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Non-Review Review: The Tourist

In theory, The Tourist should be great fun. After all, the last time we had a high-octane romantic adventure thriller, we ended up with the genuinely entertaining Knight and Day. And, if anything, Johnny Depp and Angelina Jolie should represent a large step-up from Tom Cruise and Cameron Diaz. Unfortunately, the movie doesn’t quite deliver. Mistaking twists for plot and assuming that strong leads can make up for underwritten roles, the film flails around rather randomly, alternating between a genuinely exciting little European thriller and fairly paint-by-numbers twist-a-minute adventure, it never manages to set a particular tone, and leaves its two actors struggling to stay afloat amid the rather wonderful Venetian scenery.

Tour of duty?

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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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Scary Monsters and Super Freaks…

D’you know what would have been scarier than nothing?

What?

Anything!

– Bart and Lisa discuss Edgar Allen Poe’s The Raven, The Simpsons

The week before last, in reviewing Insidious, I made the observation that director James Wan made the mistake of “showing too much” in his horror film, and that movie itself suffered because it didn’t show any restraint in how it handled its creatures and monsters. The always wonderful Justin, in fairness, called me on my assertion correctly – who ever stated it was a rule that horror films can show too much? Surely it’s possible to show as much of something as you might want, provided you have enough talent and skill to do it well? Surely showing too much only becomes a problem when you aren’t skilled enough to deliver something genuinely terrifying?

Or is it something more primal? Is what you don’t see scarier?

Do I have a point?

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Non-Review Review: Jay and Silent Bob Strike Back

Jay and Silent Bob is a movie that runs hot and cold from scene to scene. More a collection of random jokes set against an ever-shifting premise than a fleshed-out over-arching story, the film frequently fluctuates between brilliantly and subversively hilarious, and just a little bit awkward. While the randomness of Kevin Smith’s original Clerks was a large part of the appeal, the mish-mash approach doesn’t work so well this time around. Part of it is, perhaps, that this movie does clearly have a plot (a roadtrip to Hollywood), but I think it might also be a question of the characters involved.

While Jay and Silent Bob work well in supporting roles, it seems perhaps a bit much to ask them to carry their own movie. It’s a criticism Smith seems to accept, even including it in the movie itself. “Bluntman and Chronic and their stupid alter egos Jay and Silent Bob only work in small doses, if at all,” an anonymous on-line “militant movie buff” writes about a fictious movie to star characters modelled on the pair. “They don’t deserve their own movie.”

Well, at least he’s self-aware.

The latest in the Jay and Silent Bob cycle?

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How Do Studios Decide What Movies Get Sequels?

This is a question which has bothered me for quite a while now, because it seems like there should be an obvious answer, but I can’t really make a lot of decisions fit based on that. The deciding factor, one would assume, in any industry as to whether a product gets a continuation, a re-release, or a spin-off, would be that of box office. You imagine that the studio executives include an option for sequels in the contracts of any actors they want to stick around, and then wait for the box office totals to come in before they finally decide if they want to make the investment. However, this doesn’t always seem to be the case.

Should I get on my bike?

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Non-Review Review: Whip It

Whip It is sort of an inverse version of the Billy Elliot story. In that film, a young boy horrifies his family by wanting to practice ballet. In this film, a young woman shocks her mother by becoming a roller derby celebrity. Featuring the directorial debut of Drew Barrymore, Whip It is a fairly formulaic and straightforward little coming-of-age and self-discovery movie with a quirky angle and a plucky protagonist, but it’s also rather well handled and quite charming.

Whipping the team into shape...

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Non-Review Review: Toy Story 2

For my money, Wall-E is perhaps the strongest Pixar film from an artistic point of view. The Incredibles is perhaps the most consistently entertaining. Finding Nemo is the most emotional. Truth be told, I could probably find a way to rank almost every Pixar film so that it was my favourite in some way or another, because they’re all pretty much that good (although I’ll concede that Ratatouille, A Bug’s Life and Cars were merely “good” or “very good”). So, having completely picked apart any lavish praise I could shower on the film, I have  a very special fondness for Pixar’s Toy Story trilogy.

Just say Jesse...

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Non-Review Review: Network

Network is a compelling condemnation of news television. The black comedy from Sydney Lumet is one of those great movies which actually feels more relevant now (thirty years after it was first released) than it did when it first appeared on the big screen. In particular, while some plot developments are clearly satire, it seems that quite a few moments in the movie seem a lot less ridiculous or fantastical in this day and age than they would have when originally written. It’s a rare movie that can do something like that, and the fact that it’s a lot easier to imagine some of the movie’s jokes coming to pass in this day and age only makes it all the more potent.

Beales appeal...

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Non-Review Review: Insidious

I’m of two minds about Insidious, the latest entry in the “haunted house” horror subgenre. On one hand, I definitely respect its attempts to return to the roots of these types of films without dwelling on gore for the sake of gore. On the other, it doesn’t seem like the film is entirely certain what to show you when it can’t fill the screen with fountains of blood and guts erupting. Film is obviously a visual medium, but horror is very much an exception to the old maxim “show, don’t tell.” The problem is that Insidious shows too much.

A (para)normal family?

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Non-Review Review: Your Highness

Your Highness is crass, stupid, vulgar and fun. However, it’s endearingly aware of the fact. I found myself warming to the film quite a bit as I sat down to watch it, somewhat comfortable in the knowledge that Danny McBride’s latest will undoubtedly end up playing on the DVD players of countless college students into the wee hours of the morning for some years to come. It isn’t going to be a film for everyone, but I do think it will find an audience. It’s not perfect or classic, but then none of the films that it is attempting to emulate are. It does succeed in offering a constant and endearing stream of low-brow jokes for its runtime.

The best of the quest?

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