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The Princess is Dead, Long Live the Princess: Disney Won’t Be Letting Fairy Tales Live Happily Ever After…

Apparently Disney are putting an end to the production of fairy tales, which is somewhat ironic for a studio which has an iconic fairytale castle as its distinctive corporate logo. I suppose it was sort of inevitable coming from a studio that was terrified of advertising Tangled as a “princess” movie. Disney board director John Lasseter explained the decision:

Today, among little girls especially, princesses and the romanticised ideal they represent – finding the man of your dreams – have a limited shelf life.

It’s very clever to couch his argument in what might be considered modern feminist terms  – “finding the man of your dreams” is such a fifties aspiration for young girls, after all – but I’m not entirely sure I’m comfortable with what Disney plans to replace them with. I’ll admit that I am a relatively conservative individual – I just don’t like change – but there’s something unsettling about such a major refocus, and perhaps what it says about pop culture as a whole these days.

Okay, so maybe Disney needs to work on its female leads...

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Non-Review Review: Clerks

There’s a sense of life experience in Clerks – the undeniable feeling that the people involved in the production have actually been in situations similar to those being portrayed here and are writing from experience. The directorial debut from Kevin Smith, the film has a very weird feeling to it. It is as if the script (the words and the setting) are very casual and natural, but the performers are undoubtedly conscious of the camera. It creates a weird dichotomy between the very colloquial script and the relatively stiff performances. That said, there’s a charm to the film, which never really pretends to be anything more than what it actually is, and sort of cheeky rebellion which makes it endearing.

Dante's (profane) comedy...

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When Does a Movie Star Become an Actor?

I think that most people would agree that there is a distinction between a “movie star” and “an actor”. I think that the great Nicholas Meyer offered a definition that fits quite well:

What’s the difference between an actor and a movie star? An actor is someone who pretends to be somebody else. A movie star is somebody who pretends that somebody else is them. Actors will change their face, will change their hair, will change their voice, will disappear into the role. A movie star doesn’t disappear.

That might sound quite harsh towards a “movie star”, but I think that you could argue that a movie star (if applied correctly) can add a certain amount of artistic weight to a film:

A movie star is someone whose past work enriches your experience of, and deepens your pleasure in, his or her present work. In other words, a movie star is someone whose baggage you want to carry.

I don’t mean that the terms are mutually exclusive insofar as they apply to a specific individual (indeed I can think of several performers who are both actors and movie stars), nor that it’s a fixed position (I can think of many individuals who have started out as what might be considered an “actor” before becoming a “movie star” in their own right). In fact, while it’s easy to think of any number of performers who have repositioned themselves as movie stars after beginning as actors, it’s somewhat rarer to see it happen the other way around. Is the road from actor to movie star a one-way trip?

Is it a rocky road to being taken seriously as an actor?

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Non-Review Review: London Boulevard

The British criminal underworld has provided a background for countless movies over the past few decades, a rich cinematic tapestry drawing from classics like Brighton Rock through to neo noir like The Long Good Friday to modern pop classics like Lock, Stock & Two Smoking Barrels. However, London Boulevard isn’t a masterpiece like the earlier examples. It tries to find a niche balance between gritty urban violence and surreal bizarre quirkiness, but ends up just positioning itself awkwardly between comedy and action, never really finding its own footing.

Facing up to the past...

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Non-Review Review: The Crazies (2010)

The Crazies is a fairly decent little horror movie, as far as modern horror goes. It’s relatively restrained, smartly acted and generally well-directed, with the kind of horror which reflects back on modern society. It’s not perfect and it’s certainly not excellent, but it’s another above-par remake of a George A. Romero cult classic.

Timothy Olyphant lights up the screen...

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Non-Review Review: The Two Jakes

I’m going to be completely honest here, and possibly ruin my reputation as a film boffin. Until I held the DVD of The Two Jakes in my hands about ten years ago, I didn’t even know there was a sequel to Chinatown. The belated sequel languished in development hell after real life intervened – there was no way that Polanski could direct a sequel to perhaps his most famous film (at least not in Los Angeles, where it was set) and the movie that followed became caught in a tug of war between actor Jack Nicholson and writer Robert Towne, both of whom wanted a shot at directing. Nicholson won, but one can’t help but get the feeling in watching the film that the movie might have been better served with a stronger and more impartial director.

Will the bad guy get his just deserts this time around?

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Non-Review Review: Chinatown

“You may think you know what’s you’re dealing with,” a character warns private detective Jack Gittes at one point during Chinatown“but, believe me, you don’t.” Later on, Gittes confesses to his lover that, when he was a police officer working in Chinatown, his beat consisted of doing “as little as possible”, an anecdote that screenwriter Robert Towne reportedly heard from an officer who had actually served in Chinatown – rather than an officer involving himself in some sort of event that he couldn’t possibly comprehend, the police would actively disengage themselves from the community. That’s the core of the corruption at the heart of Polanski’s film – how little anyone actually knows about what is really happening, and how it’s easy to ignore these things rather than attempting to deal with them.

A nosey detective...

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Non-Review Review: The Village

I don’t think I’m spoiling anything by revealing there’s a twist in M. Night Shyamalan’s The Village. In fact, the only shocking twist in a Shyamalan film would be if there was no twist. I have to admit that even I was a little surprised when I guessed the twist about twenty minutes into this film. And I was sadly disappointed that there really wasn’t anything else on screen to hold my interest.

Village people...

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Ludovico Einaudi at the National Concert Hall

I had the great pleasure of catching Ludovico Einaudi, the contemporary composer, at the National Concert Hall last night. Being honest, I hadn’t heard the name until the better half suggested that the show might be worth a look. Interestingly enough, doing a bit of research, I discovered I’d actually heard a decent selection of his music without ever being aware that is was him – I suppose that’s one of the great things about composing the sort of wonderful ambient music, there’s always a film or television soundtrack in need of a bit of atmosphere.

Classic(al)...

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Non-Review Review: Due Date

I have to admit that I quite enjoyed Due Date. It’s a straight-forward comedy road movie – nothing more, nothing less. It’s the standard template: two unlikely comrades find themselves embarking on a cross-country journey where they learn a lot about each other and themselves. As such, Due Date is the younger sibling of films like Trains, Planes and Automobiles or Midnight Run – it’s also a genre which hasn’t, to be honest, been played entirely straight in quite some time. Sure, there have been variations on theme – Little Miss Sunshine, for example, played the road movie with far more subversive comedy; Get Him to the Greek was this concept with rock stars. As such, perhaps the simplicity of Due Date is part of the appeal – it’s a tried and tested formula, so why tinker with it?

What does Robert Downey Jr. bring to the table?

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