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Is Avatar a Revisionist Take on Aliens?

I know this isn’t exactly a new idea, but it’s one I’ve been mulling over quite a bit lately – especially since my aunt picked up the Alien Anthology on blu ray for Christmas. It’s been fairly frequently remarked, on-line and in-print that James Cameron’s Avatar bears remarkable similarities to his Aliens. However, it’s not the similarities that interest me, it’s the differences which reveal quite a bit. Most fascinating – at least to me – is the idea that Avatar represents an attempt to revise Cameron’s work on Aliens.

Killer queen...

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Non-Review Review: The Book of Eli

The Book of Eli is an interesting film. It’s undoubtedly well made, featuring a strong cast and a pretty great script. Being honest, we’ve had more than enough death and destruction amid post-apocalyptic wastelands, so a movie that doesn’t dwell too much on the soulless nihilism of the setting – well, relatively speaking. It’s sort of an action movie response to the after-the-end thrillers we’ve been seeing a lot of in recent years (The Road comes to mind, as does Carriers and Hollywood’s current fascination with zombies). However, the movie comes across as a little too polished and stylised for its own good – at times it seems as if the cast are recording a perfume commercial set amid the ruins of a world that once was.

Have we been down this road before?

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Non-Review Review: The Wolfman

The Wolfman was clearly intended to kickstart a relaunch of Universal’s Monster Movie franchises, updating them for a whole new generation of movie-goers. It was intended to call back to a whole generation of horror films, starring Lon Chaney and Boris Karloff and so on. However, director Joe Johnston’s attempt to update the monster movie for a new generation is a muddled affair, simple and straight-forward, but clouded with unnecessary blood, gore and CGI.

No escape claws...

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James Bond January in Review

It’s been a while since I’ve written one of these, and I’m not sure I should bring them back – but, hey, it might be nice to have an index of all the James Bond January shenanigans I got up to this January. Let’s start with the reviews  of the 22 films – all of them:

I also did some James Bond related posts in the month. I wondered about the “James Bond is just a codename” theory, pondered what Bond 23 might have in store for the franchise and wondered if Bond gets away with so much because we dismiss a lot of its British nationalism as “quaint”.

Apart from all that, I wondered if the film 300 was actually racist, and dared to suggest it wasn’t. I took a look at Matthew Vaughn’s upcoming X-Men: First Class and superhero nostalgia. I also pondered what Christopher Nolan’s Bane might look like. It was a fun month, and I hope that next month will be just as exciting.

Thanks again to Paragraph Films for throwing the whole “James Bond January” thing together. It was a joy to take part.

Non-Review Review: Quantum of Solace

Note: I have another review of the film here, but this was written as part of “James Bond January”, after watching all 22 films in quick succession. This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

Quantum of Solace is a strange film. In many ways, it feels more like a return to the Bond formula than its direct predecessor, and yet it feels like less of a Bond film. It isn’t a case that film takes the franchise in a new direction while retaining its core identity (as Licence to Kill did, for example), but the feeling that there’s been a fundamental shift in the series, occurring under the radar. It feels as if, though the movie can talk the talk, there’s something different in the step – it can’t quite walk the walk, unfortunately.

Don’t leave us dangling…

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Non-Review Review: Casino Royale

This post is part of James Bond January, being organised by the wonderful Paragraph Films. I will have reviews of all twenty-two official Bond films going on-line over the next month, and a treat or two every once in a while.

Casino Royale was breath of fresh air for the Bond franchise. The twenty-first film in the series, it represented something akin to a “back to basics” philosophy, pulling back from the camp excesses of Die Another Day to offer us a version of Bond which was a thriller rather than an action comedy. It’s a familiar pattern for low-key entries to follow over-the-top instalments (after all, the producers followed Moonraker with For Your Eyes Only), but arguably not to the same extent. While other movies made the pretense of operating within the same continuity (with numerous references, for example, to Bond’s marriage from On Her Majesty’s Secret Service), Casino Royale was an attempt to completely start from scratch, with a new actor playing a James Bond who was new to his 00-agent status.

What’s on the cards for Bond?

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Non-Review Review: Morning Glory

Early in Morning Glory, our plucky female lead (TM) is interviewing for a position at a major morning show. Asked to outline her vision, she states that “no story is too high or too low” for the show to tackle. Unfortunately, the film makes it clear that the emphasis on that last part. Because this is exactly what we need – a movie about how morning shows aren’t dumb enough.

It's a news day...

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Captain America? &%#$ No! Thoughts on the Naming Controversy…

Last year, I remarked that – although it was perhaps the least likely of Marvel’s movies to be awesome – Captain America: The First Avenger was going to be the most interesting movie on their slate to follow, at least when it comes to international markets. Predictably enough, Marvel have decided that not everyone on the planet is going to be cool with a movie about a literal American super-patriot. They will be dropping the title “Captain America” completely, simply selling it as “The First Avenger” in Russia, the Ukraine and South Korea. I, for one, am quite disappointed.

Walk tall... and carry a star-spangled shield...

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Non-Review: Lover’s Jump

I had the pleasure of checking out Lover’s Jump, a short film directed by Mark McCombe. It’s a short piece, clocking in at under four minutes – the writing is efficient, but perhaps a little busy (if only it seems that there’s quite a lot going on to fit into four minutes). I won’t spoil it for you by discussing the plot – only to suggest that it is well worth your time. The film distinguishes itself on the technical front, featuring a superbly haunting soundtrack from Rich Keyworth underscoring McCombe’s atmospheric direction. Despite the limited runtime, McCombe efficiently establishes mood – he creates a wonderful impression through a series of carefully chosen shots complimented by the eerie music in the background.

McCombe is undoubtedly aided by his lead actor, Laurence Fuller, who conveys a lot through controlled and restrained body language. There’s a lot of ways to read the scene when it opens, and Fuller manages to keep it open-ended without seeming indecisive. I’m not entirely sure what to make of the short’s ending – it seems so much about mood and emotion that it seems counter-intuitive to stick a twist in (given that there’s really only about a dozen lines of dialogue in total). I suppose that’s probably an unfair criticism to make, given the time constraints – but it still struck me on watching it.

Setting the bar...

Still, it’s the intensity of the short which really makes it work – it conveys a sense of foreboding and dread effectively within four minutes, to the point where the actual dialogue and plot seem almost perfunctory. I can see great things on the horizon for McCombe. He’s certainly skilled. His approach is relatively minimalist, but he gets a lot of impact for that. It’s well worth your time if you can get a look at it. I suspect it will be appearing as a special feature on the DVD of McCombe’s directorial debut soon enough.

Are the Oscars Still a Pipe Dream for Christopher Nolan?

As I write this, the clock is counting down. The Oscar race is in full swing. And I look back, and I really haven’t written too much about it. There are two reasons for this. The most obvious is that I haven’t seen too many of the contenders. Of the headliners, I have seen both The King’s Speech and The Social Network. I have yet to see The Black Swan, 127 Hours or True Grit. Of the lower-tier Oscar films, I have really only seen Inception and The Kids Are All Right. It isn’t that I don’t want to see them, it’s just that it has been a busy January and things have gotten in the way. The other reason I haven’t been blogging about it is because – barring what the competition between The King’s Speech and The Social Network says about the Academy – it has been a pretty bland year. There are so many “locks” that the race has become almost boring. In fact, the only real question I’m at all concerned about is whether Christopher Nolan will finally get that Best Director nomination he so sorely deserves.

Could this turn the Oscars upside down?

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