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Harry Pottering On: Research & Reviews…

This evening, I will be lucky enough to attend a screening of Harry Potter & The Deathly Hallows: Part II, and have a chance to get my review on-line. However, I must concede that I am not a Harry Potter fanatic. I haven’t read the books. I’ve seen the films, enjoyed the majority for what they are, only found one to be an exercise in tedium, and have a genuine respect for what they’ve managed to accomplish in bringing to life a fairly iconic series of books in a manner that can please both the hardcore fans and the casual movie-goer. However, as I brace myself to attend the screening tonight, I wonder what a film critic owes their subject matter in terms of research. Do I owe the people who made the film, and – possibly – the fans that are going to see it, enough to dig into as much of the back ground as possible before the cinema lights go down?

Witch approach should I adopt?

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The Dark Knight Rises Teaser Poster Has Arrived…

… and it is awesome. It’s done in that rather minimalistic approach as the early Dark Knight posters.

And we get a teaser this week. I am really excited, and I hope it’s half as effective as the teasers for Batman Begins or The Dark Knight, both of which were perfect examples of trailers that spurred interest and intrigue without giving anything away.

Click to enlarge...

Non-Review Review: Harry Potter and the Deathly Hallows, Part I

Even in this era of franchises and spin-offs and sequels and remakes to see a movie treated as a form of serialised fiction. I’m not even talking about a sequel hook inserted just before (or even during) the trailers, but I’m talking about literally taking one whole movie and dividing it and then releasing separately. It’s an approach that worked for The Empire Strikes Back and Return of the Jedi, and for The Lord of the Rings, but each Harry Potter film until now has felt like its own story, containing threads building towards a larger finale. Each instalment has been structured with a beginning, middle and end. With Harry Potter and the Deathly Hallows, Part I, we simply get a first act and what feels like the majority of the second. As such, it feels almost strange to review it without the companion film.

Harry's a wiz by this stage of the game...

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The Sequel Myth and the Death of Originality in Hollywood…

It seems that every other day somebody is taking the opportunity be bemoan Hollywood’s creative bankruptcy. The decision not to press ahead with Del Toro’s version of The Mountains of Madness sparked a similar debate a little while ago, and the success of films like The Fast & The Furious Five seem to be raising the topic once again as we enter summer. It’s become something of a mantra for film fans, quietly chanted and repeated, something that we can use to continually bash the studios over the heads with. And, truth be told, I’m tired of it.

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Summer 2009 in Review…

So, how was it for you? 

Long after the movies of summer are gone...

Long after the movies of summer are gone...

 

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Making Faith Cool Again, One Franchise at a Time…

Harry Potter and the Half-Blood Prince has dominated the news this week. Maybe that’s why I haven’t got anything majorly interesting to write on. Don’t get me wrong, I don’t hate the franchise. It’s perfectly unobjectionable entertainment. It’s just nothing too exciting or interesting to me. Anyway, one piece of Potter news that has grabbed my attention is an endorsement from a most unlikely source. Yes, the Catholic Church is trying to be cool again and they like Harry Potter.

Buddy Christ

Buddy Christ

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Remake me Beautiful

Whatever happened to originality? This is the first weekend since Wolverine kicked off the blockbuster movie season a month ago that there isn’t a sequel, prequel or reboot opening at the multiplexes in America. Despite the fact that Pixar’s Up and Sam Raimi’s Drag Me To Hell are reviewing very strongly, most box office folk seem to think that this will be a relatively quiet weekend at the old box office, which is a shame really when we’ve got two of the best reviewed movies of the year going head-to-head. Still, what happened to Hollywood’s originality?

Brideshead Revisited, Revisited

Brideshead Revisited, Revisited

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Is the Terminator Franchise Terminated?

In the knowledge that Terminator: Salvation has ‘only’ taken in $71m at the US Box Office, having cost over $200m to make and market, prognosticators are rushing to pronounce the Terminator franchise as dead. The facts don’t look good – so far it has earned less than the previous franchise killer (the disappointing-in-so-many-ways Terminator 3: Rise of the Machines), it is reviewing badly, and it got its ass handed to it by a Ben Stiller family comedy. This is surely bad news for Warner Brothers, the studio that produced the other $200m ‘dud’ of the year, Watchmen – but does it really signal the end for everyone’s favourite time-traveling robotic assassin?

No bones (or metallic endoskeleton) about it...

No bones (or metallic endoskeleton) about it...

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It was the summer of 2009…

Lately I’ve taken a bit of interest in Box Office numbers – I figure that might distract me from the fact Ryan Tuberty is hosting the Late Late. And looking at the few months ahead of us, I can see this being a very big summer for the US box office. In fact, I can see the film industry beating the recession with a large stick (cinema generally does quite well during recessions as it’s well, cheap), thanks to a fairly epic and broad lineup of blockbuster films.

It seems that just about every film this year is a sequel or prequel. Some (Angels & Demons) are both – it’s complicated (the book is a prequel the film is a sequel). We’ve had a relatively strong introduction to the season with the two prequels on offer. Neither Star Trek nor Wolverine broke any major records (though the Imax thing is pretty neat, as is the biggest second-week in May ever). I can see Star Trek having the legs to last in the background at least a month (which, given the onslaught of bigger movies and the disappointing staying power of other would be blockbusters, is really something).

Even before we reach the end of the month, we’ll have the second Dan Brown film, which can’t do too badly with a cast like Ewan McGregor and Tom Hanks and a cult following among a slightly older demographic usually ignored, the fourth Terminator film, which should do big business despite all the reasons that geeks have to worry, and the kid-friendly A Night at the Museum. Rounding off the month’s smaller (pbut possibly slow-burning) releases are Pixar’s Up and Sam Raimi’s return to cult horror with Drag Me to Hell. Again, neither should set opening weekend alight, but I’d expect a decent amount of business from either or both.

Then we have the traditional summer months. Summer movies have been creeping in earlier and earlier (Watchmen was arguably better suited to a summer release; Iron Man last year set the official start-of-season bell back at least a few weeks), but your meat-and-potatoes are here. These are the movies that cannot possibly fail, they are just that wired-in to cheesy pop sentiment. Michale Bay will confirm his title to the throne of summer blockbusters with a brainless sequel to a feature-length toy commercial with Transformers: Revenge of the Fallen, but even he will likely have to stand in the shade created by what most commentators have settled on as the biggest money-spinner of the year, Harry Potter and the Half Blood Prince. The series has built in devotees that Star Trek can only dream about, and they will be out in full force along with any parent looking to entertain a child over the summer months. This and the fact that my sources within the fan community tell me this is the best book points to a right to print money.

I think that GI Joe: The Rise of Cobra may falter as a brand with relatively little name recognition, despite the most over-qualified cast ever – Christopher Eccleston, people! On the other hand, I really hope that Michael Mann’s Public Enemies can do at least respectably, as the man generally delivers and has an amazing cast at his disposal.

All that said, I wouldn’t expect anyone to dethrone The Dark Knight or Titanic. I just think that culminatively the box office should be huge, but it could hugely backfire and lead to blockbuster fatigue, though I doubt it. It’ll be interesting to read the end-of-year numbers.

After that there’s the lonely Autumn followed by the glut of awards-bait. I’m already hyped about some of the movies we won’t be seeing on this side of the Atlantic for another nine months, but I’ll talk about them some other time.