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The X-Files – Fire (Review)

Well, Fire is probably Chris Carter’s strongest script since The Pilot. I suppose we should be grateful for that, at least.

All fired up...

All fired up…

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Non-Review Review: Shadowlands

Shadowlands is, at its core, a very typical “weepy” romantic drama. However, it’s an exceptionally well-executed example of the genre, one that demonstrates a rather uncanny understanding about the complexities of love and loss that help it stand out from a lot of its fellow films. A superbly powerful central performance from Anthony Hopkins certainly doesn’t hurt, and Richard Attenborough’s elegant, yet unintrusive, direction allows the story to flow without ever feeling too emotionally manipulative. It’s an intelligent and well-constructed exploration of a tragic love affair, one that feels distinctly human in its approach to its subjects and themes.

Does Hopkins deliver a superb performance? You can bank on it…

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Non-Review Review: Rushmore

I am quite fond of Rushmore. It’s strange, because I found that Anderson’s schtick wore off on many of his following films – The Royal Tenenbaums, The Life Aquatic With Steve Zissou, The Darjeeling Limited. I suspect my affection for the film is rooted in the fact that it was the first Wes Anderson film I ever saw, and so his quirks and style were refreshing to me. There is, after all, nobody who writes movie dialogue and directs scenes quite like Wes Anderson. In a way, he feels a bit like Quentin Tarantino, an autuer who seems to sign almost every frame of his work. I think, perhaps, that I am so partial to Rushmore because Anderson’s plot devices and his writing seem much better suited to it than to many of the films that followed. After all, it’s a lot easier to accept a film based around a character who acts like an emotionally immature teenager when that character is an emotionally immature teenager.

It all goes to the Max…

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