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Non-Review Review: Grand Canyon

Lawrence Kasdan is probably more famous as a writer than a director. The talent behind such classics as Star Wars: The Empire Strikes Back, Raiders of the Lost Ark and… er, Clash of the Titans, Kasdan has made a name for himself as the writer of all manner of big-budget spectacle. However, he has also established himself as a director of much quieter fare, such as The Big Chill and Grand Canyon, an early nineties ensemble drama built around the notion that all of life’s troubles seem relatively small if put in the proper perspective. Occasionally just a little bit too heavy-handed for its own good, it’s still an interesting little piece with a nice cast.

Happy families…

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Non-Review Review: Pulp Fiction

It’s strange. I always feel a flutter of uncertainty when I prepare to tackle a film I hold in particularly high esteem on this blog. Perhaps it’s the fact that I worry I might not be entirely objective, or perhaps it’s the fear that I’ll embarrass myself with a particular film, or perhaps it’s just the worry that I really don’t have anything worth committing to the internet. Pulp Fiction is a film that has been loved and hated, picked apart and put back together, critiqued and venerated, and I’m really not sure that I have any particularly insightful observations to make about Quentin Tarantino’s palme d’or winning film.

I'll be brief...

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Non-Review Review: Fletch

Fletch has endured as something of a cult hit, offering Chevy Chase perhaps the defining role of his career and striking a chord with modern comedy talents like Bill Lawrence and Kevin Smith interested in bringing the character to modern audiences. I have to admit, after seeing the original film featuring Chevy Chase as the fast-witted quick-talking investigative journalist, that I can certainly see what the appeal of Irwin M. Fletcher.

He's got a nose for this sort of thing...

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Tell Them I’m Coming: The Power of a Tagline…

I have a confession to make. I have never seen The Limey. It may seem like I’m overreacting with that shameful confession, being only one of millions of film fans who have somehow stumbled through life without ever seeing that particular relatively unimportant Steven Soderbergh film, but let me put this in context. A good few years ago, I was browsing the video store and I stumbled across the relatively bland cover to the film, which smacks of an old-school exploitation vibe. On it, a very old (yet nevertheless bad ass) Terence Stamp is taking a moment out of what seems to be some very important business to have a quick sly cigarette (very much a politically correct faux pas these days). Anyway, it wasn’t that image which struck me of itself. It was the tagline. “Tell them I’m coming,” Stamp’s voice seemed to read the promo aloud to me. And, strangely, despite the fact I left the videostore without it, that tagline has stayed with me.

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Non-Review Review: Short Cuts

Short Cuts is perhaps “the” big defining ensemble drama. Even those who haven’t seen it are familiar with Robert Altman’s epic three-hour twenty-two-character crisscrossing drama about life modern Los Angeles. It’s bold, ambitious and challenging. Personally, I prefer Altman’s skewering the studio system in The Player, there’s no denying that this big drama has its charms.

Altman casts a long shadow...

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Non-Review Review: Blade Runner

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “cyber noir” – the unlikely combination of sci-fi and film noir to make an oh-so-tasty film.

Blade Runner is arguably more of a film noir than a science-fiction film. Sure, it features robots and flying cars, but the atmosphere is set by a constant downpour in the streets, while characters wandering around in trenchcoats and questions of identity and moral ambiguity hang heavily in the air. Though the funky Vangelis soundtrack may lead you to believe otherwise, Blade Runner is perhaps one of the most faithful films in the neo-noir film movement. The flying cars are just on top of that.

Facing the facts...

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Non-Review Review: L.A. Confidential

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir.

Over the next week, I’ll be taking a look at the more modern films inspired and descended from film noir. It’s been tough trying to classify them all, to narrow down what I wanted to cover in the seven days that I had. In many cases, I wasn’t sure that I’d be able to successfully link the films back to the original genre. Trust me when I say that I had tonnes of films on my shortlist to look at as part of this event – many of them were on and off the list at various times as I attempted to include a bit of variety or range. However, there was one modern film that was always near the top of list of films that I wanted to cover – L.A. Confidential.

Best Buds?

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Non-Review Review: The Two Jakes

I’m going to be completely honest here, and possibly ruin my reputation as a film boffin. Until I held the DVD of The Two Jakes in my hands about ten years ago, I didn’t even know there was a sequel to Chinatown. The belated sequel languished in development hell after real life intervened – there was no way that Polanski could direct a sequel to perhaps his most famous film (at least not in Los Angeles, where it was set) and the movie that followed became caught in a tug of war between actor Jack Nicholson and writer Robert Towne, both of whom wanted a shot at directing. Nicholson won, but one can’t help but get the feeling in watching the film that the movie might have been better served with a stronger and more impartial director.

Will the bad guy get his just deserts this time around?

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Non-Review Review: Chinatown

“You may think you know what’s you’re dealing with,” a character warns private detective Jack Gittes at one point during Chinatown“but, believe me, you don’t.” Later on, Gittes confesses to his lover that, when he was a police officer working in Chinatown, his beat consisted of doing “as little as possible”, an anecdote that screenwriter Robert Towne reportedly heard from an officer who had actually served in Chinatown – rather than an officer involving himself in some sort of event that he couldn’t possibly comprehend, the police would actively disengage themselves from the community. That’s the core of the corruption at the heart of Polanski’s film – how little anyone actually knows about what is really happening, and how it’s easy to ignore these things rather than attempting to deal with them.

A nosey detective...

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Non-Review Review: Demolition Man

I love Demolition Man. I know I shouldn’t, but I do.

Eye see you...

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