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Non-Review Review: To Catch a Thief

To Catch a Thief is unique among Hitchcock films. It’s the only Hitchcock film produced by Paramount to remain distributed by Paramount. The rest reverted to Hitchcock and are now distributed by Universal. More than that, however, the film feels remarkably “light” as measured against some of his other work. It feels almost like Cary Grant and Grace Kelly are just supporting players, with the French Riviera serving as the headlining star of the film. That not to dismiss To Catch a Thief entirely – it’s still a beautiful and well constructed piece of cinema from a master director, just one that feels a little shallow compared to his better work.

The short kiss goodnight…

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Non-Review Review: Aliens (Theatrical Cut)

To celebrate the release of Prometheus this week, we’ll be taking a look at the other movies in the Alien franchise.

I think Aliens might be my favourite James Cameron movie. Of course, the guy has any number of iconic movies vying for that position – The Terminator and Terminator 2 both come to mind, for example – but I can’t help but admire how efficiently the director constructed his first big budget motion picture. Regardless of its place within an iconic science-fiction franchise, Aliens is practically a guidebook on how to effectively construct a movie, from writing the script to directing the action and absolutely everything in between. It’s hard to look at Aliens as anything less than a complete triumph, no matter which angle you examine the film from.

Queen bee…

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Non-Review Review: Falling Down

Falling Down is something of a cult classic. It, along with Phone Booth, stands as proof that Joel Schumacher is actually a rather wonderful director, as much as his failures might occasional overshadow his accomplishments. Filmed in the midst of the Los Angeles riots, Falling Down manages to speak to a lot of the anger of urban living, as William “D-Fens” Foster takes out his frustration on an urban environment that has gone completely mad. Almost twenty years after it was originally released, Falling Down is still a potent little film.

The best D-FENS…

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Non-Review Review: Rope

Rope occupies an interesting place in Alfred Hitchcock’s filmography. The director himself was less than fond of it, allegedly quite happy that it remained out of circulation for some time after its initial release. Jimmy Stewart has apparently been critical of his own performance in the film, although I think it’s a wonderful example of a beloved actor playing against type. In the years since, however, it has been somewhat re-evaluated. While most film fans would be hesitant to describe it as an unqualified success, it’s certainly a technically ambitious little film, and the tight script and set-up allow Hitchcock to indulge his knack for creating suspense.

I hope nobody choked with all those ten-minute takes…

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Non-Review Review: Men in Black 3

Men in Black 3 is a fine film. Like Men in Black and Men in Black 2, it’s a perfectly entertaining piece of popcorn entertainment if you’re willing to just go along with it. It’s not superb, it’s not exceptional, but it’s not bad either. It’s a decent movie. It manages to probably offer some better moments than the earlier two films, but these are averaged out by some painful deficiencies. You lose Tommy Lee Jones for most of the runtime, but you gain Josh Brolin. That’s a fairly reasonable trade, even if Brolin and Smith don’t share the same chemistry. You get the same wonderful production design, this time heightened by a sixties setting, but a plot that threatens to evaporate if you think about it too hard and any number of developments that are far too easy to predict. Nothing is truly fantastic, but nothing is exceptionally terrible. It just sort of is.

Putting the star in 69…

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Non-Review Review: Critters 3

I have a confession to make. I have never seen a Critters film before. They were always sitting there on the lower shelves of the horror section in the shop where I used to rent DVDs, but I just never picked one up. I can’t quite explain why – that sort of trashy horror-comedy would probably have seemed right up my street, but I guess I was probably more fascinated with the more iconic horror monsters and menaces. Anyway, my better half has always had a bit of affection for Leonardo DiCaprio, and when we discovered that his first big screen role was as a kid in Critters 3, I suggested that we could watch both watch it. And, I’m surprised to admit, it was nowhere near as bad as I thought it was going to be.

Laugh it up, fuzzball…

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Non-Review Review: The Dictator

The obvious point of comparison for The Dictator would seem to be Borat or even Bruno. After all, the film reteams Sacha Baron Cohen with director Larry Charles, while providing a vehicle for exploring American society. However, The Dictator is a very different beast – it’s a much safer film, which is quite something to say about a film featuring a joke about “911 2012.” It is more conventional, more accessible, and more driven by a clearly focused narrative. In a way, it feels almost closer to Ali G in da House, only a lot funnier.

The Dictator is a very funny film, but it does feel like Cohen is a little more constrained than usual, a lot more rigidly structured. This lacks the sort of anarchic spirit that viewers have come to expect from Cohen, and I’d be lying if I said I didn’t miss it. Still, Cohen has a unique ability to blend offensive boundary-crossing with classic comedy, and The Dictator feels like a film that will have a broader appeal than his cult hits. Despite the abundance of jokes about male and female anatomy, I think this might be the first Sacha Baron Cohen film I would recommend to my parents.

Coming to America…

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Non-Review Review: Dark Shadows

I really liked Dark Shadows. Of course, the film comes with the proviso that it’s probably nothing at all like anybody is expecting, at least based on the trailers. While there are elements of a comedy about a vampire lost in time, Tim Burton is far too busy constructing an elaborate spoof of a gothic melodrama to every really develop that thread. Instead, it’s a movie that seems wry and self-aware more than it is side-splittingly hilarious, an old-fashioned homage to the melodramatic horrors of old rather than a compelling story in its own right. I don’t think anybody could argue that this is truly “classic” Burton, measured against Ed Wood or Batman Returns. However, it is a director who seems to be having a great deal of fun playing with some rather esoteric toys.

Collins family values…

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Non-Review Review: The Blues Brothers

I had the pleasure of catching a Jameson Cult Film Club screening of The Blues Brothers earlier this evening. And it was awesome. Really, really great night. Might have been the best yet. I’ll have more details on it later in the week, but now seems like a good time to revisit the classic.

It’s 106 miles to Chicago, we got a full tank of gas, half a pack of cigarettes, it’s dark… and we’re wearing sunglasses.

Hit it.

– Elwood and Jake

It might seem a bit redundant to say it, but The Blues Brothers has soul. Not just the funky music, though it has plenty of that. Nor an evangelical message, although the two brothers are, as they claim, “on a mission from God.” No, The Blues Brothers has a core of pure exuberance, a sense of joy that is all too rare – it doesn’t seem like writers Dan Ackroyd and John Landis threw ideas at the wall to see what stuck, so much as they demolished the wall and threw it at another wall. The Blues Brothers is, by turns, absurd, wry, grounded, sarcastic, charming, heartwarming and sardonic, with those elements frequently overlapping to an almost insane degree. In many ways, like John Belushi’s scheming, manipulative and aggressive Jake Elwood, it’s far more charming than it really should be. But we love it for it.

It’s a dirty business…

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Non-Review Review: Half Moon Street

I do feel a little pang of sorrow that Half Moon Street opens with the “RKO” branding. RKO was the studio that gave us Citizen Kane and King Kong, so it’s just a bit disheartening to see the studio branding a half-hearted thriller that seems to exist only to show as much of Sigourney Weaver naked as humanly possible. Don’t get me wrong, of course, I’m not a prude. I have no problem with the notion of an “erotic thriller”, were it well handled. However, Half Moon Street is just a disjointed poorly-conceived mess featuring two leads who seem to give up on the movie about half-way through. It’s not as if there isn’t fertile ground for a gripping espionage thriller here, it’s more that the script by Edward Behr and Bob Swaim is so lifeless (and Bob Swaim’s direction so lethargic) that there’s absolutely no reason to care at all about anything that unfolds throughout the series of insanely massive coincidences that drive the plot.

“Okay… try to look inconspicuous…”

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