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Win! Tickets to the Jameson Cult Film Club screening of the undefeatable classic ROCKY!

For two nights only, the Jameson Cult Film Club will have the privilege of witnessing the greatest exhibition of guts and stamina in the history of the ring. Rocky will bound onto the screen for two bouts of the Jameson Cult Film Club on Wednesday July 6th and Thursday July 7th at a surprise venue in Dublin.

Tickets are free from JamesonCultFilmClub.ie, simply register your details for the chance to win, but the m0vie blog have a pair of tickets up for grabs for you to the screening on July 7th in Dublin.

Jameson Cult Film Club presents ROCKY

The secret location has been overhauled to feature classic scenes from the movie, including Rocky’s well- trodden training ground and the city’s famous ‘Rocky Steps’. While live actors bust a gut with one armed press ups and pack a punch on meat carcasses in perfect timing to Rocky’s on screen action, the club features unexpected theatrics along with a full size boxing ring for the cult classic’s final clinch.

So grab the Paulie to your Rocky and answer the question below for your chance to win a pair of tickets to the Jameson Cult Film Club in Dublin on Thursday 7th July, the ultimate film experience of the summer.

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Thank you for your response. ✨

What is the name of the world champion boxer that Rocky gets the chance to fight?(required)

All entrants must be over 18 – ID must be presented if requested.

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© 1976 Park Circus/MGM Studios. All Rights Reserved.

Jameson Cult Film Club: Lethal Weapon

Watching a film with an audience really into it is a joyous experience.

For all that cinema is a social activity that takes place in a dark room with everybody staring in the same direction, there is a lot to be said about the communal nature of the activity. Bringing together a theatre full of people to celebrate a classic film is always a worthwhile activity. A lot of the films chosen by the Jameson Cult Film Club are familiar to audience members, but there is something to be said about actually experiencing a movie like Lethal Weapon with a room full of like-minded people.

Jcfc Lethal Weapon 87 Continue reading

Non-Review Review: Tomorrowland

Tomorrowland encapsulates a number of recurring themes in American mainstream science-fiction,

In many respects, it harks to sixties utopianism. Tomorrowland positions itself as a spiritual companion piece to films like Star Trek or X-Men: First Class or Interstellar. Although most of the film is set in the present day, its retro futurism is firmly anchored fifty years in the past. An early flashback takes place in the 1964 World’s Fair. Space flight is explicitly described as the “new frontier”, recalling Kennedy’s famous speech. Tomorrowland is absolutely fascinated with the idea of organised space flight as a beacon calling mankind forward.

Field of dreams...

Field of dreams…

It almost seems like, to paraphrase George W. Bush, “The future was better yesterday.” There is a paradoxical nostalgia to Tomorrowland, which feels like a desperate plea for the modern generation to abandon their own visions of the future and embrace those of their predecessors. It is a fascinating conflict at the heart of the film, and not necessarily one that writer Brad Bird and Damon Lindelof comfortably resolve. There are aspects of Tomorrowland that do feel distinctly uncomfortable and contradictory.

At the same time, it feels like a genuine and heartfelt criticism of the tendency towards the apocalyptic in mainstream fiction – an impassioned and aggressive urge to embrace a more hopeful and optimistic future. Tomorrowland has its heart in the right place, but it occasionally gets a little lost.

Going against the grain...

Going against the grain…

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Win! Tickets to the Jameson Cult Film Club screening of LETHAL WEAPON!

Christmas has come early to Dublin as the Jameson Cult Film Club is returning for an explosive double screening of the 1987 action comedy masterpiece Lethal Weapon on Wednesday 20th and Thursday 21st May in a secret city centre location.

Jameson Cult Film Club screening of Lethal Weapon May 20-21

 

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Non-Review Review: The Good Lie

The Good Lie works very well.

Margaret Nagle’s script was inspired by the “lost boys” who escaped the Sudanese Civil War. These displaced refugees found themselves scattered. Some walked hundreds of miles to neighbouring countries like Ethiopia or Kenya. Some travelled even further, emigrating to countries like the United States. The Good Lie is a fascinating exploration of the lives of four such immigrants who arrive in their new home in the year 2000, finding themselves struggling to adapt to life in America. It is a subject that could easily seem exploitative or maudlin.

Packing light...

Packing light…

It would be easy to turn The Good Lie into a heavy-handed meditation on human suffering as explored through the eyes of these four immigrants. The poster for The Good Lie allots considerable space to actress Reese Witherspoon, and it would be easy to write the story as told from the perspective of the American characters who interact with these new arrivals. It is to the credit of Nagle’s script that The Good Lie never allows its focus to shift, that it is never distracted by the more prominent American cast members.

The Good Lie is perhaps a little bit too broad in its humour at points, and its structure occasionally feels a little contrived. However, there is a lot of warmth and affection underpinning the script, with the sense of humour helping to relieve what could easily descend into an overly solemn drama.

Leaving on a jet plane...

Leaving on a jet plane…

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Non-Review Review: The Price of Desire

This film was seen as part of the Jameson Dublin International Film Festival 2015.

I have been informed that reviews for The Price of Desire are embargoed, despite the fact it was screened as the gala opening of the Jameson Dublin International Film Festival 2015, a high-profile event with tickets available to the public that afforded the film a significant public platform. (In the interest of disclosure, I purchased my ticket with my season pass – purchased for €245. Individual tickets for this screening were €20.)  As a courtesy to any fellow reviewers affected by the embargo, I have taken down the review.

However, as the film is eligible for the festival’s “audience award”, I am leaving my rating in place.

All audience members are asked to rank films in the festival from 1 (worst) to 4 (best). In the interest of full and frank disclosure, here is my score: 1 thepriceofdesire1

Non-Review Review: A Little Chaos

Perhaps what is most remarkable about A Little Chaos is how deftly the film blends stock romantic comedy tropes with the trappings of a loftier period piece drama. A Little Chaos fictionalises the construction of the gardens at Versailles, undertaken at the behest of King Louis XIV. However, A Little Chaos uses this historical event as the backdrop for a series of quirky romantic misadventures. Matthias Schoenaerts plays André Le Nôtre, the stickler for order who is forced to take on some hired help to ensure that he meets the assigned deadlines.

Kate Winslet is Sabine De Barra, who is hired to design one of the garden’s fountains. Whereas Le Nôtre advocates for order, De Barra argues for a little randomness. The two are introduced at loggerheads, their philosophical positions made clear when De Barra presumes to move a single potted plant in a sequence arranged by Le Nôtre. Inevitably, attraction blossoms as the two find themselves working harder and harder to meet the targets set by the sitting monarch.

Another feather in her cap?

Another feather in her cap?

For all the promise of the title, A Little Chaos packs very few surprises. The formula is quite clearly honed, and it is easy enough to plot the various character arcs and dynamics across the movie’s runtime. Indeed, A Little Chaos might even have benefited from some tightening, feeling quite stretched across its two-hour runtime. At the same time, Alan Rickman has assembled quite the cast for his second film as director. A Little Chaos can count on a superb ensemble – both above and below the title – to carry it when things get a little indulgent.

A Little Chaos is not as fun or as playful as it might be. On the other hand, it looks and feels very impressive, with an occasionally clunky script brought to life by a talented array of actors.

Long live the king!

Long live the king!

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Millennium – The Wild and the Innocent (Review)

This February and March, we’re taking a trip back in time to review the fourth season of The X-Files and the first season of Millennium.

The Wild and the Innocent is an ambitious piece of television.

It is not a piece of television that works as well as it might, the execution of the central ideas leaving a little to be desired, but it is an episode that commits whole heartedly to something unique. In I Want to Believe, Robert Shearman refers to The Wild and the Innocent as “a plot more suited to Cormac McCarthy than Chris Carter.” He’s not wrong. The Wild and the Innocent is a story about cycles of violence and abuse in the American south, a grim road movie with some very harsh conclusions about the way that the world works.

That sinking feeling...

That sinking feeling…

It still fits within the milieu of Millennium. After all the classic “serial killer road movie” is still a serial killer story, and Millennium has already carved out that niche for itself. However, the image of Frank Black and Peter Watts following a trail of bodies from Missouri down through Arkansas suggests a different show than the one that has been airing since The Pilot. In many respects – with its heavy philosophical voice-over, its country-tinged soundtrack, its fixation on the outlaw couple – The Wild and the Innocent feels almost like some old American folk tale.

There’s something decidedly old-fashioned here, with the episode playing more like a western than a police procedural. In the documentary Order in Chaos, Carter described Frank Black as character from a story “like Shane, like any cowboy, any good movie, Western movie.” As such, he fits in quite comfortably with this new type of story.

Road warrior...

Road warrior…

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Non-Review Review: Focus

Focus is a fun old-fashioned heist movie that suffers from the lack of a central plot.

In some respects, Focus plays as a con itself. While movies about con artists are inevitably built around charismatic rogues and antiheroes, the stories practically structure themselves. Cons are visually interesting and dynamic, they are fun and exciting. Watching characters trying to out-wit one another in rapidly-escalating situations creates instant dramatic tension, and it is easy to see why the genre has remained popular. The beats are familiar – the “big one”, the “revenge con”, the “try to get alive game.”

Off the clock...

Off the clock…

Focus keeps teasing the audience with possible plot hooks that might sustain a two-hour film, diverting the audience’s focus and keeping them off-balance. “So what about the big con?” Margot Robbie’s Jess teases Will Smith’s Nicky. “You mean the one where we all make so much money we all retire?” Nicky teases back, dismissively. What makes Focus so interesting – and what also arguably prevents it from working as well as it might – is that it consciously plays against these recognisable elements. There is no big con, there is no story.

This is the long con that Focus plays – and plays very well. For all that it teases the plot-driven trappings of a caper movie, Focus is a good old-fashioned star-driven drama, a movie built around Will Smith’s movie icon charisma. It is one hell of a gamble, and one that doesn’t play off as well as it might, Focus‘ unwavering commitment provides a charm and energy that carries movie through. Offering advice to Jess, Nicky insists, “You never drop the con. Never break. Die with the lie.” It seems that Focus lives by its own words.

A star vehicle...

A star vehicle…

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Non-Review Review: The Second Best Exotic Marigold Hotel

The Second Best Exotic Marigold Hotel takes a formula that worked well enough the first time, and tries to figure just how much it can add in on top without throwing everything out of a balance. When producing a sequel, the tendency is to double down on what worked before – to commit to the bits to which the audience responded, sometimes missing the fact that moderation might have been some of the appeal. The Second Best Exotic Marigold Hotel commits to its cast, putting the various star through a wide variety of sitcom premises that look like they might have been lifted from a UK Gold marathon.

In some ways, The Second Best Exotic Marigold Hotel feels a little bit like the ambitious construction and renovation project planned by Sonny Kapoor: sprawling, excessive, unwieldy, overly elaborate. The main cast are not clustered as they were the first time around, meaning that The Second Best Exotic Marigold Hotel feels disjointed at best and haphazard at worst. Richard Gere arrives to lend some extra prestige (and some international appeal) to the film, but seems almost like a distraction from the thespians around him.

Getting into Gere...

Getting into Gere…

There are points where it feels like The Second Best Exotic Marigold Hotel might collapse under its own weight. The character plots don’t really intersect or overlap, so the ensemble frequently finding themselves fighting for space as the movie tries to figure out who warrants the most attention. (The relative name recognition seems to offer a convenient deciding factor, which is a shame in some respects.) While director John Madden does not keep as tight a rein on the film as he might, he prevents the film from completely dissolving into a series of interconnected sitcom episodes.

Still, despite these problems, The Second Best Exotic Marigold Hotel delivers what it promises: a familiar framework for veteran actors to demonstrate that they can still carry a light and entertaining film.

No need to make a song and dance about it...

No need to make a song and dance about it…

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