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280. Apocalypse Now (#53)

Hosted by Andrew Quinn and Darren Mooney, this week with special guests Alex Towers and Brian Lloyd, 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 second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, Francis Ford Coppola’s Apocalypse Now.

In the midst of the Vietnam War, Benjamin Willard is given a special assignment. He is tasked with taking a patrol boat up the Nung River in pursuit of Colonel Walter Kurtz. Kurtz has apparently gone completely rogue, no longer responding to directives from command. Willard is instructed to terminate Kurtz’s command, by any means necessary. However, as Willard journeys deeper into the country, he finds himself drifting further and further from reality, embracing some sort of primal insanity.

At time of recording, it was ranked 53rd on the list of the best movies of all time on the Internet Movie Database.

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279. The Conversation (#—)

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

So this week, Francis Ford Coppola’s The Conversation.

Harry Caul is one of the best surveillance operators in America. However, when Harry finds himself in possession of a potentially inflammatory recording with very real consequences, he finds hismel at a crossroads. Can the professional eavesdropper remain a passive observer in the drama unfolding around him, or will events force him into a more active role?

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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278. The Godfather: Part III/Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone (#—)

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

So this week, both Francis Ford Coppola’s The Godfather: Part III and Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone.

It is 1979. Michael Corleone has solidified control of the Corleone crime family, and hopes to take the family business completely legitimate by striking a deal with the Vatican Bank. Trying desperately to reunited his fractured and divided family, Michael quickly discovers that organised crime isn’t the only place where criminals are lurking, ready to strike.

At time of recording, neither movie was ranked on the list of the best movies of all time on the Internet Movie Database.

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275. The Godfather (#2)

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

So this week, Francis Ford Coppola’s The Godfather.

Michael Corleone has spent most of his life running away from his family connections, enlisting in the United States Marines to avoid the siren call of his father’s organised crime empire. However, when Michael returns home for his sister’s wedding, events conspire to draw the prodigal son back into the family business.

At time of recording, it was ranked 2nd on the list of the best movies of all time on the Internet Movie Database.

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Who Spoils the Spoilers? On the Right Not to Be Spoiled…

Apparently, spoilers are good for you. Well, that’s what one survey from August suggests:

UC San Diego psychology researchers Nicholas Christenfeld and Jonathan Leavitt wanted to test if being spoiled hurt someone’s enjoyment of a story. So they took 30 test subjects and let them read 12 short stories by famous authors like John Updike, Roald Dahl, Anton Chekhov, Agatha Christie and Raymond Carver. Some they just read straight, others they read with a paragraph beforehand that ruined the ending or major twist in the piece. In almost all of those cases, the reader liked the story more when they were spoiled.

Published way back in August, this generated quite a bit of on-line discussion, and a lot of people were quick to suggest that the logic held true for movies as well, and modern blockbusters at that. It seems like a ready-made defense for those posting a constant stream of spoilers for The Dark Knight Rises, or leaking plot twists for various popular television shows. However, I’m not necessarily convinced by this logic.

This survey is suspect…

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Non-Review Review: Supernova

I’m going to be honest. I like B-movies. I have a soft-spot for a nice cheesy bit of entertainment that doesn’t demand to be taken seriously, and I can forgive a movie some bad acting or dodgy special effects, if the core ingredients are at least marginally interesting. Hell, I actually honestly enjoyed Event Horizon, something not too many other people will confess to. However, watching Supernova, a surprisingly lame rip-off that comes from a handful of directors (including Francis Ford Coppola), I found myself struggling to find anything to remotely enjoy. Instead, I spent most of its relatively short runtime counting down the seconds until it was over.

Guess which one of these gives the least mechanical performance...

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Twixt a Rock and a Hard Place: Francis Ford Coppola, Movie DJ…

A large part of me has tremendous respect for Francis Ford Coppola, even if his stock was considerably diminished by the twin misfires of The Godfather, Part III and Bram Stoker’s Dracula in the nineties. However, it takes a significant amount of courage to pretty much turn your back on major movie studios and produce a string of relatively independent and relatively experimental films, especially when you could legitimately be described as one of the main architects of modern cinema. Part of me wonders what would happen if George Lucas and Steven Spielberg attempted something similar to the string of low-budget arthouse releases Coppola has directed in recent years. His latest film, Twixt, comes with a gimmick that would put 3D to shame. The director is taking it on tour, and will apparently “remix” it for each and every audience. There’s no guarantee that two different audiences will see the same film.

Mixmeister Coppola...

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On Second Thought: Apocalypse Now (Redux)

I wrote in my review of the original version of the movie that the two-and-a-half-hour cut captured a great deal of the insanity that seems to have been a defining characteristic of the Vietnam War, with the movie feeling like a crazed surrealist trip into madness, a collection of abstract meditations on the American condition that felt compressed at over two hours. If that is the case, Apocalypse Now Redux captures another aspect of the conflict. It’s now less insane, but the instability and absurdity appear more systemic and endemic. It’s bloated, terrifying, harrowing and seemingly eternal.

Much like the war itself.

Back into the Heart of Darkness...

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Non-Review Review: Apocalypse Now

Apocalypse Now was what might be described as a “troubled” production. Francis Ford Coppola was never intended to direct the film, which ran into trouble with local weather and local politics, undergoing script changes on a daily basis, an overweight and overpaid Marlon Brando who refused to read either the script or the book it was based on (leading Coppola to read it to him), Dennis Hopper’s drug addiction and countless other factors. Actor Martin Sheen at one point had a massive heart attack and had to walk a quarter of a mile for help, which Coppola had to cover up (claiming he collapsed due to exhaustion and filming with extras and voice doubles) for fear of losing funding. Al Pacino had been considered for the role, but had the foresight to turn it down, with Coppola suggesting, “Al would do the film, if we could film it in his apartment.” If that’s true, he might be the smartest person associated with the production.

I mention this, because I think a significant amount of that trouble seems to feed through the film. There’s a sense that isn’t a safe production, which is somewhat fitting, given the subject matter.

Up the creek...

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When Average Just Isn’t Good Enough: Do Better Directors Have Further to Fall?

I watched Cop Out at the weekend, and I have to admit it was just about okay. It wasn’t terrible, but it wasn’t consistently funny. It had moments of wit, but they were separated by pointless and boring scenes. It had a talented cast, but didn’t do anything with them. I wouldn’t describe it as a bad film, but I wouldn’t advise you to rent it (or otherwise seek it out). However, there was a stronger and more bitter taste in the air. There was something especially disappointing about the film, because of its director. Cop Out was a Kevin Smith film, and it actually felt a bit worse than it arguably should have because I knew the director was capable of so much more. Am I the only one who tends to be more disappointed by an average film from a talented filmmaker than perhaps even a bad film from an untalented director?

Feels like a bit of a cop out...

 

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