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Non-Review Review: Gemini Man

Gemini Man is a weird and unashamed nineties action movie throwback, for both better and worse.

This is baked into the film. The poster capitalises on the star power that drives the film. Alluding to the clone drama that drives so much of the plot, the poster to Gemini Man credits lead actor Will Smith twice above the line. In an era where the very concept of the movie star is trapped in a seemingly terminal decline, Gemini Man literally doubles down on its star branding. More than that, there is something surreal in the choice of Will Smith as that leading man, an actor whose career is largely defined by nineties hits like Enemy of the State, Men in Black or Bad Boys and whose career has floundered in recent years.

Face to Face/Off.

Gemini Man leans into this nostalgia. The film’s central hook lies in confronting Will Smith with a younger version of himself. Will Smith plays retiring assassin Henry Brogen, who finds himself hunted by a much younger version of himself. De-aged into the uncanny valley, the younger version of Will Smith consciously evokes the actor’s golden age. The film is set in 2019, but the computer-augmented action star feels lost in time; even his hairstyle and facial hair recall the actor’s appearance in The Fresh Prince of Bel Air rather than anything that might suggest a young man growing up in the twenty-first century.

While there’s a lot to unpack in the film, there’s also something disappointingly lifeless about Gemini Man. One of the film’s big action beats take place in a creepy catacomb, in what feels like an encapsulation of the film. Gemini Man never seems truly alive, instead feeling like a facsimile of another, older style of blockbuster.

Out of scope.

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“I’m Ready to Communicate With You Now”: The Millennial Anxieties of “The Sixth Sense”, and Feeling Alone in the City of Brotherly Love…

This Saturday, I’ll be discussing The Sixth Sense on The 250, the weekly podcast that I co-host discussing the IMDb’s Top 250 Movies of All-Time. However, I had some thoughts on the film that I wanted to jot down first.

What do you think these ghosts want when they talk to you? I want you to think about it, Cole. I want you to think about it really carefully. What do you think they want?

Just help.

That’s right. That’s what I think too. They just want help, even the scary ones. I think I might know a way to make them go away.

How?

Listen to them.

The Sixth Sense is a remarkable film, for many reasons.

These days, The Sixth Sense is perhaps best known for its central twist. The film’s powerhouse emotional ending has become a pop cultural touchstone, anchoring jokes in everything from Fifty First Dates to the viral video sensation Jizz in my Pants. Of course, this also complicates the legacy of The Sixth Sense by serving as ground zero for director M. Night Shyamalan’s subsequent dependence upon these sorts of twists in movies like The Village or The Happening. Nevertheless, The Sixth Sense has endured in the popular memory as one of the rare twist-driven films that stands up to repeat viewings.

A Cole’d open.

However, it is much more than that. Even beyond that, The Sixth Sense is a lavish production that looks beautiful. Of course, Shyamalan’s ego has done his reputations few favours, from his own cameo as a writer-messiah in The Lady in the Water to his role in a Sci-Fi Channel documentary The Buried Secret of M. Night Shyamalan to the famous Newsweek cover crowning him “the next Spielberg.” Still, The Sixth Sense is visually stunning. Although it is tempting to think of The Sixth Sense as a “small” movie by modern standards, it was actually produced on a budget of $40m.

Rewatching The Sixth Sense twenty years later, it is amazing how much of the film’s visual storytelling lingers. Shyamalan might not have been the next Spielberg, but he had a wonderful eye for composition; that shot of a red balloon drifting up the inside of a spiral staircase, those eerie sequences of Malcolm and Cole wandering through a surprisingly quiet Philadelphia, even the conversations at that church with Cole towering over Malcolm from the balcony as he plays with his toy soldiers.

Pew pew!

However, even more than all of that, The Sixth Sense remains the rare film that is both specifically rooted in its cultural moment and profoundly universal. The story that drives The Sixth Sense is surprisingly straightforward – helpfully encapsulated in Cole’s trailer-friendly assertion that he sees “dead people.” However, Shyamalan understands that ghost stories are about more than just the recently deceased. Ghost stories translate a sense of longing and regret, of disconnect and isolation. The Sixth Sense is fundamentally a story about how difficult it is to meaningfully communicate in the modern world, with or without a pulse.

The Sixth Sense is a story of existential ennui, wrapped up in a set of late nineties anxieties.

M. Night Shyamalan had to eat Crowe on his next few films.

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Star Trek: Voyager – Natural Law (Review)

Natural Law represents another vaguely nostalgic entry in the final season of Star Trek: Voyager.

Most superficially, Natural Law evokes the vague New Age sentiment that defined a lot of the early episodes focusing on Chakotay – episodes like The Cloud or Tattoo. It feels entirely appropriate that Chakotay should be part of the away team to encounter the Ventu, as the presentation of the Ventu evokes a lot of the early approach to Chakotay’s own Native American heritage; a romanticised ideal of a more primitive culture. In fact, it seems entirely plausible that the aliens who build the shield to protect the Ventu – the mysterious “Species 312” – might in fact be the same white-skinned aliens encountered in Tattoo.

“I can see what’s happening, and they don’t have a clue…”

More specifically, though, Natural Law represents a familiar archetypal Star Trek episodes. Although the words are not actually spoken within the episode itself, Natural Law is pretty much a textbook “Prime Directive” episode. It belongs to that familiar subset of stories about the crew encountering a group of primitive aliens affected by a piece of outside technology, and trying to weigh their obligation to help that society with their desire not to directly intervene. The Ventu are a familiar native archetype, albeit one handled with a little more grace and dignity than the inhabitants of Gamma Trianguli VI in The Apple.

There is something very interesting in Natural Law, particularly in the context of the seventh season’s recurring fascination with tying Voyager back to the roots of the Star Trek franchise with references to Kirk in episodes like Q2 and Friendship One. Ironically, Natural Law only underscores how far removed Voyager is from the original Star Trek. Kirk often struggled to justify bending the Prime Directive to liberate societies trapped in oppressive circumstances and kept in arrested development. In contrast, Natural Law strains to justify the washing of the crew’s hands. More than that, Natural Law reveals the true purpose of the Prime Directive has nothing to do with primitive cultures.

The rise and falls…

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“This Was Supposed to Be a Spiritual Experience”: The Mid-Nineties Ennui of “Texas Chainsaw Massacre: The Next Generation”…

This Saturday, I’ll be discussing Texas Chainsaw Massacre: The Next Generation on The 250, the weekly podcast that I co-host discussing the IMDb’s Top 250 Movies of All-Time. However, I had some thoughts on the film that I wanted to jot down first.

I’ve never been able to watch it with any kind of perspective. To me it just looks like some crude backyard movie a bunch of kids slapped together. There seems to me to be, on one hand, a group of people who were strictly horror fans who venerated it. Only over time has it come to occupy a very peculiar position, and I still don’t have any concept of what that is. I think we just wanted to hang a bunch of people on meat hooks, chop ’em up, and sell tickets at the theatre.

– Kim Henkel discusses The Texas Chain Saw Massacre

Texas Chainsaw Massacre: The Next Generation is a very nineties film, speaking to a very unique set of nineties anxieties.

There is something very revealing and candid about certain kinds of bad movies. Of course, many bad movies are just bad, hacky executions of well-worn concepts without any insight or skill to anchor them. However, there are some bad movies that seem driven by a strange source of passion and energy, which makes them bizarre snapshots of a particular time and place. It is almost a sort of candour, an unguarded bluntness, that allows them to articulate their perspective without any of the consideration or care of a better film.

The Next Generation is one of those films. It is, to be entirely clear, a terrible film. It is sloppily constructed. It is terribly framed. It is incoherently plotted. Its characters are drawn in the crudest of terms. Most damningly, it combines two particularly awful subgenres of the “bad movie” archetype. It is both a horror movie that is not scary and a black comedy that is not funny. It is, by all accounts, a disaster. Watching the film, the question isn’t how the release was delayed for three years. Instead, the question becomes how the film was ever released at all.

However, whether in spite of because of all of this, The Next Generation feels like a weird snapshot of a particular mid-nineties mood. Somehow, while groping around in the darkness, it accidentally puts its finger on the pulse.

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New Podcast! The Time is Now – Season 1, Episode 1 (“Pilot”)

The wonderful folk responsible for The X-Cast have launched another podcast, covering another beloved Chris Carter property, and I’m thrilled to be a guest on it.

Millennium is a massively underrated (and largely underseen) show. It is one of the most striking television series of the late nineties, and a show with an impressive cultural footprint and reach. I’m on record as arguing that the second season of Millennium is one of the best twenty-odd-episode seasons of television ever produced, but the first season also has a lot to recommend it.

Tony has already recorded a primer or introduction to Millennium, but I’m honoured to be the guest invited on to discuss The Pilot. Indeed, The Pilot is a remarkable piece of television, and one of the most striking pieces of television that Carter ever produced. Millennium struggles a bit in the first half of the season to establish a sense of tone and to figure out how to tell the stories within this framework.

You can listen to the episode here, subscribe to the podcast here, or click the link below.

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128. The Avengers (-#68)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Phil Bagnall, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Jeremiah Chechik’s The Avengers.

When the sinister Sir August de Wynter discovers a way to harness the weather for his own monstrous ends, there is only one way to stop him. Sophisticated secret agent John Steed teams up with meteorologist Emma Peel in order to prevent the villain from bringing his fiendish plot to fruition.

At time of recording, it was ranked 68th on the Internet Movie Database‘s list of the worst movies of all-time.

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95. Into the Wild (#180)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Jack Hodges, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT, with the occasional bonus episode thrown in.

This time, Sean Penn’s Into the Wild.

Christopher McCandless abandoned a comfortable middle-class life in pursuit of something greater. His search would take him across the United States, impacting the lives of those he met along the way. His search would eventually lead him into the Alaskan wilderness.

At time of recording, it was ranked the 180th best movie of all-time on the Internet Movie Database.

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