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New Irish Independent Column! On the Rehabilitation of the “Star Wars” Prequels…

I published a new piece at The Irish Independent this evening. With the release of Obi-Wan Kenobi next week, it seemed like a good opportunity to take a look at the slow and steady rehabilitation of the Star Wars prequels.

To a certain generation of Star Wars fans, the prequels will always be an abomination. Over the years, the three films have become a punchline to a joke that nobody began, an impression reinforced through popular culture. However, recent years have seen an appreciable shift in how the prequels are portrayed, with fans seeming to come around on the films and Disney seeming to fold them into the larger marketting of the brand. It’s interesting to look at how (and why) that happened.

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

Non-Review Review: The Lodgers

The Lodgers is a beautifully-directed and somewhat muddled gothic horror film.

The Lodgers literally drips with atmosphere, as one might imagine given the combination of writer David Turpin and director Brian O’Malley. Turpin has studied and lectured in English, writing his doctoral thesis on therianthropy. O’Malley directed Let Us Prey, one of the most visually striking and memorable Anglo-Irish horror films of the past couple of years. As such, a gothic horror set against the backdrop of Irish Independence seems very much in keeping with their aesthetics, and it does not disappoint.

The fall of the house of Lodgers.

The Lodgers is a rich piece of work, both in terms of visuals and themes. Like any good horror story, the subtext simmers through the work, O’Malley and Turpin tapping into rich veins of social and political anxiety, often weaving those threads together in a compelling and exciting manner. The Lodgers might be best described as the work of Edgar Allan Poe channeled through a seance with William Butler Yeats. It feels undeniably Irish, rooted in the land and its people.

At the same time, The Lodgers suffers slightly in its own internal mechanics. Like the big house at the centre of the story, the construction is largely sound. However, there is a sense that some upkeep and maintenance might be required. The Lodgers is undercut by a number of key defects including its casting and its dialogue. The Lodgers is visually striking and rich, but it stumbles in some of its more basic elements.

Stairway to heaven.

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