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Non-Review Review: Unknown

This film was seen as part of the Jameson Dublin International Film Festival.

Unknown is not, despite what it may want you to believe, anything to do with Taken. I have a sense that audiences catching the film without that pre-existing expectation might enjoy it more than others, but I can’t help but feel the movie suffers by comparison to the earlier film in the “Liam Neeson as badass action hero” subgenre.

Taken for a ride?

Note: By its very nature, this review will involve the very slightest of spoilers. I will literally be discussing the first twenty or so minutes of the film, and I doubt it’s any more than you could discern from the trailers, but I figure it’s worth flagging with the spoiler-conscious out there.

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Non-Review Review: Wake Wood

This film was seen as part of the Jameson Dublin International Film Festival.

Even though I never lived through their “golden age” of schlock horror films, I still feel a sympathetic affinity for Hammer’s House of Horror. Watching movies late into the night with my gran and grandfather was one of those treats my younger self enjoyed on returning from abroad for Summer or Christmas holidays. As such, it’s nice to see Hammer producing movies again. Let Me In was a fairly major success for the company, remarking the already-classic vampire film Let the Right One In, but it didn’t feel as deeply rooted in Hammer’s horror traditions as the Irish horror the Wake Wood does. For better or worse, the Wake Wood is pure Hammer Horror.

The truth always comes to light...

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Non-Review Review: The Tempest

This film was seen as part of the Jameson Dublin International Film Festival.

I have to admit that I have a soft spot for Julie Taymor’s Titus. It was a punk rock adaptation of perhaps Shakespeare’s trashiest play, and it was a fusion which just worked. The Tempest, on the other hand, is a very different beast. Far from being one of the Bard’s more easily forgotten plays, it has been one of his most highly regarded since its revival in the nineteenth century. It is, despite some outward cynicism, a far more optimistic and (dare I say it?) lighter piece than the orgy of death and destruction in Titus Andronicus. So Taymor’s skills aren’t quite as perfectly in step as they might be. That said, she’s still a remarkable director with a keen visual sense, and the movie manages to be engaging and entertaining, despite a few missteps.

It's a kinda magic...

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Non-Review Review: RED

The way that society treats its elderly makes for great fodder for films. After all, what happens to us when we climb over that hill – when we make it all the way to retirement and cease to contribute in the most conventional manner? Will anybody care? Will anybody notice? It’s something that will (hopefully) happen to a lot of us, but it’s not necessarily something we give a lot of thought to – perhaps because we wouldn’t be too comfortable with the answers we’d find. “I never thought this would happen to me,” Joe Matheson confesses at one point as he strolls around “Green Spring Rest Home” with his old colleague, Frank. When Frank asks what he means, Joe elaborates, “Getting old.”

Up to their old tricks...

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Non-Review Review: Agnosia

This film was seen as part of the Jameson Dublin International Film Festival.

There were a lot of reasons to get excited about Agnosia, one of the anticipated highlights of the Jameson Dublin International Film Festival. The movie was written by Antonis Trashorras, the writer of The Devil’s Backbone, perhaps the film that put director Guillermo del Toro on the map. In fact, this film comes with an endorsement from del Toro himself, which has quite a large amount of weight among the film community. However, Agnosia lacks the magic or elegance of del Toro’s work, with director Eugenio Mira (whose last work was in 2004) able to craft a stylish visual design for the film – but never quite able to create a sense of magic or engagement.

99 Schwarz ballons...

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Non-Review Review: Infernal Affairs

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “foreign noir” – a look at some of the neo-noir films from outside America.

In case you are unfamiliar with the Hong Kong classic, Infernal Affairs is perhaps most recognisable to Western audiences as the film which inspired Martin Scorsese’s The Departed. The film finally won Scorsese a long overdue Oscar, but the raw materials he found himself working with certainly contributed in some manner. The movie succeeds by taking a wonderfully original plot that still fits within the themes of the best crime stories, and telling it in a wonderfully engaging manner.

Go to Hell...

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Non-Review Review: Sin City

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “comics noir” – noir filtered through comic book panels.

Sin City is, I suppose, one of those films that lives or dies based solely on its visual style. Although the heavy hardboiled atmosphere compliments the stark black and white contrast, it’s those beautifully and meticulously staged images which come into the mind when one thinks of the Frank Miller adaptation. Based on the writer and artist’s collection of noir-themed comic books set in (Ba)Sin City, Robert Rodriguez’s adaptation manages to faithfully capture the tone and style of its source material. Being honest, it’s one of those movies which can’t help but catch your eye – it’ll just follow up with a punch to the gut.

That little red dress...

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Non-Review Review: Insomnia (2002)

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “a brighter shade of noir” – neo-noir that eschews the dark aesthetic for which the genre is famous.

How do you make a film noir set in a community where the sun never sets? You get the Swedes to do it, and then you ask Christopher Nolan to remake it.

I love a good mist-erie...

Note: Unlike most of my noir-related posts, this review will include spoilers for the film. In fairness, you could argue that these are the type of spoilers included in a run-of-the-mill synopsis – but better safe than sorry. If you’re looking for a recommendation, go see this film.

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Non-Review Review: Dark City (Director’s Cut)

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “cyber noir” – the unlikely combination of sci-fi and film noir to make an oh-so-tasty film.

A man jolts awake in a bathtub in a strange motel, and seems somewhat surprised by his surroundings. As seems to be mandatory in all good sleazy establishments, the light bulb on the ceiling swings back and forth – teasing illumination around the otherwise dark tiled room, but never showing everything. Confused, the resident stumbles to his feet, and searches frantically for what must be his clothes. However, there’s an unpleasant surprising waiting for him inside the anonymous cheap room: a dead body of a beautiful woman, carved and cut up in a mysterious spiral pattern. Our protagonist recoils, horrified by the discovery, and leaves the seedy dive as soon as possible. He assures himself, repeatedly, that it isn’t what it looked like. He isn’t a killer, he’s a good man.

However, it would be much easier to make that argument if he could remember anything before waking up in the water. Even his own name.

One to watch...

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Non-Review Review: Blade Runner

We’re currently blogging as part of the “For the Love of Film Noir” blogathon (hosted by Ferdy on Films and The Self-Styled Siren) to raise money to help restore the 1950’s film noir The Sound of Fury (aka Try and Get Me). It’s a good cause which’ll help preserve our rich cinematic heritage for the ages, and you can donate by clicking here. Over the course of the event, running from 14th through 21st February, I’m taking a look at the more modern films that have been inspired or shaped by noir. Today’s theme is “cyber noir” – the unlikely combination of sci-fi and film noir to make an oh-so-tasty film.

Blade Runner is arguably more of a film noir than a science-fiction film. Sure, it features robots and flying cars, but the atmosphere is set by a constant downpour in the streets, while characters wandering around in trenchcoats and questions of identity and moral ambiguity hang heavily in the air. Though the funky Vangelis soundtrack may lead you to believe otherwise, Blade Runner is perhaps one of the most faithful films in the neo-noir film movement. The flying cars are just on top of that.

Facing the facts...

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