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Non-Review Review: The Player

I love The Player. I really do. When I was in college, I used to organise movie screenings – we’d show The Player once a year and it would always pack out. It was just one of those films that everybody had heard nothing but good things about, but never got a chance to see. Indeed, I would go so far as to say The Player, with all its wacky fourth-wall meta-ness, is my favourite Robert Altman film.

Who would want to kill this producer? Answers on the back of a postcard...

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Non-Review Review: The Siege

The Siege has the benefit of becoming a lot more relevent in the past couple of years. Exploring the aftermath of a series of terrorist atrocities on New York City by Islamic extremists, the film isn’t exact a subtle exploration of the relationship between liberty and security – instead preferring to offer two-dimensional strawmen instead of characters or legitimate viewpoints. Still, despite its heavy-handedness, it does have some interesting insights into the world after it has been shaken to its core.

Washington under Siege...

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Non-Review Review: Forrest Gump

On one level, Forrest Gump is just too sacchrine for me. Really, I feel like a need a filling after joining the eponymous character on a whirlwind tour of modern American history (or what could really be described as “America’s greatest hits”). That said, there’s a certain charm to the movie that belies this incredible sweetness (which itself stands in sharp contrast to the cynicism of the novel upon which it will be based). And most of that charm is Tom Hanks.

Plus it doesn’t hurt that the movie has an amazing soundtrack.

Forrest was quite popular in the nineties...

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Non-Review Review: Koyaanisqatsi

Koyaanisqatsi is a word that comes from the language of the Hopi. It’s handily translated at the end of the film, with one of the meanings lending the film its unofficial subtitle: “life out of balance”. Brought to the screen by director Godfrey Reggio and composer Philip Glass (not that you’d know it from the film’s sparse opening credits which simply identify the film as “a Francis Ford Coppola production”), it’s safe to say that Koyaanisqatsi is one of a kind. Or, given the two sequels, one of three of a kind, but that’s still quite impressive.

Let there be light...

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Non-Review Review: Grown Ups

It’s very difficult to offer a movie that takes a cynical “Hollywood type” back to their roots. There are many reasons. The most obvious is that the type of person making the movie is a cynical Hollywood type and there’s something of an irony about making a film about the roots they’ve lost contact with – oftentimes it is more difficult to offer a grounded version of reality than it is to depict an alien invasion or a thoroughly ridiculous premise. Grown Ups is the second film this year which sees Adam Sandler playing a character attempting to reconnect with the common man – perhaps a timely theme in light of the recession, when the glitz and glamour of Hollywood stand in even starker contrast to the day-to-day lives of regular folks. However, if I didn’t know better, I’d think Sandler (whose production company produced the film and who co-wrote the script) is having something of a midlife crisis.

Not exactly a deep pool of talent...

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Non-Review Review: Baby Mama

Baby Mama is effectively a “buddy” chick flick. Indeed, considering that the bulk of buddy guy flicks – like Lethal Weapon or The Expendables – are about guys doing stereotypically “macho” stuff (grrr… explosions and guns and fights and stuff!!!), it’s perhaps appropriate that this movie pairs off its two leads doing something stereotypically “feminine” (awww…. babies and maternal instincts and things…). The premise and the message of the movie are difficult to get a hold of (it by turns mocks and reinforces a conventional liberal perspective, particularly in its portrayal of class conflicts), but works at its best when it lets its two tremendously talented leads time and room to work – there’s a reason that Tina Fey and Amy Poehler are competing against each other for that Emmy this year. Despite its fairly heavy subject matter, the movie arguably finds its feet as a conventional “odd couple” comedy – which is a shame, as that’s only one of many things it’s juggling.

Guess which one's white trash...

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Non-Review Review: Happy Gilmore

I’m not a guy who likes Adam Sandler – except maybe in The Wedding Singer or something. Still, it seems that the most unlikely people are inevitably fated to have a soft spot for a particular Sandler comedy, even if it doesn’t quite deserve it – my better half’s father, for example, has an inexplicable affection for Little Nicky. I, however, have a completely illogical affection for Happy Gilmore – despite the fact that I make note of its many flaws even as I watch it. It’s a movie I can’t quite justify my affection for, which perhaps makes it even more oddly endearing.

Taking a swing at it...

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Non-Review Review: Red Dragon

I have a confession to make: I don’t much care for Manhunter. I know I love the work of Michael Mann, but the film just left me cold. Maybe it’s Brian Cox’s stale performance as Hannibal, or the final action sequence choreographed to Inna Gadda Vida, but I don’t react well to the film. I loved the original book – I’d argue that Harris’ Red Dragon surpasses even The Silence of the Lambs as the greatest forensic thriller ever written – and, I have to confess, I certainly quite enjoyed Red Dragon.

Guess whose back...

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Non-Review Review: The Expendables

Nostalgia is a double-edged sword. When it was mentioned that Sly Stallone would be putting together a dream team of action movie stand-bys – Jason Statham, Jet Li, Mickey Rourke, Eric Roberts, Bruce Willis, Arnold Schwarzenegger and Dolph Lundgren – our minds immediately go to a happy a place. We remember the joys of films like Rambo: First Blood or Die Hard or Total Recall. However, we forget that a great many of the films produced over that iconic era we look back to were also just plain terrible (or, at best, woefully mundane): Red Heat, Cobra, Tango and Cash, among many others. Sadly The Expendables stands more with the latter than the former. Which is a damn shame.

Sly managed a long and arduous shoot...

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Non-Review Review: Superman II (The Richard Donner Cut)

Superman II has had a somewhat rocky production history. Essentially conceived as the “second half” of the original Superman film, it was all beautifully and carefully mapped out since before the original was released – in fact, Donner had done most of his work on the sequel before the original saw the light of day, and Gene Hackman didn’t even officially work on the second film (his filming blocks overlapped). It was a bold gambit, but one which could have returned an almost infinite reward. Instead, the producers of the film – the Salkinds – would fire director Richard Donner before he could finish his work and hire Richard Lester to come in a film some replacement footage. Perhaps the most telling thing about Lester is that, on viewing Donner’s epic take on the Man of Steel, the replacement dismissively stated that he wanted to stay away from “the whole David Lean thing”. Because the last thing he’s want to do is make a good movie. However, Donner would eventually get an opportunity to tell his version of the story – or as close to it as possible. Although there’s only so much editting can do, Superman II: The Richard Donner Cut makes almost as solid a case for its director’s vision as Superman III and Superman IV do for his successor’s lack of same.

Let's put this to bed...

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