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Non-Review Review: True History of the Kelly Gang

This film was seen as part of the Virgin Media Dublin International Film Festival 2020. Given the high volumes of films being shown and the number of reviews to be written, these may end up being a bit shorter than usual reviews.

It’s very lucid,” notes a supporting character of the eponymous text.

The young teacher has just read the introductory paragraph of a letter that outlaw Ned Kelly has prepared for his son, a way of sharing the truth of events with his heir. Kelly will subsequently bind the paper to himself, wrapping it to his midsection beneath plates of metal armour. That same teacher will later ruminate on the blood-stained documents, dismissing Kelly’s story as nothing more than “the ravings of a madman.” Perhaps both statements are true. Perhaps the letter is more true for the fact that it is incoherent and existential poetry.

True History of the Kelly Gang prefaces its title with a warning to the audience that “nothing you’re about to see is true.” The word “true” then serves as a bridge from that preamble into the movie itself, lingering on the screen long enough to be incorporated into the no-frills titlecard for True History of the Kelly Gang. Truth and fiction linger and intersect, contradictions rippling through the finished film. Watching True History of the Kelly Gang, one gets a sense of how these contradictory statements can each be accurate in their own way.

True History of the Kelly Gang is both a vivid waking dream and a complete narrative mess, simultaneously.

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Non-Review Review: Assassin’s Creed

“What the f%$k is going on?” asks Michael Fassbender about halfway through the film.

It is not the first time that Cal Lynch has asked this question. Earlier on, the character wondered out loud “what’s happening?” after waking up following his state-sanctioned execution and being hooked up to a gigantic robotic claw that yanking him into the air mid-sentence. The audience is probably asking the same questions as Assassin’s Creed bounces across time and space with mountains of exposition (occasionally helpfully subtitled) about rival societies conspiring to find an artefact that can harness (and eliminate) mankind’s free will.

The Fass and the Furious.

The Fass and the Furious.

To be fair, incoherence is not the real problem with this disjointed video game adaptation. In fact, there is a certain weird charm to watching the amazing cast and the game director react to the crazed concepts that they have been dealt. For the first hour or so, the sheer weirdness of the film proves compelling, drawing in audience members willing to resist the tonal whiplash and laboured exposition as the film rockets along. What ultimately kills Assassin’s Creed is not its lack of sense, but the stubborn insistence that it must make sense.

Assassin’s Creed would be a stronger film were it willing to revel in its incoherence instead of trying to impose order upon it. The gonzo plotting and zany high concepts give the film a strange texture, but the problems do not really kick in until Assassin’s Creed starts awkwardly and painfully trying to construct a rational framework around this bizarre cavalcade. The result is to wed a visually hyper-kinetic and tonally unruly film to an incredibly tired generic plot that winds transforming the film into a plodding mess.

He's so hot right now.

He’s so hot right now.

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Non-Review Review: Macbeth

Justin Kurzel understands Macbeth.

A lot of Shakespeare’s work is viewed through the lens of cultural importance, and quite rightly. His plays codified a phenomenal amount of the English language in use today, incorporation and amalgamating words and phrases that people use without even thinking. Shakespeare codified drama and storytelling in the English language, to the point where any number of his plays can be cited as the defining example of particular styles of dramaturgy. There is no other figure who can cast such a shadow over English-language culture.

A Field in Scotland...

A Field in Scotland…

However, the tendency to treat Shakespeare’s works as priceless artefacts – an attitude engrained by the (rightful) reverence they receive and the way that they are taught in schools – is to miss the vitality and excitement of his work. Shakespeare might have endured as the defining wordsmith of the English-language, but before that he was just a really popular writer with an incredibly populist touch. His plays existed as spectacle before they became holy relics. The jokes played to the galleries packed with punters wanting both high and low culture.

As much as Macbeth might be a searing and insightful exploration of the relationship between violence and masculine identity, it was also pure unadulterated pulp. Justin Kurzel plays up this pulpy spectacle, crafting a version of Macbeth that anchors apocalyptic horror in two amazing central performances. Macbeth is a joyous and horrific piece of cinema, brutal and beautiful in a way that befits its source material.

Oh I just can't wait to be king...

Oh I just can’t wait to be king…

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