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Non-Review Review: Gangster Squad

To suggest that Gangster Squad favours style over substance feels like an understatement. Although the prologue claims that Gangster Squad was “inspired” by the true story of Mickey Cohen, it seems to favour mythic figures and sweeping action over real characters and nuanced drama. That’s not necessarily a bad thing. For most of its runtime, Gangster Squad feels like a trashy and update of a forties or fifties B-movie, cheap and nasty far executed with enough speed and charm to entertain. Occasionally the movie seems to falter – it clumsily attempts to shoehorn in some social commentary into this bright and colourful vigilante tale – but director Ruben Fleischer works well to keep things balanced. The wheels come off a bit towards the end, as Fleischer demonstrates he handles atmosphere better than action, but for most of its runtime Gangster Squad is a diverting piece of cheesy nostalgia.

This new plan is working gangbusters!

This new plan is working gangbusters!

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Superhero Movie Fatigue? I Tire of This Argument…

It’s becoming a frequent complaint that there are “too many” superhero films. When Green Lantern crashed and burned last year, there were a rake of articles lauding it as “superhero fatigue.” Even before this summer kicked off, people were asking if “fatigue” had kicked in. Ignoring for a moment that The Avengers and The Dark Knight Rises are the two most successful films of the year, I’ve never quite understood that argument. There were, after all, three (or four, if you count the dire Ghost Rider: Spirit of Vengeance) superhero-themed blockbusters this year. Do audiences get “period drama fatigue” if more than four high-profile period dramas are released in a year? Are there widespread cases of “cop movie fatigue” if more than half-a-dozen movies feature a law enforcement official in a lead role? Is there a cap on the number of films that Ryan Gosling can produce, lest he inspire an epidemic of “Ryan Gosling fatigue”?

Twilight of the superheroes?

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Non-Review Review: Stupid Crazy Love

Stupid Crazy Love suffers a bit from being a tad inconsistent, fluctuating between compelling character drama and well-observed romantic comedy. It isn’t an issue that movie fails at either of these, it just runs into a bit of bother bouncing between the two extremes. The ending might be a little trite, and a tad conventional, but the movie manages to raise some interesting ideas along the way. Still, it allows Steve Carell his best big screen appearance since The 40-Year-Old Virgin and makes for an alternatingly side-splittingly and heart-breakingly affecting movie.

Saving Ryan's Privates...

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My Best of 2011: Drive & Neon Noir…

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.

Drive is number one. Check out my original review here.

If I drive for you, you give me a time and a place. I give you a five-minute window, anything happens in that five minutes and I’m yours no matter what. I don’t sit in while you’re running it down; I don’t carry a gun… I drive.

Nicolas Winding Refn’s Drive isn’t a revolutionary film. It isn’t bold or original or highly inventive. Instead, it’s just a wonderfully effective neo-noir with its vibrant colours and synth soundtrack calling back to crime films of the eighties, featuring a confident performance from Ryan Gosling as the archetypical male crime lead. Gosling is strong, stoic, silent, yet strangely sensitive as the eponymous stunt driver, who moonlights with various illegal extra curricular activities. Here, Refn manages to out-Mann Michael Mann, producing a film that seems more like the spiritual successor to Miami Vice than Mann’s own film of the same name. It’s a brutal, brilliant and stunning film. And, while it faced stiff competition from the second and third films on this list, it’s with some confidence that I recommend it as my favourite film of the past year.

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Non-Review Review: The Ides of March

It’s very hard to make a movie about politics without feeling a little bit forced – as if you’re shoehorning in a particular viewpoint or an ideology, setting up strawmen for the movie to bulldoze over on the way to the final scene. It’s to director (and actor) George Clooney’s credit that The Ides of March manages to avoid seeming too preachy or too staged, instead opting to comment on the nature of political integrity, rather than accusing specific ideologies of having it or lacking it. Set within a Democratic Presidential Primary, the movie shrewdly avoids focusing on an ideological or political gap, instead contemplating the harsh realities of any political maneuvering.

Are the gloves coming off?

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Non-Review Review: Drive

This movie was seen as part of Movie Fest, the rather wonderful film festival organised by Vincent and everybody else over at movies.ie. It was well worth attending, and I’m already looking forward to next year. Good job all.

Drive took home Best Director at the Cannes Film Festival, and it’s easy to see why. This pulpy retro crime thriller is an intense joyride featuring what might hopefully be a long over-due star-making role for Ryan Gosling.

Gosling has an impressive body (of) work...

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