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Non-Review Review: The Oranges

There’s an interesting film in here, somewhere. The Oranges teases the possibility of brutally exposing the seedy underside of suburban life, as we follow an affair between a married man and his best friend’s daughter, but The Oranges is far too shallow to land anything resembling a killing stroke. The adult cast is composed of talented veterans, but the script doesn’t give them much to do – instead The Oranges treats their children as the focal point, misjudging the talent of young actresses Leighton Meester and Alia Shawkat. It all feels too light, too cosy, and too willing to pick the low-hanging fruit to really create an interesting study of life in the ‘burbs.

Keeping it in the family...

Keeping it in the family…

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Non-Review Review: Celeste & Jesse Forever

While it’s not quite as novel as the core idea might suggest, Celeste & Jesse Forever has a fascinating central concept. Most romances leave off after the initial courtship – the “and they lived happily ever after” all but printed at the bottom of the end credits. Celeste & Jesse Forever offers a somewhat skewered take on that. We begin at the end of a marriage, and follow the two central characters as they try to deal with living apart from one another. The movie isn’t as subversive as it could be, working hard to integrate conventional romantic formulas into this new framework, but it is something a bit different – and the concept carries it quite far. A winning central performance from Rashida Jones and a charming sense of humour help keep the movie interesting, even if it never quite commits fully.

Celeste & Jesse Forever is well worth a look, if only to demonstrate that there is room to tinker with the conventional formula for romantic comedies.

The long kiss goodnight...

The long kiss goodnight…

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Non-Review Review: Red Riding – The Year of Our Lord 1983

To the North, where we do what we want!

– Bill Molloy

It must be very tough to round off a trilogy of films, but Red Riding seems to possess more than its fair share of challenges. On top of the expansive cast and somewhat convoluted plot, this trilogy of adaptations for Channel 4 actually omits an entire story from the source material. David Peace wrote Red Riding as a four-book series, and yet there was only enough in the budget for a three-film adaptation. On top of that, the inevitable realities of pragmatic adaptation means that various characters have to be omitted and reworked and reconfigured so that the series of films makes sense on its own terms.

Red Riding: 1983 isn’t quite a flawless resolution to the trilogy, but it does enough things with enough skill that feels satisfying. A few contrivances feel a little awkward or cheesy, and some of the plot points feel a little too obvious and easy, but the cast and the characters are strong enough to carry this ambitious series past the finish line.

Good Jobson…

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Non-Review Review: Seven Psychopaths

“Meta” is a concept that can be very rewarding, but it’s very difficult to do right. Often, it seems a little heavy-handed, a little self-indulgent. The art of writing fiction about fiction can easily descend into a writer documenting his own process, or become clever for the sake of being clever – offering an easy way out of virtually any dramatic situation, and allowing the script to answer pretty much any question with “because the writer says so.” Nevermind that movies about movie are prone to become a little self-congratulatory, or a little too self-focused. Seven Psychopaths never completely falls apart, but it occasionally struggles with these sorts of problems a little bit in the middle. Martin McDonagh has produced a very thoughtful and clever exploration of the traditional revenge film, but the execution feels a little bit too clunky at times.

I understand that this might be the point, but there are times when Seven Psychopaths feels like more of a narrative experiment than a compelling story in its own right. Still, it’s witty and funny and bold and smart and charming. Those attributes aren’t the easiest to come by, and certainly not in this combination. Seven Psychopaths might not be the incredible success that In Bruges was, but it’s a film that takes chances, and which tries to push both the genre and its audience a little out of their comfort zone. It is very hard not to respect that, and I’d be lying if I didn’t admit I was fairly consistent charmed throughout its runtime.

The write stuff…

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Non-Review Review: Jaws

Jaws is a pretty impressive film. Not only did the film serve to launch Steven Spielberg’s career and subgenre of monster creature features, it also effectively kick-started the summer blockbuster. However, watching it again all these years later, it’s amazing how well Jaws holds up – far better than the vast majority of films that it ultimately inspired. There’s a lot of reasons that Jaws works, and a lot of them come down to Spielberg working as director, but also in the scripting and the acting. It’s rare for a movie to produce one character that we truly care about. Jaws manages to produce four compelling leading characters – the three men who ultimately end up on the boat, and the shark itself.

Finally copping on…

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Non-Review Review: The Omen

A whole bunch of ropey sequels and a dodgy remake aside, The Omen remains a rather wonderful little Satanic thriller, and a fantastic horror movie in its own right. The sixties and seventies were populated with reproductive horrors like Rosemary’s Baby and The Omen, and I think that there’s a reason that The Omen has endured. More than three decades after its original release, The Omenremains a superb example of seventies horror at its very finest.

Not quite father-of-the-year material…

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Non-Review Review: Super

Super is pretty much one joke, extended over a movie runtime. It’s a funny joke, and it’s told well by a great cast and a witty director, but it feels a little stretched, even at under a hundred minutes. It also suffered a bit from being released in the same year as Kick-Ass, a movie that dealt with similar themes in a much more compelling manner, but Super remains an interesting examination of geek power fantasy, and some of the more sinister undertones of the conventional superhero narrative.

Not so super, hero…

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Non-Review Review: Rise of the Guardians

Rise of the Guardians might be the best-looking addition to the Dreamworks canon. It’s a visual feast, a testament to the imaginations of those working behind the scenes, with a vivid visual aesthetic that is often breathtaking. Even with the colours toned down by the 3D glasses, it still looks good, and the particles of snow and dust lends themselves to an immersive 3D presentations. The cast is also charming bringing the titular fairy tale team to life, with a wonderful group dynamic  and an enthusiasm that’s hard to dismiss.

Just in the Nick of time!

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Non-Review Review: The Master

The Master is a boldly ambitious picture, if one that’s occasionally difficult to parse. Is it a character study of the two leads, the broken Freddie and dysfunctional Lancaster Dodd? Is it a commentary on the sudden material success and spiritual emptiness of fifties America, in the wake of the Second World War? Is it a study of the phenomenon and psychology of “cult”, with one particular cult in mind? The Master is all these, and probably a great deal more, and its only real flaw is that it never manages to truly fashion these multiple compelling facets into one fully realised whole. Still, that’s a comparatively minor complaint, when dealing with a movie produced with this level of technical craft.

All at sea…

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Non-Review Review: End of Watch

For its first two thirds, End of Watch is a rather novel examination of the routine of the boys in blue who patrol X-13, the most notorious district within Los Angeles’ notorious South Central. Centring on two police officers, Brian Taylor and Mike Zavala, it offers a portrayal of the Los Angeles Police Department that feels almost novel. Rather than centring on the city’s infamous racial tensions, or the allegations of corruption within the force, End of Watch offers a candid and insightful examination of what an average day on the beat might look like, helped along by natural interplay between leads Jake Gyllenhaal and Michael Peña.

The movie runs into problems with its third act, when it opts to abandon its naturalistic, almost documentary, approach to these officers and their world, forcing a climactic confrontation that never really feels like it entirely belongs.

Arresting drama…

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