Advertisements
    Advertisements
  • Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

  • Advertisements

Non-Review Review: Always Be My Maybe

Perhaps Always Be My Maybe is a more accurate reminder of the romantic comedy.

Much digital ink has been spilled on the state of the romantic comedy as a genre, particularly in the context of the streaming wars. Many critics and observers have lamented the death of the mid-budget movie at the American box office, citing the romantic comedy as one of the genres most obviously affected. However, there were a number of hopeful signs of life in the genre in recent years. Netflix has been consciously investing in these sorts of films, with internet favourites like Set It Up or To All the Boys I’ve Loved Before. (Tellingly, Netflix became the international home for Isn’t It Romantic?)

The script could use a punch-up.

However, the genre also performed robustly in cinemas with Crazy Rich Asians becoming a breakout success story for Warner Brothers and sparking a lot of excitement and interest around the genre. In fact, even Late Night looks like it might do something similar for the related “woman at work” subgenre; although its box office success seems much less assured, critical response is very positive. As a result, it seems like reports of the death of the romantic comedy and similar works have been greatly exaggerated. There is life in that old genre yet, whether theatrically or streaming.

The arrival of Always Be My Maybe underscores at least one factor in the success of breakout hits like Crazy Rich AsiansSet It Up or Late Night. A lot of the modern attention on the romantic comedy genre is focused on exceptional examples of the genre; films within the genre that are very, very good. In contrast, Always Be My Maybe feels like something of a grim corrective. It is perhaps more representative of the romantic comedy genre as it tended to be, rather than evoking the popular memory of it. This is to say that Always Be My Maybe is occasionally charming, largely derivative, and generally quite bland.

I left my heart in San Francisco.

Continue reading

Advertisements

New Podcast! Scannain Podcast (2019) #15!

It’s time for the Scannain podcast!

This week, I join Jay Coyle and Grace Duffy to discuss the week in film.  As usual, we talk about what we watched this week, including another in-depth discussion of Brie Larson’s directorial debut Unicorn Store, the cynicism of Netflix’s The Silence, the enduring appeal of Road House, the insanity of Jupiter Ascending, and the strange nostalgia of Hotel Artemis. In film news, there is a lot happening. Close to home, the IFI is hosting a season dedicated to memory on screen and has added The Loopline Connection to the online IFI Player. In international news, the latest Star Wars movie has a name and a trailer, Avengers: Endgame spoilers sweep across the internet, and the Cannes film festival announced its line-up.

All of this plus the top ten and the new releases.

The top ten:

  1. Missing Link
  2. Captain Marvel
  3. Peppa Pig: Festival of Fun
  4. Hellboy
  5. Little
  6. Pet Sematary
  7. Wild Rose
  8. Wonder Park
  9. Shazam!
  10. Dumbo

New releases:

New Podcast! Scannain Podcast (2019) #13!

It’s time for the Scannain podcast!

This week, I join Grace Duffy, Ronan Doyle and Jay Coyle to discuss the week in film. There’s a lot to cover this week, most obviously the passing of Agnès Varda, who was something of a patron saint of the podcast. However, the film news also covers the United States Justice Department’s intervention in the row between Netflix and the Academy, big announcements from Cinema Con, news about Disney’s purchase of Fox, the Newport Beach Film Festival, and the Celtic Media Awards.

All of this plus the top ten and the new releases.

The top ten:

  1. How to Train Your Dragon III: The Hidden World
  2. Die Walkure – Met Opera 2019
  3. The Lego Movie 2: The Second Part
  4. Green Book
  5. Instant Family
  6. Lucifer
  7. What Men Want
  8. Captain Marvel
  9. Us
  10. Dumbo

New releases:

Non-Review Review: Unicorn Store

Unicorn Store is, appropriately enough, a strange beast.

Brie Larson’s feature-length directorial debut, adapted from a screenplay by Samantha McIntyre, struggles to manage its tone. What is Unicorn Store? Who is the target audience for Unicorn Store? The stylistic sensibilities of Unicorn Store evoke the modern American mid-budget indie film; the listless title character stuck in arrested development, the cast populated by distinguished character actors like Joan Cusack and Bradley Whitford, the use of shaky handheld camerawork to create a sense of grounded intimacy and authenticity. However, the narrative itself aspires towards something more surreal and strange, the sort of abstract stylised magical realism associated with directors like Michel Gondry or Tim Burton.

Painting a perfect picture.

Similarly, the story itself never seems to figure out at what level it wants to pitch itself. Is Unicorn Store meant for children, with its empowering story about the importance of pursuing one’s dreams in a world that expects too much adult responsibility too quickly? If so, the narrative is too rooted in adult fears and anxieties to really land, the whimsical wonder often eroded by more mundane realities that are of little interest to a young audience. Is Unicorn Store aimed at an older audience then, people like the lead character Kit, who never grew up despite society constantly telling them that they needed to? If so, the story is too light and fluffy, too superficial and too simplistic in its outlook.

Perhaps, like the mysterious “Store” featured in the film, Unicorn Store is trying too hard to be all things to all people. Indeed, the climax of the film hinges on the idea that the eponymous “Store” cannot satisfy all of its customers. While the Unicorn Store attempts to put an optimistic spin on this, there is a sense in which this is true of the film itself. Unicorn Store seems so eager to be everything that anybody could want it to be that it never figures out what it actually is.

Making her mark.

Continue reading

Non-Review Review: Triple Frontier

Triple Frontier feels very much like a J.C. Chandor grab bag. And that’s no bad thing of itself.

The film runs on a variety of different concepts and ideas that run through Chandor’s other films. On a purely plotting level, the idea of a story about five guys trapped alone in the wilderness trying to survive on hostile terrain evokes the survival drama of All is Lost, albeit with more men carrying more weapons. The thematic underpinnings of the story, particularly its preoccupations with the dangers of greed and the consequences of unchecked avarice, resonate with Chandor’s earlier work like Margin Call or A Most Violent Year. There is a sense in which Triple Frontier feels of a piece with the body of work that Chandor is building for himself.

Even more broadly, Triple Frontier feels like the kind of older sort of film that rarely gets made in the current studio system; an ensemble cast dropped into a fairly standard premise, anchored in the recognisability of the actors rather than the familiarity of the intellectual property. Triple Frontier is a film build around the closest thing that modern Hollywood has to star wattage. The film reunites Chandor with Oscar Isaac, who anchored A Most Violent Year and the secondary lead role is given over to Ben Affleck, who is arguably one of the rare remaining movie stars. There is no small irony in the fact that Triple Frontier should end up on Netflix, despite being the sort of mid-budget, actor-driven, basic-concept action thriller that studios used to churn out on a regular basis.

Triple Frontier is perhaps Chandor’s weakest film. It lacks the raw urgency of Margin Call, the desperate intimacy of All is Lost and the claustrophobic anxiety of A Most Violent Year. However, it is still a well-constructed survival parable driven by a likable cast and confident director with a clear affection for an older style of Hollywood film-making.

Continue reading

120. Andhadhun – This Just In (#129)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Giovanna Rampazzo and Babu Patel, This Just In is a subset of The 250 podcast, looking at notable new arrivals on the list of the 250 best movies of all-time, as voted for by Internet Movie Database Users.

This time, Sriram Raghavan’s Andhadhun.

At time of recording, it was ranked 129th on the list of the best movies of all time on the Internet Movie Database.

Non-Review Review: Isn’t It Romantic?

Isn’t It Romantic? is a movie that seriously misjudges its own premise.

At the heart of Isn’t It Romantic? is a fairly solid observation. The conventional romantic comedy has seen better days. The genre enjoyed a boom in the nineties, largely driven by the star power and charisma of actors like Sandra Bullock, Julia Roberts, Meg Ryan and Tom Hanks. It is no surprise that Isn’t It Romantic? opens with the familiar chords of Roy Orbinson’s Pretty Woman and then cuts to a childhood memory of the lead character watching Pretty Woman. In recent years, the genre has gradually been squeezed out of cinemas. It is no longer the cultural force that it once was, with a handful of notable exceptions. Isn’t It Romantic? positions itself as part of a larger discussion about the state of the genre.

He will, in fact, take you to the candy shop.

However, Isn’t It Romantic? approaches this issue in a very strange way. Typically, genres that have been marginalised or pushed to the fringes respond with a level of introspection and analysis; think of Unforgiven with westerns or even Cabin in the Woods with schlocky teen horrors. The idea is that the genre can take itself apart and put itself back together. On the surface, Isn’t It Romantic? seems to be positioning itself as this sort of movie. Indeed, a significant portion of the movie’s stretch of set-up is given over to an extended sequence of the lead character working through the tropes and rhythms of, and the problems with, the romantic comedy genre in almost excruciating detail. Isn’t It Romantic? seems to position itself as an autopsy.

However, it very quickly becomes clear that beyond pointing out these tropes, Isn’t It Romantic? has very little interesting to actually say about them. If the film genuinely believes that the genre is dead, then Isn’t It Romantic? opens as a public autopsy before morphing into a strange act of cinematic necrophilia.

The best laid plans.

Continue reading