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Sight Unseen: Killers and the Future of Film Criticism…

I remember it was only a few years ago that it was just really unapologetically bad movies with built-in audiences that refused (or simply couldn’t be bothered, knowing the inevitable trashing they’d receive) to be screened for critics. You know the films I’m talking about: horror remakes, horror sequels, horror in general. However, it seems that since G.I. Joe demonstrated that blockbusters can still bust blocks even without advanced critical presence. Perhaps it’s a side effect of the viral age we live in, but you don’t need a review in the Friday papers to put bums in seats. Anyway, apparently it looks like there’s more to come: Killers will not be screened for critics either.

Do we have a hit on our hands?

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Claws Out for Sex and the City? The Irish Times Has Just the Ticket…

Sex and the City 2 came out last week. Not that it really affects or bothers me one way or the other. I just find it fascinating that The Ticket, the normally rather wonderful entertainment supplement which comes with The Irish Times, chose to offer its front page to the girls, while containing nothing but vitriol within. It seems a little contrary to have your reviewer and your features writer going at the film with the critical equivalent of baseball bats and then give them prime of place in your lineup and publicity, no? Especially given that the front page didn’t read “Sex and the City 2: It’s Quite Crap, Actually”.

Just the ticket?

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Does Machete Matter?

I imagine that Robert Rodriguez was bracing himself for controversy over his new film Machete. Given the uproar that the use of foul language in Kick-Ass caused, I think it’s safe to say that Rodriguez’s retro “mexploitation” film was just asking for trouble when it came out. I anticipated a lot of politically correct discussions about the film’s premise, and potentially some discussions of negative stereotypes it might evoke. However, I certainly could not have suspected that it would provoke some sort of “race war”.

Knife to see you...

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They’re Adapting: Why is “Unfilmable” Such a Dirty Word?

The word “unfilmable” is thrown around a lot these days. Mostly quite unfairly, but sometimes somewhat justly. It’s typically used as a go to word when somebody is genuinely terrified of what an adaptation of a certain work may look like, but don’t want to concede that the thought of what Hollywood will do to a clever and insightful idea chills them to the very bone (this is the system which turned down a chance to make Fahrenheit 451 because they couldn’t sell it to thirteen year olds). However, the word itself simply suggests that there are some ideas, stories, narratives, presentations, whatever that simply can’t be transitioned from one format to another – here, of course, the other is always cinema or television. So, is it ever fair to describe something is “unfilmable” and is there any shame in the idea?

Lost in Adaptation...

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Non-Review Review: Kill Bill, Vol. 2

Another film, another only very vaguely controversial decision from Darren. I actually prefer Kill Bill, Vol. 2 to the Kill Bill, Vol. 1. There, I said it. Don’t get me wrong, I like Japanese samurai swords, massive brawls, over-the-top violence and kitchen knife fights as much as the next man, but there’s just something about the second half of this “roaring rampage of revenge” which appeals to me.

Careful with your knives at the table...

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Going Looney About 3D…

Well, as far as 3D is concerned, I’m not convinced, despite it’s increasing presence in the market place. However, after all my time criticising post-rendering in 3D or how certain films don’t necessarily need the gimmick, maybe it’s about time I got a little bit excited about 3D and stopped complaining so damn much. Or at least recognised that it’s not all bad. The good news of which I speak? The Looney Tunes are coming back… in 3D.

This coyote is about to get ugly...

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Non-Review Review: The Road

Fire is a recurring image in the work of Cormac McCarthy. Particularly the notion of a generational line “carrying the fire” and being the good guys. There’s a moment at the end of No Country For Old Men, another adaptation of McCarthy’s work, where the tired sheriff played by Tommy Lee Jones shares a weird dream he’s been having with his wife, where he finds himself walking down a long road, and he passes his father – who is carrying a torch. It’s a powerful image, which really cuts to the heart of the piece. For those wondering what that road and that torch may actually look like… well, there’s this.

The Road less traveled...

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Non-Review Review: Sherlock Holmes

Well. I enjoyed that probably far more than I should have. If you ever wondered what Bad Boys would look like set in turn-of-the-last-century London and featuring a better director, then look no further. Although it would seem to be your typical old-fashioned action yarn in the mode of The Mummy or Shanghai Noon, the movie really works best as a time-displaced buddy cop film – or even just as a regular bromance. The movie is light, quick and entertaining. What more could you expect?

There's going to be bloody 'ell to pay...

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Iron Man: Extremis (Review/Retrospective)

John Pillinger says the Iron Man suit is a military application. I told him he was wrong. I’m trying to decide if I was lying. I’ve never sold any element of the Iron Man to the military. It’s used for extraordinary rescue and response situations. Iron Man saves lives. Iron Man used to represent the future.

– Tony Stark considers his legacy

What’s the Iron Man for, Tony?

– Sal cuts straight to the heart of the matter

The more Iron Man stories I read – and the more movies I see as well – it appears that Tony Stark as a lost individual isn’t a metaphor, it’s more of a metaphysical observation. He’s typically well written and carefully considered (of course, there are glaring exceptions), but he rarely seems to find himself involved in any particularly strong narratives. His appeal is centred entirely on the character’s charm, charisma and pride of place as one of fiction’s most famous and prestigious futurists. I don’t mean this as a slight on Extremis by any means – in fact, Warren Ellis’ revised mission statement for the true man of tomorrow may be the best Iron Man story I’ve read.

What is Tony Stark made of?

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Game On: The Video Game Curse…

Prince of Persia is coming soon. You can’t miss it, what with all the airtime they’re filling the television channels with, and all the movie specials. The movie is what it is – it’s a cynical attempt to cash in on the retro-chic of the old swords-and-sandals pulpy serial adventures in the same way that Pirates of the Caribbean originally did, while remaining anchored to a property with at least some geek recognition attached. It isn’t by any stretch of my imagination a must-see movie this year (not even making it into my top ten most anticipated films), but it looks it might manage to do what it says on the tin. It might offer a distracting low-brow Middle-Eastern-themed romp with an effective cast and competent direction masking what’s undoubtedly a weak premise. However, the movie has one major fact playing against it: it’s a video game adaptation. And those have something of a dodgy history in Hollywood.

Is Prince of Persia going to get to the next level of video game adaptations?

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