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Non-Review Review: Broken City

Broken City seems like an ironic title for a movie that seems to take so much pride in being functional. Broken City is a political investigative thriller, a subgenre that has produced any number of genuinely classic films. However, while Broken City doesn’t really excel in any true sense, it does take a great deal of care in making sure that everything works, that everything is assembled with enough care, and that there’s no real discordant note to be heard. Broken City isn’t a very good film on its own merits, but it manages to avoid being an overly bad one.

Broken marriage...

Broken marriage…

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Non-Review Review: Blood Rising

This film was seen as part of the Jameson Dublin International Film Festival 2013. It was the closing gala.

It is sometimes quite tough to review documentaries. It’s tempting to confuse a worthy cause with a worthy film. Blood Rising is certainly about a worthy cause. It explores the “femicides” that have been occuring in Juárez, Mexico since the nineties (if not earlier). Women are kidnapped, raped and murdered – and the local authorities have done next-to-nothing to help stem the tide of abuse. Those who dare speak up have been hounded out of the area, with some advocates even continuing the cause “in exile.” It is a very compelling and a very worthy cause, and one that deserves as much attention as it can garner.

However, even factoring in the very worthy cause and the fact that its heart is in the right place, Blood Rising feels like a rather ill-judged piece of cinema.

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Non-Review Review: Welcome to the Punch

This film was seen as part of the Jameson Dublin International Film Festival 2013.

Welcome to the Punch is a weird best, a sort of a hybrid that runs on a engine built of mismatched parts. It’s very clearly a distinctly British film. the presence of Mark Strong and James McAvoy attests to that, let alone the supporting cast composed of people like Daniel Mays, Jason Flemyng, Davide Morrissey, Peter Mullen and Andrea Riseborough. However, it’s constructed in the style of an American action movie, with lots of guns, explosions and chases. It’s a very strange cocktail, and Welcome to the Punch suffers because it doesn’t blend the strength of both schools of thrillers. It feels rather clumsily, and rather hastily, thrown together without any real thought as to what the final composition might turn out like.

Top gun...

Top gun…

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Joss Whedon at the Jameson Dublin International Film Festival 2013

This event was part of the Jameson Dublin International Film Festival 2013. It was hosted after a screening of Whedon’s Much Ado About Nothing.

It has been a pretty great year for great guests at the Jameson Dublin International Film Festival. Robert Towne gave an interview and a workshop of screenwriting. Danny DeVito popped along to the Jameson Cult Film Club screening of L.A. Confidential. And Joss Whedon came to Dublin, with tickets to Much Ado About Nothing selling out so fast that they almost crashed the JDIFF servers. Whedon hung around afterwards for a rapid-fire questions-and-answers session, talking a bit about the film and his future plans, as well as his frequent artistic collaborators.

Image from JDIFF twitter feed.

Image from JDIFF twitter feed.

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Non-Review Review: Much Ado About Nothing

This film was seen as part of the Jameson Dublin International Film Festival 2013.

Joss Whedon’s adaptation of Much Ado About Nothing has delightfully intimate roots. Apparently, the movie stems from occasions in various Whedon households where he would host “Shakespeare Sundays”, with friends and family reading through classic plays in a very cosy environment. Much Ado About Nothing represents an extension of that intimacy. It’s literally filmed in Whedon’s own home, using money saved for his and his wife’s twentieth anniversary. Whedon even wrote the music, and his extended family are heavily involved. Jed Whedon supervised the music and his sister-in-law Maurissa Tancharoen can be seen singing at points.

That’s the wonderful charm of Much Ado About Nothing, a movie that seems to have grown and developed out of a genuinely personal creative space, a project deeply personal and intimate to Whedon, filmed while he was editing one of the biggest movies of all time. In a way, Much Ado About Nothing feels like the most talented and highest quality student film ever produced.

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Non-Review Review: Stoker

This film was seen as part of the Jameson Dublin International Film Festival 2013.

Stoker is, without spoiling anything, essentially a vampire movie without a vampire. It’s a psychological thriller with a decidedly charged sexual undercurrent. It’s also a story of the things we keep secret, the dangers of blood and unwholesome desires. Park Chan-wook does an excellent job adapting Wentworth Miller’s screenplay for film, and the result is a strange and macabre beauty, a film that is occasionally a little too ethereal for its own good, but remains compelling and uncomfortable viewing.

Shear terror...

Shear terror…

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Jameson Cult Film Club: L.A. Confidential & A Talk With Danny DeVito (JDIFF 2013)

This event was held as part of the Jameson Dublin International Film Festival 2013.

The Jameson Cult Film Club really is a film lover’s paradise, an excuse for the celebration of classic cinema in a unique environment that tries to bring classic movie moments to life – whether bringing the gospel sermon from The Blues Brothers to life, or having the face-huggers from Alien drop into the audience to the satisfying sound of screams. Launched two years ago at the Jameson Dublin International Film Festival, the club celebrates its birthday by hosting a very special guest at a celebration of one of their best films. Danny DeVito is this year’s guest of honour at the festival – hosting screenings of the superb The War of the Roses and Throw Mama From the Train. As such, holding a celebratory screening of L.A. Confidential was really the perfect fit for a cult film club event.

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Non-Review Review: Blancanieves

This film was seen as part of the Jameson Dublin International Film Festival 2013.

Blancanieves feels like either a film that has its finger firmly on the pop culture zeitgeist, or the victim of the worst timing. It appears less than a year after The Artist won the Best Picture Oscar, becoming a massive critical and popular success. Given the relative dearth of high-profile silent black-and-white films, Blancanieves is somewhat trapped within that shadow. More than that, though, it emerges following a year that demonstrated popular culture’s fixation on the Snow White story. 2012 saw the release of both Mirror Mirror and Snow White & The Huntsman, both reimaginings of the classic tale. Blancanieves is, for its own part, an adaptation of the fairy tale, and it seems like the story was weighing on the popular imagination.

In any other context, Blancanieves would seem like a breath of fresh air. An affectionate homage to the classic era silent cinema, retelling the Snow White story in an unfamiliar setting, there’s a lot to recommend it. Indeed, Blancanieves is easily the best Snow White adaptation of the past year. Unfortunately, it suffers because it’s not quite as charming, witty and well-constructed as The Artist.

Dark materials...

Dark materials…

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Non-Review Review: The Look of Love

This film was seen as part of the Jameson Dublin International Film Festival 2013.

Paul Raymond (or “Paul Ray-monde!” as he introduces himself in flashback) is a pretty compelling character. The so-called “king of Soho”, Raymond was at one point the wealthiest man in Britain, owning an empire built on the back of gentlemen’s clubs, pornography and property. Michael Winterbottom’s exploration of Raymond’s life and times is a fascinating exploration of a very contradictory figure. On one hand, with his sharp suits and dignified dialogue with the press, Raymond presented himself as something approaching a gentlemen. He owned a nice house, his children partook of “all the right activities” and he was even fond of quoting Oscar Wilde. On the other hand, his empire was founded and built on an idea that was so simplistic it would be condescending if it wasn’t so successful: Raymond acquired his wealth through simple acknowledgement of the fact that people will pay to look at naked women.

All that glitters...

All that glitters…

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Dario Marianelli at the National Concert Hall (Jameson Dublin International Film Festival)

This event was part of the Jameson Dublin International Film Festival 2013.

I’ve argued it before, but one of the best parts of the Jameson Dublin International Film Festival is the way that it isn’t just confined to the cinemas. The feast of fine Irish and international cinema is something that any film fan can celebrate, but the capital city itself becomes a hotbed for the celebration of film as an artform. So there’s all manner of wonderful extras going on – from classes in film criticism to workshops with Robert Towne, to the Jameson Cult Film Club screening of L.A. Confidential. The National Concert Hall typical does a nice job of getting into the mood, hosting celebrations of the sound of cinema. In the past, for example, they hosted the newly-written live musical accompanyment to The Four Horseman and a tribute to Danny Elfman.

This year, they invited composer Dario Marianelli over to showcase and introduce several selections of music from his distinguished career. It’s always a fantastic time to recognise and to celebrate Marianelli’s work, but to host the composer in Dublin less than a week before the Oscars is a very rare pleasure indeed.

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