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The Sequel Myth and the Death of Originality in Hollywood…

It seems that every other day somebody is taking the opportunity be bemoan Hollywood’s creative bankruptcy. The decision not to press ahead with Del Toro’s version of The Mountains of Madness sparked a similar debate a little while ago, and the success of films like The Fast & The Furious Five seem to be raising the topic once again as we enter summer. It’s become something of a mantra for film fans, quietly chanted and repeated, something that we can use to continually bash the studios over the heads with. And, truth be told, I’m tired of it.

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Non-Review Review: Invasion of the Body Snatchers (1978)

The Invasion of the Body Snatchers is a wonderful science-fiction premise, so it’s really no wonder that the story has been taken to the big and small screens so often. It’s a great example of how a story can strike different notes in different eras, and how something can easily be about one thing in one era, and take on an entirely different meaning in a later one. The 1978 adaptation is a wonderful piece of high-concept science-fiction, which skilfully takes the ideas from the original classic film, and shakes them around just a little bit.

It's a scream!

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Thor & Loki: Blood Brothers (Review/Retrospective)

With the release of Marvel’s big-budget superhero action movie Thor this summer, we’re taking a month to celebrate the God of Thunder. Check back each Wednesday for a Thor-related review.

One of the slew of hardcovers released to coincide with Kenneth Branagh’s epic adaptation of the classic Marvel comic book Thor, Thor & Loki: Blood Brothers is basically just a repackaging of the classic four issue Loki miniseries written by Robert Rodi and painted by Esad Ribic in the nineties. Much like Lex Luthor: Man of Steel, the miniseries was repackaged with a slew of extras and re-released in order to capitalise on a hungry market place. (Luthor, as it was rebranded, was released after the success of the another villain-themed graphic novel from the same creative team, the superb Joker). Still, despite the fact that the “Thor &” part of the title was just stuck on there to tie the book to the film, it’s a lovely little story which perfectly captures a lot of the charm and appeal that the Norse backdrop offers to epic comic book stories.

Commander and (mis)chief...

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Non-Review Review: Batman & Robin

It takes a lot to kill Batman. Just ask Bane. That character broke Batman across his knee, discarded him and claimed Gotham for his own… only to have Bruce claw his way back and reclaim the mantle. The evil New God Darkseid once decided not only to kill Batman, but to send him back to the dawn of time to live through a cycle of death and rebirth in the hopes of destroying the Caped Crusader… Batman just sorta shrugged that one off. He’s a tough nut to keep down, is that Dark Knight.

However, Joel Schumacher managed to nearly knock Batman out for the count (at least on film) with Batman & Robin, the movie which – if it didn’t kill the Batman franchise – at least put it into a coma for several years.

It's some kinda storm (it's not "snow", but it begins with "s")...

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Non-Review Review: The Duellists

The Duellists is the first film from director Ridley Scott. While it certainly isn’t his best remembered or the most highly rated, it is a cracking piece of historical cinema that manages to do a lot with very little. It’s a simple little concept, set against an epic backdrop, elevated by two leads, a wonderful sense of historical fidelity, and a young director with a long career ahead of him.

Ridley Scott's first stab at directing...

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Non-Review Review: Monsters

At this stage it seems almost pointless to reflect on how impressive Monsters is from a purely film-making perspective. Filmed on a ridiculously tiny budget, the film features a wonderful epic scale, beautiful locations and not-half-bad special effects (they’re more The Mist than Avatar, but let’s not complain). It’s the latest “look what modern film directors can do on a shoe string!” picture, one that you drop into conversation when you wonder how a film like Transformers can cost as much as it does. Unfortunately, as bedazzling as these aspects are, and they are very bedazzling, the film has several shortcomings which have nothing to do with budget.

Here be monsters...

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Doctor Who: The Curse of the Black Spot (Review)

Arriving just in time for the latest Pirates of the Caribbean movie (On Stranger Tides), Doctor Who has decided to go all pirate on us – even adopting the episode title The Curse of the Black Spot, to mirror The Curse of the Black Pearl. What we get feels genuinely like “Old School” Doctor Who, with the action confined to a very tight remote location, some corny (but effective) special effects and advanced technology masquerading as superstition. I suppose it was inevitable that a “monster of the week” episode would feel like a bit of a letdown after the superb Day of the Moon, but – while fun – The Curse of the Black Spot never really feels essential.

Not quite a wash-out...

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Non-Review Review: Centurion

I have to admit, I’m a bit disappointed with Neil Marshall. I’ll concede that I genuinely enjoyed Dog Soldiers and The Descent, while acknowledging their flaws. His movies have a tendency to start in the absurd and just keep amping things up until they get unbelievably ridiculous. Even the over-the-top and quite-crap-actually Doomsday still had a lot of energy to carry it through as it gleefully veered through camp straight out into uncharted realms of gratuitous nonsense. On the other hand, Marshall’s latest, Centurion, seems relatively tame. It’s fairly mediocre throughout, which perhaps seems less entertaining because it never has the energy to go too far. And that’s a bit of shame.

The last Fassbender?

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Non-Review Review: Wild at Heart

I’ve always had a soft spot for David Lynch, if only because – much like David Cronenberg – you always got the sense that his artistic vision was pretty unfettered by concerns about broad appeal or studio policy or anything like that. There’s a wonderful sense of freedom, in how he works. There’s a great quote from the guys at Pixar that they don’t make movies for kids, they make movies for themselves – if other people happen to enjoy it, well… that’s great too. That sums up a lot of what I respect about Lynch. Wild at Heart isn’t perhaps one of those moments where Lynch’s interests manage to overlap with truly great cinema (as they do, I would argue, for Mullholland Drive, Blue Velvet and The Straight Story), but it isn’t so completely scattershot as to be impenetrable, either.

Dancing in the... highways?

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Non-Review Review: Fahrenheit 451

It always struck me as strange that there should be such a fuss about adapting Fahrenheit 451. After all, a book about how great books are, and how they are inherently superior to anything that any other media can offer (film and television included) seems a strange choice of subject matter for a big-budget science fiction film. Still, Francois Truffaut’s 1966 adaptation isn’t all bad… just a little strange.

Book 'em, boys...

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