advertising Iron Man 2. Sure, it would be better if they spelt Terrence correctly, but who am I to judge?I found this over on Rope of Silicon.

Man of Iron, Feet of Clay: Nothing Succeeds Like Success…

A little while ago, I mumbled something about how ‘failure’ didn’t really mean much, despite how often the term was thrown around in discussions about films like Watchmen and Kick-Ass. They generally made their money back, received cult attention and didn’t enter the history books as massive wastes of time or energy – which I figured was kinda fair given that neither example was a box office bomb in the style of, say, Motherhood, Uma Thurman’s last film (opening weekend of £88 at the UK box office – I’m not kidding and I didn’t omit an ‘m’). Still, it looks like success isn’t a particularly better deal, given what is circulating on the web regarding Iron Man 2 and its opening weekend – just shy of $130m, I believe. When is success not success?

There may be blood in the water... but Ivan isn't the only shark circling...

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