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Non-Review Review: Frances Ha

Frances Ha is Noah Baumbach’s tribute to early Woody Allen. Shot in black-and-white and set mostly in New York (although with two brief adventures elsewhere), the film seems like a genuinely affectionate homage to one of the greatest comedians to work in film. However, Frances Ha can’t help but feel like a pale imitation of a master filmmaker. Frances Ha is occasionally charming and clever, but it suffers from too much pretension. It lacks the strange charm of Allen’s best work, the sense of empathy the director can generate for his listless and often self-absorbed leads.

The biggest problem with Frances Ha is that it feels like a knock-off of a much stronger director.

Out in the cold...

Out in the cold…

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Doctor Who: Daleks in Manhattan (Review)

To celebrate the fiftieth anniversary of the longest-running science-fiction show in the world, I’ll be taking weekly looks at some of my own personal favourite stories and arcs, from the old and new series, with a view to encapsulating the sublime, the clever and the fiendishly odd of the BBC’s Doctor Who.

Daleks in Manhattan originally aired in 2007.

We must evolve! Evolve! Evolve!

– Dalek Sec has perhaps the most out-of-character moment for a Dalek ever

The concept of Daleks in the past is a great idea. However, with the exception of Evil of the Daleks, it is also a bit of a tricky one. Steven Moffat found that out with the first Dalek story of his tenure, Victory of the Daleks, bringing the Daleks to the Second World War. However, Russell T. Davies tried telling a Dalek story set in the past as part of the show’s third season. The Parting of the Ways had featured a Dalek story set in the future, while Doomsday saw the fiends lay siege to modern-day London. Placing the Daleks in 1930s New York seems a staggeringly ambitious proposition.

It's a hell of a town...

It’s a hell of a town…

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The Spirit Archives, Vol. 26 (Review/Retrospective)

It’s strange reading The Spirit Archives, Vol. 26. Not just because it’s a collection of absolutely everything (from stories to pin-ups to posters to sketches) rather than a set of comic strips. Also because of the scope of this final hardcover collection in DC’s Spirit Archives programme. While, with the exception of the last volume, each book collected six months of the weekly strip, this final book collects pretty-much everything Will Eisner did with the character from the time that the weekly strip ended through to his death in 2005.  I’m a bit surprised that there’s only one book of this material, although it does allow the reader to flick through the decades following the end of the strip as if examining a family photo albums – watching the subtle changes as time marches on.

Despite the fact that he was cancelled, The Spirit never seemed to quite go away. There was a lot of work featuring the character by other writers and artists, but most of that isn’t collected here. Instead, this admittedly disjointed collection reads best as a sort of a documentary charting the on-going relationship between Will Eisner and arguably his most popular creation.

Still making waves…

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12 Movie Moments of 2012: Running (Shame)

As well as counting down the top twelve films, I’m also going to count down my top twelve movie related “moments” of 2012. The term “moment” is elastic, so expect some crazy nonsense here. And, as usual, I accept that my taste is completely absurd, so I fully expect you to disagree. With that in mind, this is #8

It is quite common to see New York presented in an unpleasant light. After all, Martin Scorsese’s films capture the metropolis at its very best and its very worst, and there are countless gangster films devoted to exploring the dark underbelly of a city that is easily one of the most recognisable in the world. I have never been to New York, and yet I feel like – through years of film-watching – I have come to know the city almost as if I have lived there.

As such, I was surprised when Shame managed to offer me a somewhat novel take on New York itself. The city is as much a character in the film as any of Steve McQueen’s supporting cast. (Indeed, Carey Mulligan even gets to perform an extended version of “New York, New York” in tribute to her co-star.) McQueen manages to craft a distinctly unpleasant and uncomfortable exploration of the city without resorting to any of the trite clichés that one associates with the horrors of urban living.

Indeed, one long single-take shot of Brandon running within the confines of the city offered a more powerful sense of urban anomie and isolation than I have ever seen before, presenting a cold blue city completely indifferent and unaware of the millions of people living within the city limits.

shame11

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The Spirit Archives, Vol. 17 (Review/Retrospective)

The Spirit Archives, Volume 17 contains perhaps the best-loved Spirit story of all time. Indeed, you could make a compelling argument that The Story of Gerhard Schnobble represents perhaps the best seven pages that Will Eisner ever produced, beautifully encapsulating all the magic of the creator’s work, tempered with the same awareness of the harsh realities of life. This collection continues to offer The Spirit at the peak of its run, and The Story of Gerhard Schnobble simply sees all these elements that have been working so consistently for so long coalescing into something that is practically transcendental.

Beginning with a bang...

Beginning with a bang…

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Non-Review Review: The Warriors (1979)

The Warriors remains something of a curiosity. Its cult stature has only grown in the three decades since its original release, and the sense of young urban disenfranchisement that director Walter Hill tapped into remains as potent as it ever it was. That said, the film remains a bit of puzzle, and it is never quite sure what to make of its protagonists. Does the movie want us to root for the wayward Warriors as they navigate the urban jungle in a quest to get back to Coney Island, or does it instead remain passively amoral amid all the violence and nihilism? It’s hard to really say, but it remains a potent piece of cinema.

“Out here in the fields, I fight for my meals…”

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Non-Review Review: Premium Rush

This movie was seen as part of Movie Fest, which was as much of a joy this year as it was last year. If not moreso.

Although a tad over-written and a little awkward in places, Premium Rush is a diverting high concept chase thriller that actually manages to produce something just a little unique. Set within the high-octane world of New York couriers, it sees our lead character racing to make a 7pm deadline while dealing with a whole host of problems. Much like the title character, the movie is at its best when it’s moving – zig-zagging and free-wheeling at a decent enough pace that the flaws fade away. However, it runs into a bit of bother when it tries to slow things down a bit. Still, it’s an entertaining city thriller.

Wheeler dealers?

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Non-Review Review: The Apartment

The Apartment is a classic romantic comedy, and deservedly so. Reuniting director Billy Wilder with actor Jack Lemmon, it’s a wonderfully dysfunctional look at life in the big city, and the compromises the people find themselves forced into. While I think the movie probably works better as a romantic drama than as a comedy – with some outstanding moments of bleakness, including a serious suicide attempt and another false alarm towards the end – Wilder and Lemmon do an exceptional job keeping the movie just light enough that the darker elements don’t overwhelm the film. It is a piece of cinematic history, and one that holds up as well today as it ever did.

The neighbours were wondering about the racket…

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Righteous Fury: Nick Fury, The Avengers & Moral Ambiguity…

I had the pleasure of seeing The Avengers for the second time last week, to try to make sense of my opinion on it. I still think that it’s an impressive action movie, even if it is a fundamentally flawed one. Strangely enough, though, I confess to finding the character of Nick Fury completely and utter fascinating, arguably the most complex character in the script. The problem, however, is that his complex moral ambiguity is very clearly contrasted with the idealism of his team of superheroes. However, I’m not convinced that they win the argument.

How does he patch things up with the team?

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Non-Review Review: Crimes and Misdemeanors

I have to admit a special fondness for Crimes and Misdemeanors. It isn’t my favourite Woody Allen film, but it does sit somewhere near the top of my ranking of the director’s extensive filmography. More than that, though, it’s interesting to revisit Crimes and Misdemeanors in light of the director’s more recent work in films like Cassandra’s Dream or Match Point. Indeed, reflecting on it today, Crimes and Misdemeanors seems to occupy a strange middle-ground, literally positioned half-way between the director’s observational comedies and his more sombre meditations on the human condition. Anchored in a fantastic lead performance by Martin Landau, Crimes and Misdemeanors is an intriguing moral dramedy.

Well suited to each other?

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