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316. Solo: A Star Wars Story (#—)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Luke Dunne, 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.

This week, we’re continuing a seasonal tradition of talking about Star Wars movies: Ron Howard’s Solo: A Star Wars Story.

Growing up on the rough streets of Corellia, young and reckless orphan Han learned the hard way that he has to fend for himself. Escaping to a life in the Imperial Navy, Han stumbles into a daring heist. Joining a team of galactic outlaws, the young man finally finds his place in the universe. Crossing paths with new friends and old lovers, the dashing young rogue finds himself on course to become the man that he must be.

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On “Obi-Wan Kenobi” and Why It’s Okay for Pop Media to Be Dark…

I published a new In the Frame piece at The Escapist this evening. With the first trailer and initial press for Obi-Wan Kenobi, it seemed like a good opportunity to take a look at the troubled production.

In January 2020, it was announced that filming on Obi-Wan Kenobi had been delayed at the last minute, with the season’s scripts thrown out and a new showrunner brought in. In an interview with Entertainment Weekly, Kathleen Kennedy confirmed that this was the case, that the initial scripts had been junked because they contrasted with the hopeful and uplifting tone that Disney wanted for the show. However, it’s interesting to wonder whether a show like Obi-Wan Kenobi really must be optimistic and uplifting, or whether it is sometimes okay for populist entertainment to strike a tone that suits its story.

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

Non-Review Review: Star Wars – Episode VII: The Force Awakens

Star Wars: Episode VII – The Force Awakens is the Star Wars film you’re looking for. Mostly.

In many respects, Star Wars was the film the helped to launch the modern “blockbuster” model of cinema, and a large part of The Force Awakens is the reassurance that not too much has changed in the intervening years. Sure, there are a few script tweaks to reflect more modern tastes for the post-Dark Knight era, but the basic storytelling engine is still the same underneath. If The Force Awakens is a hybrid, it is a hybrid fashioned from the parts of the three original Star Wars films and just a dash of something more twenty-first century.

The Force is strong with this one...

The Force is strong with this one…

After the issues with the prequels, it is reassuring to know that the engine still runs. The franchise’s history as one of the forerunners of blockbuster cinema makes it perfectly suited to JJ Abrams’ nostalgic stylings. Abrams gets a lot of flack for his evocation of seventies and eighties blockbuster cinema, but he does have a fundamental understanding of how (and why) it works. Ever the keen student of Spielberg and vintage Hollywood blockbusters, director JJ Abrams is able to effortlessly blend that classic aesthetic with a contemporary sensibilities.

There are moments when The Force Awakens threatens to suffocate under the weight of what came before, but it largely succeeds on its own terms as a doorway to something new and exciting.

Handover from one generation to the next...

Handover from one generation to the next…

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Look! Star Trek Reimagined in the Pixar Style!

The wonderful folks over at The Minion Factory have reimagined the classic Star Trek characters in the style of Pixar. It’s a fun collection of images (feel free to also check out the artist’s superhero gallery), and rendered with obvious affection for the show’s decidedly sixties aesthetic. I especially love the affection demonstrated in chosing the background images. Anyway, take a look and click to enlarge.