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A Stinger in the Tale: What’s the Point in a Teaser the Audience Don’t Get?

The Avengers was released on Friday in the UK and Ireland. It’s well worth a look, and it’s quite impressive how well director Joss Whedon managed to fuse these separate mythologies into one almost-cohesive film, even if it is a bit of a muddled mess at times. However, make sure that you remain in your seats as the credits role, as there’s a special surprise waiting for fans – just like at the end of Iron Man, The Incredible Hulk, Iron Man 2, Thor and Captain America: The First Avenger before it. It is a pretty big deal for comic book fans such as myself, those of us with a passing knowledge of the Marvel Comics canon. Still, I can’t help but wonder what more regular and casual movie-goers might make of it.

Running the (infinity) gauntlet...

Note: The teaser is obviously spoiled below. Also, I saw an early cut of the film, and there was no second stinger attached, as rumours have suggested might have been added late in the day. Based on those rumours, and the actors involved in the shoot, it’s more likely that scene was more accessible, but I still wonder what regular fans will make of the sequence that appears at the end of the first set of credits.

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Jimmy Kimmel Presents… Trailer for Movie: The Movie…

I’ve been a bit all over the place of late, recovering from the Jameson Dublin International Film Festival. I’m just finishing up the last of my reviews of films caught at the festival, which will be up this week. Anyway, in the mean time, I thought I’d share this delightful post-Oscars parody from Jimmy Kimmel. Sure, the clip might run a little bit too long for its own good, but it has some wonderful laughs, and displays an astute knowledge of movie tropes and clichés. Enjoy.

Negotiating Potential Hazards: The Art of Movie Negotiation…

I’m kinda looking forward to Man on a Ledge, if only because it looks like the sort of high-concept thriller that could be fascinating viewing – I’m hoping for something similar to Phone Booth or Buried or other movies that take a fairly simple situation and centre a thriller around it. I’m a sucker for a good negotiation thriller. There’s something about that sort of film that just intrigues me. Whether it’s a hostage situation, a botched bank robbery or something else entirely, I think that those kinds of movies that manages to combine large-scale epic drama with a more intimate personal conflict. I think that’s a dynamic that’s somewhat hard to mess up, there’s just something inherently compelling about such a small-scale interaction with such large-scale consequences that it’s very hard not to get sucked up in the drama of it all.

High stakes game...

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Non-Review Review: Jackie Brown

I think Jackie Brown suffers in comparison to the rest of Quentin Tarantino’s distinguished filmography. While Grindhouse: Deathproof divides film fanatics along “love it” or “hate it” lines, it seems the general critical consensus on Jackie Brown is that it’s simply “quite good.” I like the film, even if I don’t rank it as highly as most of his other work, and I wonder if the movie feels so strange because it’s probably the most “conventional”film that Tarantino has directed. While the dialogue and the character interactions help immediately identify the film as the product of Tarantino, it’s an adaptation of an Elmore Leonard novel, and it feels like a reasonably conventional little crime thriller.

That's her name...

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Non-Review Review: Shaft (2000)

It feels like something of a backhanded compliment to describe Shaft as John Singleton’s best movie since Boyz n the Hood. Singleton has been one of those directors who has found himself living in the shadow a tremendously influential and successful debut, struggling to find a way to match or surpass it. I think that his take on the most famous blaxploitation hero of all time, while deeply flawed, works so well because it seems intentionally light. It’s not attempting to be big or epic, or even especially socially conscious, it’s just trying to be a decently entertaining – if slightly cheesy – little thriller.

Who's the cat who won't cop out when there's danger all about?

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Non-Review Review: The Other Guys

Have you ever watched Lethal Weapon and wondered what the cops in that precinct who aren’t Riggs and Murtagh get up to? Or watched Die Hard and wondered what John McClane’s deskmate might have been like? Well then, The Other Guys is the movie for you.

Top of the cops?

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Non-Review Review: Jurassic Park

Jurassic Park is one of the “big” blockbusters which defined the nineties. It’s easily recognisable and has thoroughly entrenched itself deep in popular culture – along with Independence Day or Terminator 2. Also, like the two aforementioned films, it’s actually quite good. Of course, coming from director Stephen Spielberg, the man who invented blockbuster cinema with Jaws, can’t hurt. 

I call him "Rex"...

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Non-Review Review: The Incredibles

I think Pixar’s The Incredibles must stand as one of their best productions – alongside Finding Nemo, perhaps. It’s certainly one of their more conventional entries in the Pixar stable, in that it’s offered in the blockbuster format of the decade (superhero adventure), but – like the very best of their work – it’s so much more. A whole host of Pixar’s films – Toy Story and Finding Nemo chief among them – deal with the notion of paternal abandonment (though perhaps more fond of addressing the story of parents abandoned by kids, rather than kids abandoned by adults), but The Incredibles is perhaps the one which best deals with the challenges that managing a ‘functioning’ family.

That's one incredible family...

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Non-Review Review: Iron Man 2

Legacy. It’s all about legacy. What we leave for our children and what we inherit from our parents. Sometimes it’s bitterness and hatred, sometimes it’s more than we think. Iron Man as a concept is inherently linked to the Cold War and American foreign policy, so it’s a fitting theme for the sequel to tackle. Fathers and sons dominate the film, as does the simple and haunting fact that the now is shaped by the then. Some of us get to change the world, some of us simply leave big smoking craters behind us. Even the bad guy, a Russian, consciously evokes conflicts fading from memory that shaped our modern world.

Sometimes you just need to slow down and take a break...

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Non-Review Review: Unbreakable

When people hear the name M. Night Shyamalan, a lot of different films pop into their heads. Everyone knows The Sixth Sense – most know Signs. He’s ridiculed for The Village and The Happening. The Lady in the Water slips under the radar, but that might be a good thing. What tends to get forgotten in the midst of all this is Unbreakable, which is probably the best movie that Shyamalan has directed. He’s known as something of a one-trick pony, relying on twist endings that throw his audience for a loop and – though Unbreakable contains its own novel twist in the tale – this is the one film on his filmography that doesn’t depend on that reveal. It’s a movie that stands up to the scrutiny of a second viewing answering questions and actually seeming painstakingly obvious in retrospect. It’s so good that it barely missed my list of the top 50 movies of the decade.

Holding out for a hero...

Note: As alluded above, the ending of this movie is a key part of discussion about it. Rather than splitting this post in half, I’m going to discuss it below. Don’t worry, I’ll give you a head’s up. I would make one recommendation though: don’t spoil the movie for yourself. It works better whent he audience doesn’t know quite what they are expecting. You could make the case about most movies, but I think that this movie in particular deserves to be seen sight unseen with an open mind.

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