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Non-Review Review: Oz – The Great & Powerful

Oz: The Great & Powerful is a fabulous production. A few minor misgivings aside, it looks and sounds fantastic. Sam Raimi has done the best job bringing Oz to the screen since the original version of The Wizard of Oz all those decades ago. In its best moments, there’s an enthusiasm and a lightness of touch that fits the material perfectly and captures the wonder that we associate with Oz. It’s very clear that a lot of love and care was put into the production design of the film, and that Sam Raimi’s hand moved with the utmost consideration and affection for the original film. It makes it a little disappointing, then, that the script to Oz: The Great & Powerful should feel so undercooked, more like an early draft than a finished screenplay.

Up in the air or down to earth?

Up in the air or down to earth?

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Do We See Too Much of Film Before It’s Released These Days?

It’s a week before The Dark Knight Rises is released, but I haven’t watched any new footage since the last time I posted a trailer for the film. And boy, has that been more difficult than I make it sound. It seems like every other day there’s a new TV spot or a clip being released. Last December, like The Dark Knight before it, the prologue to the film aired in certain Imax cinemas. Warner Brothers even taking the somewhat unexpected step of releasing the production notes to the public. While Warners and Nolan have actually managed to do a great job keeping the movie under wraps, this level of awareness is hardly uncommon these days. Do we get to see too much of a movie before it’s released these days?

Is too much information the Bane of modern movie-goers?

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No Venom Intended: Thoughts on the Inevitable Amazing Spider-Man Spin-Off…

Apparently Sony is pressing full speed ahead with this Spider-Man license. I suspect they looked at the massive success that Marvel, Paramount and ultimately Disney have had with their series of Avengers films. Releasing a series of relatively independent superhero films that all tied together proved to be quite the financial success, becoming one of the biggest earners of all time. It’s easy enough to understand why other studios might want to follow the business model. The problem? Sony only really has the license to Spidey and his supporting cast. How do you build a multi-character franchise when you only own the rights to one admittedly iconic? You spin-off his supporting characters, of course. In this case, it’s the villain Venom, who is reportedly getting a film from director Josh Trank, who made quite the impression with his début directing Chronicle, and possibly tying into the sequel to The Amazing Spider-Man.

He’s coming right at you!

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Tangled Webb: The Amazing Spider-Man and Doing Twilight Right…

A lot has been made of the argument that The Amazing Spider-Man is a superhero movie for girls. Indeed, comparisons have been made to Twilight of all things, suggesting that The Amazing Spider-Man has been constructed in such a way as to appeal to younger female audience members. I think that’s a fair point, even if mentioning the “T-word” inevitably provokes fanboys to foam at the mouth. Gwen Stacy, as brilliantly portrayed by Emma Stone, feels like a much more central and important part of this film than any female character in any major superhero blockbuster produced over the past few years. However, there’s also a sense that while there are some quite conscious and deliberate similarities between the Twilight franchise and this “new and improved” superhero reboot, The Amazing Spider-Man manages to fulfil all these tropes and conventions without resorting to the uncomfortable sexism and stilted emotional responses that have prompted a lot of critics and viewers to so loudly criticise Stephenie Meyers’ vampire franchise.

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Non-Review Review: The Amazing Spider-Man

The Amazing Spider-Man is a jumble of clever ingredients thrown into a pot, stirred for two hours and yet never managing to produce that ideal flavour. There are moments in Marc Webb’s adaptation that are fantastic, as good as anything Raimi brought to the best of his films in the series, Spider-Man II. However, there’s also simply too much going on here for its own good. Running for two-hours-and-a-quarter, the film feels like one-part origin to two-part stand-alone adventure, unsure whether it should it is trying to rush through the motions of one of the most iconic origin stories ever told or if it’s trying to bring something a bit deeper to the table. When it gets going, it’s a solidly entertaining piece of film that does try to do something just a little new with the superhero formula, but it suffers from the same identity crisis as its lead and struggles to really find its own voice.

Peter’s not quite on top on the world…

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The Amazing Spider-Man 101: Ultimate or Amazing…

Hey. With about a week to go until the release of The Amazing Spider-Man, we thought we’d publish a quick introductory guide to the latest adventure featuring the webcrawler, for those looking for a bit more trivia on the latest pending superhero release. I’ve had the pleasure of seeing it and, while reviews are embargoed until Friday (unless you’re a major publisher like The Guardian or The Hollywood Reporter apparently), here’s the skinny.

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Not Everything, Not Yet: Nolan’s Dark Knight Rises and the Prospect of Finality

Read our in-depth review of the film here.

It’s a funny thing watching The Dark Knight Rises trailer that was released earlier in the week. It seems that a lot of people had the same response that I did. Colleagues in work, friends and family members, all looked at the trailer for the third in Nolan’s trilogy that began with Batman Begins and seemed to have the same observation. “I think he might kill Batman,” a lot of people remarked on viewing the teaser for the film. Given how safe most major studio productions are, especially those that are part of a cash-cow franchise, it’s amazing that the possibility even exists at all, hovering faintly over the film.

Broken bat…

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Batman: Danny Elfman Film Music at the National Concert Hall (Review)

This event was held as part of the Jameson Dublin International Film Festival 2012.

One of the best aspects of the Jameson Dublin International Film Festival is the way that it extends beyond the cinema, into a wider appreciation of film and cinema all around Dublin. From the Jameson Cult Film Club screening of Reservoir Dogs through to the Dublin Film Critics’ Circle awards and even the Untitled screenwriting competition, the eleven-day celebration of cinema seems to encompass all the city and all walks of life. The wonderful folks at the RTÉ Concert Orchestra and the National Concert Hall have a long history of getting into the spirit of the festival, offering high-profile tributes to cinema. Last year, for example, they held a screening of The Four Horsemen of the Apocalypse with a live orchestral accompaniment. This year, they took the penultimate evening of the festival to host a tribute to Danny Elfman, undoubtedly one of the most iconic and influential composers working today. And it was an absolutely brilliant evening.

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Does Whatever a Spider Can: Do Chronicle and Kick-Ass Render The Amazing Spider-Man Moot?

We still have a few months to wait before Marc Webb reboots Sony’s Spider-Man franchise with The Amazing Spider-Man. Despite some tonal worries, I’ll admit Webb has quite a talented crew assembled – Andrew Garfield is on the cusp of stardom, and Emma Stone is a bit ahead of him. However, I can’t help but wonder if Webb’s film might be a few months too late. After all, haven’t Kick-Ass and Chronicle offered a fairly solid deconstruction of the iconic web-slinging superhero? Is there really enough left to be said in the Spider-Man origin story when we’ve already seen it picked apart and subverted so often and skilfully?

Webb's Spider...

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Second Chances for Sequels…

What if you have to pee when you’re on fire?

It’s awesome.

I have a confession to make. I am actually kinda looking forward to Ghost Rider: Spirit of Vengeance. The trailer looks like it could be either off-the-wall over-the-top brilliant, or mind-numbingly terrifying, but promises to be interesting either way. Still, the taint of the original Ghost Rider, perhaps the weakest comic book adaptation of the past decade (and there have been some weak adaptations), hangs around the title, and I can’t help but wonder if my dislike of the original film should somehow mute my anticipation for the sequel. After all, I’ve seen the concept fail on screen before, so why should I feel even a hint of excitement for a follow-up to a ridiculously crap film? Appropriately enough, with sequels, is it once burnt and twice shy?

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