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Non-Review Review: Hugo

I’m of two minds about Hugo. My inner cinephile loves it, soaking in Scorsese’s pure and unadulterated enthusiasm for cinema, finding a way to engage his audience with an adventure that literally branches through the history of cinema. On the other hand, it seems more than a bit disjointed, as if Scorsese knew the start point and the end point, but had a bit of difficulty synching it all up and getting it flowing organically. While I think Scorsese’s unbridled enthusiasm and passion edge out any concerns about the rather uneven feel of the finished project, I do wonder how the movie will play to younger audiences, or families who don’t have a long love affair with cinema.

Like clockwork...

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Non-Review Review: Dreams of a Life

From Irish director Carol Morley, Dreams of a Life is a fascinating and occasionally heartbreaking exploration of the death of Joyce Vincent, the young lady found dead in her flat above a London Shopping Centre. Joyce had been dead for three years before anybody noticed, her body only recovered when her landlord secured a repossession order for the small, sparsely decorated flat where she had been living. The most surreal detail of all, and one of the lingering questions at the end of the document, concerns the Christmas presents found wrapped beside her body. Who were they for? And how did their intended recipients never notice that Joyce was missing.

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Non-Review Review: Surviving Life (Theory and Practice)

Surviving Life, from director Jan Svankmajer, is a strange beast. It opens with an introduction from the director, in which – using an animation style that looks like a bizarre and strangely compelling blend of Terry Gilliam’s work on Monty Python and South Park – he apologises to the audience for the presentation. I can’t tell if he’s being serious or not, and if his somewhat bitter complaints about his inability to find proper financing are a post-modern twist on the cliché of the misunderstood arthouse director, or a straight example of it. “Sadly, our civilisation has no time for dreams,” he claims with dour seriousness, and an uncomfortable confidence. “There’s no money in them.” Stating that he intended to produce the film as a live-action piece of cinema, he repeatedly states that this is not how he imagined the film. “So this is not a formal experiment,” he tells us, “just a poor imperfect substitute for a live action film.”It’s a shame, because the animation is the best thing about the film.

The direct approach...

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Doctor Who: The Doctor, The Widow & The Wardrobe (Review)

Where are we?

In a forest. In a box. In the sitting room. Try to keep up.

– Lily and the Doctor sum things up

I could get used to this “coopting a holiday classic” thing that Steven Moffat has going. After all, last year riffed on A Christmas Carol (right down to the name), and this one leans pretty heavily on The Lion, The Witch & The Wardrobe. I imagine a Doctor Who episode themed around It’s a Wonderful Life can’t be too far away. Still, strangely enough, the episode worked best as an illustration of the show’s wonderful heart and its charming understanding of childhood psychology – even if the actual science-fiction plot was a little disappointing and the ending felt like a bit of a copout. Certainly not quite as good as last year’s entry into the Doctor Who Christmas canon, but not a waste of time either.

It left me a bit cold...

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Non-Review Review: Goon

Goon is a movie that works surprisingly well. It’s hilarious, brutal, and yet surprisingly sweet. It’s the quintessential sports movie, featuring a plucky young protagonist trying to find his place in the world, while developing his one sporting talent, but it never feels as coy or manipulative as other movies of that type. A large portion of the credit for that charm has to go to Jay Baruchel and Evan Goldberg for their witty and incredibly quotable script, but I think that most of the movie’s success rests on Seann William Scott as Doug Glatt, the eponymous goon.

He's a blood mess...

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My Best of 2011: Rango & Justifying Personal Choices…

It’s that time of the year. To celebrate 2011, and the countdown to 2012, I’m going to count down my own twelve favourite films of the year, one a day until New Year’s Eve. I’m also going to talk a bit about how or why I chose them, and perhaps what makes this list “my” best of 2011, rather than any list claiming to be objective.

Rango is number twelve. Check out my original review here.

It’s December, so that means it’s list time. Critics and pundits will be ranking their “top ten” of everything, and I suppose that I should defer to tradition and offer my own opinion on the “top ten” films of the year. I don’t want to make just another list, though, lost in a sea of opinions of individuals far my experienced and qualified than myself to advise you on the current state of cinema. So I decided that I’d list my own personal choices, by talk about why I chose them and bit and why they appealed to me. I have, after all, already reviewed them all, so I’m not going to try to convince you of their quality (or even my opinion of their quality). Instead, I’m going to talk a bit about why they appealed to me. My list will undoubtedly look very different to yours and – I suspect – to the vast majority of opinions, but the fun in making lists like this lies in defending, debating and justifying your choices.

So, let’s talk about the bottom entry on the list, and the one I feel will be toughest to justify: Rango.

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Non-Review Review: The Girl With the Dragon Tattoo (2011)

I will confess that I’m not a huge fan of the original Swedish adaptation of The Girl With the Dragon Tattoo. It was just too bleak, with every male character existing as some form of sexual predator, shot against a drab grey backdrop and with nothing but unrelenting cynicism to propel it. I don’t want to describe David Fincher’s version as “softer” – there are still any number of scenes that will have viewers squirming in their seats – so perhaps “smoother” or “rounded” represents a better choice of adjective. While there are still some pacing issues in the last third, Fincher succeeds in adapting the best-selling book in a fashion that makes it just as fascinating as it is grim.

Opening a cold case...

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Non-Review Review: Mission Impossible – Ghost Protocol

Mission: Impossible – Ghost Protocol reminds me – and, I feel the need to specify this, in a good way – of one of the Bond films from before Casino Royale made them all grittier and edgier. No disrespect to that fantastic film, but the relatively serious remodelling of Britain’s most famous secret agent left a bit of a gap in the market for an espionage thriller that doesn’t take itself too seriously. And while Ghost Protocol takes a great deal of pride in doing what it sets out to do with a great deal of skill, it certainly never takes itself too seriously. And that proves to be a very good thing, indeed.

Keeping me on edge...

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Non-Review Review: The Help

The Help is a well made film with a solid script, decent direction, and some very good performances from a superb ensemble. It’s hard not to get swept up in the drama as it unfolds, as the movie takes a harsh look at some of the prejudice festering in Mississippi during the sixties, where the phrase “hippie!”was an accusation that could destroy anyone’s social standing, it was not appropriate to fraternise with the help, and even raising the suggestion of racial equality was to open one’s self to prosecution for breaking the law. It’s powerful stuff. I was moved by it, particularly by the wonderful work put in by the cast. And, yet, I couldn’t help but feel that there was something very cynical unfolding before my eyes. The Help is a movie that seems built to fill a particular void, carefully measured and constructed to keep its audience well within their comfort zones, and a movie that feels like it might be sacrificing some of its depth for fear of actually challenging its audience.

Fraternising with the help...

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Non-Review Review: Alien

I had the pleasure of attending of the Jameson Cult Film Club’s screening of Ridley Scott’s 1979 Alien. It was a great evening for all concerned, and it was great to see a classic film like that projected on a huge screen, blasted out of a superb sound system. The screening seemed to coincide with the build-up to the release of next year’s Prometheus, a sci-fi thriller from Ridley Scott with “strands of Alien DNA”, but Scott’s film is one of those rare pieces of cinema that continues to give, even thirty years after the original release. It’s rare to point to a film that seems to offer new nuance and depth on each viewing, especially within the horror genre. Alien is a movie that’s absolutely fascinating in its complexity.

A bad egg…

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