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Non-Review Review: Mr. Holmes

Memory is a tricky thing, particularly as distinct from history. History often occurs as a sequence of events, a laundry list and cause and effect and happenstance. Memory is the chord that we use to tie that all together, the narrative that we weave through these isolated events. Mr. Holmes is an exploration of the gulf as it exists between the two concepts, following an ageing Sherlock Holmes as he attempts to piece together his own faded memory from facts and evidence scattered around.

Adapted from Mitch Cullin’s A Slight Trick of the Mind, writer Jeffrey Hatcher and director Bill Condon position Holmes’ famous deductive prowess as a clever metaphor. Holmes’ ability to effortless build random strands of information into cohesive theories and explanations is set against two rather unconventional targets. As his faculties begin to fail him, Holmes tries to reconstruct memory from the few details available to him. At the same time, Holmes struggles with his own difficulties understanding human nature as it exists beneath these subtle hints and clues.

Holmes for Summer...

Private investigations.

Although the publication of A Slight Trick of the Mind predates the development of Steven Moffat and Mark Gatiss’ cult adaptation Sherlock, there is considerable thematic overlap between both stories. As with the BBC series, it seems like the Sherlock Holmes of Mr. Holmes is more concerned with the mystery that is other people than with any individual case. The result is a surprisingly (and effectively) low key film that plays more as a meditation on the human condition than as a convention Sherlock Holmes mystery.

There are points where Mr. Holmes does feel a little too heavy-handed or a little too manipulative in its exploration of the eponymous character. However, Condon very clever grounds the film in a beautifully vulnerable central performance from Ian McKellen.

The long walk Holmes...

The long walk Holmes…

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Hannibal – Roti (Review)

Roti is the point where Hannibal really starts to gear up for its finalé. The decision to thematically name each of the first season’s episodes after a part of a meal seems oddly appropriate, as the whole season can be seen as a banquet, each of the courses painstakingly prepared to ensure a rich bouquet of flavour and a pleasing array of tastes. Each course is individual, and yet it remains part of the whole. It’s all one gigantic and enjoyable experience, just broken down into sweet digestible chunks. Each serves a clear purpose, like a chapter in a book, or a course in a meal.

Roti features the return of Abel Gideon, the show’s obvious homage to Anthony Hopkins’ portrayal of Doctor Hannibal Lecter. It also positions Will precisely where he needs to be for the first season’s rapidly-approaching climax.

A piece of the action...

A piece of the action…

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Doctor Who: The Snowmen (Review)

Snowmen are rubbish in July. You’ll have to be better than that.

– the Doctor points out that the Great Intelligent doesn’t seem especially… intelligent

The Snowmen is a return to the sort of plot-driven Christmas Special that we occasionally saw during the Davies era. Much like The Christmas Invasion was concerned with introducing David Tennant and The End of Time, Part I was focused on wrapping up the Davies era, The Snowmen feels like it’s more concerned with setting up the fiftieth anniversary half-season ahead than it is with being a Christmas Special in its own right.

Sure, The Snowmen has all the festive trappings you might expect. There are killer snowmen, as the title implies. There’s a rich lonely old miser, as we’ve come to expect in these sorts of tales. There’s a nice Victorian setting for all the action as well. However, The Snowmen devotes a considerable amount of time to developing the mystery surrounding the Doctor’s new companion, and setting up a recurring foe for this fiftieth anniversary half-season.

The result is somewhat unsatisfying, as if The Snowmen is working harder to check the requisite boxes than it is to provide seasonal Doctor Who viewing.

What white teeth they have...

What white teeth they have…

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Non-Review Review: The Hound of the Baskervilles (1959)

Back in its heyday, Hammer Horror had a reputation as an assembly-line studio, churning out cheesy exploitation horror after cheesy exploitation horror with an efficiency that would make battery farmers jealous. I won’t pretend that the reputation is entirely undeserved, although I do have a certain fondness for the delightful schlock the studio would produce. Still, I think that this reputation tends to overshadow the occasional gem that the studio would produce, something that managed to transcend the cost-effective scenery and cookie-cutter approach to film-making. While it probably isn’t the definitive adaptation of the tale, Hammer’s The Hound of the Baskervilles is still an absolute delight for gothic horror aficionados.

Put that in your pipe and smoke it…

Note: This review contains spoilers. I consider a classic novel and fifty-year-old film to be fair game.

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My Heart Will Go On: Titanic & We Need to Talk About Calvert…

It’s funny the things we pick up on after seeing a movie a few times. I had the pleasure of attending a preview of Titanic 3D last week, and Cameron’s film still holds up as an epic romance in a style that Hollywood simply doesn’t do anymore. It still has its problems, but it is one hell of a cinematic accomplishment. Still, as I was watching the film, my attention may have wandered a bit, and I found myself thinking about things that were unseen, as opposed to those moments Cameron had explicitly shown. Specifically, I thought about Rose Dawson’s life after the sinking of the ocean liner but before her trip to the salvage crew. In fact, I thought quite a bit about Calvert. Who is Calvert, you might ask? Calvert is her husband, the father to her children and the grandfather to her granddaughter, who is entirely absent from the film as we pay homage to the love story between Jack and Rose.

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Non-Review Review: Titanic (3D)

James Cameron’s Titanic is still a breath-taking production, even sixteen years after the fact. Sure, its huge budget and even bigger box office returns, coupled with its enormous pop culture impact, have all combined to make it a bit of a target for movie critics in the years following its initial release. To be honest, while I wouldn’t rank it as anywhere near Cameron’s finest accomplishment, I’ve always admired it for what it was: a romantic historical epic, perhaps the most recent film like that which Hollywood has produced. Even a decade and a half later, Titanic remains one hell of spectacle and a well-constructed piece of cinema, with Cameron displaying a mastery of form and an innate skill for story-telling. Couple with the best post-conversion 3D that I have ever seen, there’s no reason for anybody with a genuine interest in the film to stay away from the big re-release.

Her heart will... go on, finish it...

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