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New Escapist Column! On the Computer-Generated James Dean and the Collapse of Movie Stardom into Intellectual Property…

I published a new In the Frame piece at Escapist Magazine yesterday evening. This one covered the news that a computer-generated James Dean would be starring in a significant secondary role in the upcoming Finding Jack.

It’s an interesting precedent, the resurrection of a dead star to appear in a work completely unrelated to their previous commitments or roles. In some senses, although this particular case is very odd, it feels like a trial balloon for a larger shift happening behind the scenes. Over the past couple of decades, Hollywood has been moving closer and closer to intellectual property as a driving force behind its movie-making. The idea that movies could be populated with computer facsimiles of recognisable stars represents an attempt to collapse movie stardom into that intellectual propertisation.

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

Non-Review Review: Life (2015)

The biggest problem with Life is that the film is largely lifeless.

Life is the story of the iconic photographs of James Dean taken by photographer Dennis Stock in the run-up to the release of East of Eden in March 1955. At that point, Dean was a young actor on the cusp of stardom. As the premiere of East of Eden approached, Dean still aspiring towards his definitive role in Rebel Without a Cause. Dennis Stock saw something in the young actor, believing he might capture a moment of cultural change in the brooding young actor.

"The coat, he borrowed from James Dean..."

“The coat, he borrowed from James Dean…”

Even if they didn’t make the cover of Life magazine, Stock’s photographs have come to define Dean in the popular memory. These photographs capture Dean at his most brooding and his most joyous, capturing the extremes of his experience. Snapping Dean walking through the rain in Times Square or reading comics with his brother, Dennis seemed to trap some of the essence of the actor in his work. Life centres on the complicated relationship that exists between the two men, as they attempt to get a read on one another and navigate the taut waters of celebrity.

However, for a film inspired by (and derived from) an instantly recognisable set of photos, there is something just a little bit too staid about Anton Corbijn‘s two-hour long character study. It feels like a loose selection of pop psychology strung around some faithful recreations, missing the vibrancy and the intimacy that made those shots so distinctive.

#HairRaising

#HairRaising

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The Movies Made Me Do It: Media Sensationalism and the Influence of Violence on Behavior…

I had the good fortune to watch the first three films in the Scream series last week, and it was quite an entertaining little experience. Well, mostly – the third one kinda sucks, but let’s not get into that here. I picked up on quite  few things I’d missed the last time I’d seen them, about seven or eight years ago, and one of the most interesting themes played with over the course of the series was the idea that violence in films serves as some sort of influence on kids, desensitising and even encouraging the practice of violence upon others. It’s a fascinating topic, one that I personally feel quite strongly about – but, at the same time, it’s a subject so big and so controversial that it’s probably quite difficult to make a new or witty observation upon. Still, the films inspired me to revisit the premise, and to ponder to myself.

A taste for violence?

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