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Non-Review Review: Raging Bull

I might disagree with the critical consensus that Raging Bull stands as Martin Scorsese’s crowning accomplishment, or even that it’s probably the best film of the eighties, but there’s no denying that it’s a shockingly powerful piece of cinema. The fact that Scorsese was originally reluctant to direct what had become a passion project for Robert DeNiro just makes the movie’s status as a masterpiece of modern cinema all the more ironic, as the film seems to play like a pitch perfect symphony, each of its many separate elements feeding perfectly into one another to create a whole that is far greater than its incredibly brilliant constituent elements.

The portrait of the boxer as a young man...

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Non-Review Review: Man on a Ledge

I was at the launch of the Jameson Film Fest last night, so Ciaran bravely jumped in to review Man on a Ledge for me. What a ledge(nd).

Man on a Ledge has a fairly simple premise. Nick Cassidy (Sam Worthington), a former policeman, is pushed to the ledge of a Manhattan¬†hotel in an attempt to clear his name after he was convicted of stealing a 40M$ diamond from David Englander (Ed Harris), a well established real estate investor. Nick demands to talk to officer Lydia Nercer (Elizabeth Banks), who was unsuccessful in her last negotiation with a suicidal cop, in order to form a large¬†crowding the street below. This crowd acts as a distraction while Nicks brother, Joey (Jamie Bell), and Joey’s girlfriend Angie (Genesis Rodriguez) break into one of David Eglander’s buildings, which is located across the road. The plan is to steal the diamond and prove Nick’s innocence.

Exactly what it says on the tin...

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Non-Review Review: War Horse

War Horse is a fairly solid prestige picture. Spielberg is on fine form, reminding viewers of just how he became an audience favourite. He displays a warm confidence with the material, as if getting comfortable once again with this sort of crowd-pleasing fare. The film has some fairly significant flaws, stemming mostly from a disjointed and disorganised screenplay, but it’s the director’s charm that manages to carry the film through. Ironically, for a film focusing on an equine, it feels like one of the most warmly human films that Spielberg has produced in quite a while.

No horse play!

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