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New Escapist Column! On How Henry Cavill Became the Internet’s Fave…

I published a new piece at The Escapist over the weekend. With the recent reaction to the news that Henry Cavill was no longer the DCEU’s Superman, there was public outpouring support for the actor. This is interesting, particularly given the contested nature of those films among online fandom.

It’s an interesting thing to contemplate, how Cavill has cultivated such popularity, despite never really breaking out as an actor. People seem to genuinely and unequivocally love Cavill, and the news of his departure generate a very public display of sympathy that is not always extended to creative talent in that position. So why does the internet love Henry Cavill? What is about Cavill that makes him more deserving of empathy than many of his colleagues and collaborators?

You can read the piece here, or click the picture below.

New Escapist Column! On How Film Culture Became Online Culture…

I published a new In the Frame piece at The Escapist this evening. With the publication of the once-in-a-decade Sight & Sound poll last week, it seemed like a good opportunity to dig into the results and consider what they say about modern film culture.

The list has provoked some response online for being too modern and too recent, including films like Portrait of a Lady on Fire, Get Out, Moonlight and Parasite. However, it’s part of a rich tradition of updating and modernising the cinematic canon. The most interesting aspect of the list is the way in which it demonstrates how film culture is online, how so many of the films to appear and climb on the list did so by becoming more readily and available, and by being embraced by an internet-literate generation of film critics.

You can read the piece here, or click the picture below.

308. feardotcom (-#67)

Hosted by Andrew Quinn and Darren Mooney, with special guest Diamanda Hagan, 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 Saturday at 6pm GMT.

This time, William Malone’s feardotcom.

Detective Mike Reilly has spent the past few years in pursuit of the online serial killer who goes by the name of “the Doctor”, a murderer who streams his crimes on the internet for all to watch. Reassigned after failure to show any results, Reilly finds himself investigating a seemingly unrelated case of contagion that is spreading through New York City. However, Reilly soon discovers that the two cases are more closely linked than he could have imagined.

At time of recording, it was ranked 67th on the list of the worst movies of all time on the Internet Movie Database.

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New Escapist Column! On the Dearth of the Monoculture…

I published a new column at The Escapist earlier this week. It’s been an interesting few weeks and months in terms of pop culture. There’s been a lot of debate about critics and the role of critics, there’s been a lot of news about pop culture that the internet doesn’t seem too excited about, and there’s been a lot of coverage about mundane aspects of The Batman.

All of these things speak to an interesting and ongoing anxiety about the “monoculture”, the idea of pieces of pop culture that are seismic enough to become part of the shared vernacular. The pandemic has had a number of major impacts on the production and the consumption of popular culture, and part of that has been an increasing sense of disconnect from a shared sense of the monoculture. However, is the monoculture truly dead? Or is it simply resting?

You can read the piece here, or click the picture below.

Non-Review Review: Profile

Profile is the latest entry in the so-called “Screen Life” series, produced by Timur Bekmambetov. It is also notable as the first entry in the series to be directed by Bekmambetov himself.

The “Screen Life” series is effectively a set of heightened genre movies that unfold through the screen of a laptop, narratives that unfold through chat boxes, Skype chats, playlists and file transfers. It’s an innovative and experimental approach to storytelling. While the results – Unfriended, Searching… and Unfriended: Dark Web – have varied in quality, the hook has always been fascinating. So much of modern life is navigated through screens that it is fascinating to see movies try to reflect that. Indeed, there’s an argument that movies like Unfriended play better on computer screens than they do in theatres or on televisions.

Translating the story to screen.

Profile adheres to the cinematic conventions of these sorts of stories, but it feels unnecessarily constrained in other ways. Each of the three previous films has been a genre exercise told through a computer screen. Unfriended and Dark Web are teenage horror movies, while Searching… is a delightfully schlocky nineties thriller reimagined through a web camera. In contrast, the subject matter of Profile is decidedly weighter. The film is based on the non-fiction book In the Skin of a Jihadist by Anna Ereklle, looking at online recruitment of young British girls by Islamic extremists.

This is an appreciably more grounded and more serious piece of subject matter than something like Unfriended or Searching…, and it’s interesting to see this cinematic language applied to this subject matter. After all, this is a digitally native story and a tale about the process of mediating the world through computer screens. However, Profiles suffers slightly from the need to frame this subject matter not through the lens of a web camera, but through the prism of genre, to transform something very real and very threatening into a heightened cartoonish thriller.

A new Skype of thriller…

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New Escapist Column! On the Legacy of “Game of Thrones”…

I published a new In the Frame piece at The Escapist this evening. With the tenth (or “iron”) anniversary of Game of Thrones coming up, it seemed like a good opportunity to take a look at the show’s enduring legacy – in particular, the disconnect between the internet’s narrative of that legacy and the reality of it. To listen to the internet, Game of Thrones ended in such a way as to erase its cultural footprint and any residual cultural goodwill towards it. It’s not uncommon to hear people talk, at length, about how nobody talks about Game of Thrones anymore. However, there’s a fascinating dissonance here, because Game of Thrones appears to be thriving by any quantifiable measure. You can read the piece here, or click the picture below.

It’s All About Meme Meme: The Perfect Timing of “The Wicker Man”…

The podcast that I co-host, The 250, marked Halloween with a look at Neil La Bute’s adaptation of The Wicker Man. It’s a fun, broad discussion. However, watching the film and talking about the film got me thinking about Nicolas Cage, meme culture and the perfect storm of timing involved.

It’s possible to break down Nicolas Cage’s career into two phases: before and after The Wicker Man.

Before The Wicker Man, Nicolas Cage was a respected actor. He had won the Best Actor Oscar for Leaving Las Vegas. He had become an blockbuster movie star thanks to films like The Rock and Con Air. He had worked with auteurs like David Lynch on Wild at Heart and the Coens in Raising Arizona. Indeed, at the turn of the millennium, Cage had settled into a respectable cinematic middle age. In the years leading up to The Wicker Man, he worked on fare like Andrew Niccol’s earnest Lord of War and Gore Verbinski’s decidedly middle brow The Weather Man.

And then The Wicker Man happened. Almost immediately, Cage’s career shifted gears. There were where still franchise films like Ghost Rider or National Treasure: Book of Secrets. There were still auteur collaborations like with Werner Herzog on Bad Lieutenant: Port of Call New Orleans. However, there were also movies like Bangkok Dangerous, Next and Knowing, which would lead on to films like Drive Angry, Seeking Justice and Trespass. Not all of these films were bad, but they were instrumental in establishing the Nicolas Cage audiences know today: “full Cage.”

To give Cage some credit here, his later work is often more interesting than his popular reputation would suggest. In particular, Cage works remarkably well in ensemble genre pieces like Kick-Ass or Spider-Man: Into the Spider-Verse. More than that, Cage works remarkably well in the context of films that are pitched to match his fevered intensity as a performer like Mandy or The Colour Out of Space. Nevertheless, The Wicker Man was very much a watershed moment for Cage, like the flicking of a light switch.

Part of this is simply timing. The Wicker Man arrived at the perfect moment in popular culture, as a seismic shift was taking place. Discussions about the history of cinema often focus on the mechanics and the politics of the industry itself – the way in which movies are produced, funded and distributed. This makes a great deal of sense. However, it’s also important to consider how movies are discussed and how audiences engage with those films.

The Wicker Man arrived at a moment where the internet was primed to change the way that movies were watched, and the impact on Nicolas Cage’s career is perhaps a graphic illustration of that seismic shift.

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New Podcast! The Time is Now – Season 2, Episode 15 (“Roosters”)

I have had the immense good fortune to appear on The Time is Now quite a lot lately, but was particularly flattered to be invited on to talk about Owls and Roosters, the big “mythology” two-parter in the late second season of Millennium. It’s an honour to join Kurt North for the second part of this conversation.

Owls and Roosters are two of my favourite episodes of television, because they demonstrate everything that Millennium did so well. They’re incredibly densely packed with information, in a way that really captures the sense of modern living – a constant influx of often contradictory stimulae that the individual often struggles to parse or process. In many ways, the second season of Millennium has aged remarkably well, capturing a sense of information overload in a manner that resonates even more strongly today than it did on broadcast.

As ever, you can listen directly to the episode here, subscribe to the podcast here, or click the link below.

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Non-Review Review: Fantasy Island

What, exactly, is the point of the Blumhouse reboot of Fantasy Island?

To be fair, Blumhouse are a studio with a varied track record. They have produced some of the most interesting and compelling mainstream horror movies of the past few decades, including films like Get Out and The Invisible Man. They have also produced a fair amount of cynical schlock, such as Truth or Dare. There are also a number of films that seem to exist in the middle ground between those two extremes, like The Hunt or Black Christmas. It’s certainly a more varied approach than the standard horror films that heralded the studio’s arrival, like Insidious or Sinister.

Palming it off.

Jason Blum is a shrewd producer, and there’s a sense in looking at the studio’s output of trying to balance competing artistic and commercial demands. Blum tends to keep budgets under control, but he also seems to offset the riskier and more ambitious projects with generic crowd-pleasing fare. Fantasy Island would seem to belong in that category, but exactly what crowd is it intended to please? Watching Fantasy Island is a strange experience, and not just because of the multitude of structural and storytelling problems.

On a more basic level: who exactly is this movie for?

Can’t stick the island-ing.

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108. Slender Man – This Just In (-#57)

Hosted by Andrew Quinn and Darren Mooney, This Just In is a subset of the fortnightly The 250 podcast, looking at notable new arrivals on the list of the 250 best(and the 100 worst) movies of all-time, as voted for by Internet Movie Database Users.

This time, Sylvain White’s Slender Man.

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