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334. John Wick: Chapter 4 (#181)

Hosted by Andrew Quinn and Darren Mooney, 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 second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, Chad Stahelski’s John Wick: Chapter 4.

Still exiled and alone, John Wick wanders through the global criminal underworld. As his friends fall around him and the knives of the High Table close in around him, the assassin finds himself contemplating an uncomfortable question. What does he actually want? What can he actually accomplish?

At time of recording, it was ranked 181st on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On the “John Wick” Movies as a Love Letter to Stuntwork…

I published a new In the Frame piece at The Escapist this evening. With the upcoming release of John Wick: Chapter 4, it seemed like a good opportunity to take a look back at the action franchise.

In modern Hollywood, the John Wick movies stand out from a lot of their competitors by embracing a very practical and material philosophy, leaning heavily on in-camera effects for maximum impact. However, the films are more than just a showcase for stuntwork as one of the industry’s most undervalued artforms. They are also an argument for stunt work as an artform unto itself, particularly in the way that they emphasis the importance of action as a means of storytelling and the way in which they frequently place their stunts in the context of more broadly-accepted forms of artistic expression.

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

New Podcast! Craft Disservices – “Constantine”

I was delighted to join the wonderful Aaron Coker for an episode of his film podcast, Craft Disservices.

The premise of the podcast is built around the discussion of movies that were perhaps undervalued at the time, or that were greeted with critical hostility, and placing them in a broader context. Constantine is an interesting subject for such a reappraisal, and not just because there has recently been a sequel announced. Constantine represents one of the last of a certain breed of comic book adaptations, movies willing to play fast and loose with the lore in the process of translating them to screen. It is also a movie that exists among the last of a wave of truly diverse comic book adaptations before the superhero genre takes over.

You can listen directly to the episode below or by clicking here.

304. Speed 2: Cruise Control (-#97)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Jason Coyle and Richard Drumm, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Jan de Bont’s Speed 2: Cruise Control.

SWAT team member Alex Shaw decides to take his girlfriend Annie on a luxurious ocean cruise, planning to propose to her. Fate has other plans, in the form of mysterious terrorist John Geiger, who has a score to settle and a score to pull, hijacking the liner and setting it on a collision course for disaster. Soon enough, it isn’t just Alex and Annie’s relationship that finds itself careening out of control.

At time of recording, it was ranked 97th on the list of the worst movies of all time on the Internet Movie Database.

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New Podcast! Your Feature Presentation – “Does Resurrections Bring the Matrix Back to Life?”

The Escapist have launched a new pop culture podcast, and I was thrilled to join Jack Packard and Marty Silva for the third episode. With the recent release of The Matrix Resurrections and The Book of Boba Fett, it seemed like a good opportunity to talk about both.

New Escapist Column! On How “The Matrix Resurrections” Utilises Franchise Nostalgia…

I published a new In the Frame piece at The Escapist on Friday. With the release of The Matrix Resurrections on HBO Max and in theatres, it seemed like a good opportunity to take a look at the film and its themes, in particular its relationship with the earlier films in the franchise.

The Matrix Resurrections exists as part of a larger wave of long-delayed nostalgic sequels to older franchises, from Space Jam: A New Legacy to Ghostbusters: Afterlife to Spider-Man: No Way Home. However, what distinguishes The Matrix Resurrections from these other examples is the way in which it uses nostalgia to a very specific purpose. It’s a film that is aware of both the passage of time since the original film and very engaged with the debate over the reason for its own existence. The result is a movie that has something meaningful to say about the modern movie landscape… and much beyond.

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

New Escapist Column! On Deconstruction of the “Matrix” Sequels…

I published a new column at The Escapist yesterday. With the looming release of The Matrix Resurrections, it seemed like a good opportunity to take a look back at The Matrix and its two sequels The Matrix Reloaded and The Matrix Revolutions.

The Matrix is one of the great “Chosen One” narratives of the late nineties, and a film that had a profound cultural impact. Its legacy is surprisingly controversial, and that makes the two sequels to the film particularly interesting. Both Reloaded and Revolutions play as a response to the themes and ideas of The Matrix, picking apart the “Chosen One” narrative and the easy “us vs. them” binary. In contrast, Reloarded and Revolutions explore how that sort of mythmaking is often part of larger systems of oppression.

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

New Article! On the Hidden World of “John Wick”…

I was thrilled to contribute to the latest issue of Pretty Deadly Films, the new online film magazine being published by Film in Dublin. This third edition of the magazine is dedicated to John Wick, so I thought it might be interesting to look at the hidden world of John Wick.

In some ways, John Wick positions itself as a successor to The Matrix. It is directed by two stuntmen who worked on the series and stars Keanu Reeves. Laurence Fishburne joined the ensemble in the second film. It is also a film about hidden subcultures and secret worlds, which positions it as a successor to similar films from the late nineties in which the real world is an illusion – Dark City, The Truman Show, The Thirteenth Floor. However, what distinguishes the hidden world of John Wick from those earlier films is a profound cynicism. To know the truth is to be trapped by it.

You can read the issue here, browse back issues of the magazine here or click the picture below.

Non-Review Review: Bill & Ted Face the Music

Bill and Ted Face the Music is a solid legacy sequel, if not a spectacular one.

The third Bill and Ted movie has been in the works for a long time. It has been gestating for years in various states, driven by the enthusiasm of writers Chris Matheson and Ed Solomon, and stars Keanu Reeves and Alex Winter. Bill and Ted’s Bogus Journey had the relative good fortune to arrive only two years after Bill and Ted’s Excellent Adventure, but Bill and Ted Face the Music emerges after a thirty-year gap in which the original films have gone from charming curiosities to bona fides cult classics.

Old friends.

This is to say that Bill and Ted Face the Music faces a challenge that is every bit as impossible as that facing the eponymous heroes. Providing a fitting capstone to a franchise that has grown from humble beginnings to legendary status is a monumental task, on par with trying to unite the world through music. Indeed, perhaps the smartest thing about Bill and Ted Face the Music is the way in which it recognises that the task it has set itself and its two leads is insurmountable.

Bill and Ted Face the Music is a charming film, one that largely coasts on the delightful ironic earnestness of its two lead protagonists and a sincere affection for all of its characters. It’s hard to resist Bill and Ted Face the Music, with its playfulness and its breezy sensibility. However, the film doesn’t entirely work. It struggles with pacing, it struggles to anchor its ensemble together, and it often feels like it is trying to do far too much within its modest (but nimble) eighty-minute runtime. Bill and Ted Face the Music won’t save the world, but might make it a little happier.

Music to my ears.

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147. The Matrix – Summer of ’99 (#18)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Grace Duffy and Alex Towers, 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, continuing our Summer of ’99 season, Lana and Lilly Wachowski’s The Matrix.

1999 was a great year for movies, with a host of massively successful (and cult) hits that would define cinema for a next generation: 10 Things I Hate About You, The Virgin Suicides, Run Lola RunElection, Cruel Intentions, Fight Club. The Summer of ’99 season offers a trip through the year in film on the IMDb‘s 250.

Thomas Anderson lives a fairly ordinary life; an office drone by day, a computer hacker by night. However, Anderson’s life quickly begins to fall apart when he finds himself drawn to a mysterious hacker named Trinity. It soon becomes clear that Anderson’s life (and his very reality) is not at all what it appears to be.

At time of recording, it was ranked 18th on the Internet Movie Database‘s list of the best movies of all-time.

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