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301. Cool Hand Luke (#234)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

This week, Stuart Rosenberg’s Cool Hand Luke.

Lucas Jackson is a petty criminal assigned a two year sentence to a chain gang in Florida. All he needs to do is to keep his head down and his nose clean, and he’ll be back out in society in no time. However, Luke is unable and unwilling to do that. Luke bristles against the camp’s authority, and finds himself locked in a battle of wills against those in charge.

At time of recording, it was ranked 234th on the list of the best movies of all time on the Internet Movie Database.

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291. Star Trek: The Motion Picture – The Director’s Edition (#—)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Robert Wise’s Star Trek: The Motion Picture.

When a mysterious entity appears at the edge of Federation space, Admiral James Tiberius Kirk finds himself recommissioned as commander of the Starship Enterprise. When his former Science Officer, Spock, is summoned from across the cosmos by the creature’s psychic cries, the crew find themselves on a desperate mission to save Earth from a creature that exists beyond human comprehension.

At time of recording, it was not ranked on the list of the best movies of all time on the Internet Movie Database.

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Non-Review Review: Last Night in Soho

Last Night in Soho is a fascinating snapshot of the siren lure of nostalgia, and how it is so often filtered through a presumptive male gaze.

Last Night in Soho follows a young student named Eloise who moves to London for the first time to follow her dream of becoming a fashion designer. After some tensions with her roommate, Eloise moves out of her apartment into a small bedsit, with warnings that past tenants have had some strange experiences in the flat – disappearing in the dead of night, as if fleeing from something that shares the space. Eloise has always been sensitive to otherworldly presences, and it is no surprise when she seems to connect with the memories imprinted in her new bedroom.

Who nose?

Night after night, Eloise is seduced by memories of a young woman named Sandy, who came to London to pursue her own ambitions of becoming a singer. Sandy met a handsome talent agent named Jack, who promises that he can make all of her dreams come true. As Eloise sinks deeper into this nostalgic fantasies of the swinging sixties, she notices that the lines are begin blur – between her waking moments and her sleeping thoughts, between herself and the girl who visits her at night, between dreams and nightmares.

At its core, Last Night in Soho is a meditation on the idea that it is not always so easy to escape the past.

Bad romance.

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New Podcast! Enterprising Individuals – “The Immunity Syndrome”

I am always thrilled to get a chance to talk about Star Trek with other fans, so I was thrilled at the invitation to join the wonderful Aaron Coker on Enterprising Individuals to talk about The Immunity Syndrome.

The reason that I picked The Immunity Syndrome is because I think it’s somewhat under-appreciated in the grand Star Trek canon. It represents the culmination of a number of themes running through the original Star Trek that are often overlooked in assessing the history of the show and the franchise: the way in which Star Trek was anchored in sixties counter-culture, the recurring themes of existential dread and chaos underpinning the original show, and the series’ recurring fascination with consciousness expansion.

You can listen to the episode here, back episodes of the podcast here, click the link below or even listen directly.

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Non-Review Review: The Midnight Sky

The Midnight Sky is an ambitious and sporadically interesting mess.

There are a lot of individual elements that work relatively well in George Clooney’s most recent directorial effort. Indeed, the most surprising thing about this apocalyptic space drama is the way in which is eschews a lot of the stylistic trappings of the recent “sad astronaut” subgenre. Conceptually, The Midnight Sky feels like a companion piece to films like GravityInterstellarThe Martian, First Man, and Ad Astra. It is a story about isolation and about a space mission with the potential to go horribly wrong. However, Clooney gives the film a distinct texture, brighter and bolder.

Drinking it all in.

However, The Midnight Sky never coheres in a satisfying manner. Part of this is simply structural, with Clooney having to consistently cut between two sets of characters in radically different situations in a way that constantly undermines momentum. However, part of this is also narrative, with The Midnight Sky essentially built around a powerhouse closing twenty minutes that are obvious from the opening ten, but have to be delayed and postponed with a series of tonally disjointed episodic adventures to prevent the film from ending too soon.

This is a shame. There are hints of a much better movie in The Midnight Sky, but the film itself gets lost in space.

“Nuke the sky from orbit. It’s the only way to be sure.”

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New Escapist Column! On the Forgotten Psychedelia of the First Season of “Star Trek: Discovery”…

I published a new In the Frame piece at The Escapist this evening. With the third season of Star Trek: Discovery premiering later this week, I thought it was worth taking a look back at the first season of the Star Trek relaunch.

The first season of Discovery is fascinating, in large part because it genuinely feels like a completely different iteration of the Star Trek franchise. As befitting the mood of the moment, Discovery largely bypasses nostalgia for the Berman era and reconnects the franchise with the psychedelia and anxieties of the franchise’s original sixties television series. This is a show that exists in the same irrational and chaotic universe as episodes like The Man TrapCharlie X, Dagger of the Mind, Catspaw, Mirror, MirrorThe Immunity Syndrome, The Tholian Web and many more.

You can read the piece here, or click the picture below.

187. Catch Me If You Can (#194)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Luke Dunne and Jess Dunne from The Breakout Role Podcast, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users.

This time, Steven Spielberg’s Catch Me If You Can.

When his parents announce their divorce, high school student Frank Abagnale runs away home. He never stops running. The enterprising young man reinvents himself as a dashing airline pilot, a debonair doctor and a diligent lawyer. However, Frank can only stay ahead of the long arm of the law for so long. As the ground starts shrinking out from him, as FBI Agent Carl Hanratty closes in, Frank wonders if he’ll ever be able to stop running.

At time of recording, it was ranked 194th on the list of the best movies of all time on the Internet Movie Database.

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162. The Apartment – Christmas 2019/New Year’s 2020 (#113)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Rioghnach Ní Ghrioghair, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users.

This time, a Christmas (and New Year’s) treat. Billy Wilder’s The Apartment.

As the fifties give way to the roaring sixties, C.C. Baxter finds himself slowly climbing the corporate ladder by loaning out his apartment to other executives so they can conduct illicit affairs. However, things quickly become complicated when Baxter finds himself falling for the elevator operator Fran Kubelik.

At time of recording, it was ranked the 113th best movie of all time on the Internet Movie Database.

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New Escapist Column! “Ad Astra” and What We Carry with Us…

I published a new In the Frame piece at Escapist Magazine yesterday. This one has been kicking around for a little while, discussing James Gray’s Ad Astra.

In particular, it takes a look at a broader trend in modern space movies – what might be dubbed the “sad astronaut” genre. In contrast to the sixties utopian fantasies of shows like Star Trek or 2001: A Space Odyssey, these films tend to offer a more introspective portrait of space travel. Films like Gravity or Interstellar or First Man are as much about the baggage that the protagonists bring with them on their journey as they are about what the character in question might find out there.

You can read the piece here, or click the picture below.

Non-Review Review: Won’t You Be My Neighbour?

Won’t You Be My Neighbour? is an affecting and thoughtful exploration of a key figure in American popular consciousness.

Documentary maker Morgan Neville has established himself as a masterful navigator of the history of popular culture, of the depth and shadow often obscured by memory. Neville is perhaps most famous for his fascinating exploration of the back-up singers who provided a foundation for more recognisable stars in 20 Feet from Stardom, and he was also responsible for the documentary They’ll Love Me When I’m Dead, which probably made a more coherent narrative of The Other Side of the Wind than the film itself.

Won’t You Be My Neighbour? tells the story of children’s entertainer Fred Rogers, a staple of American television since the late sixties. Although the performer passed away more than a decade and a half ago, he casts a long shadow. There has been a renewed interest in his persona. Jim Carrey is playing a fictionalised version of the present in Kidding, while Tom Hanks will play a more official version of the man in a biography directed by Marielle Heller. (The film was originally titled Are You My Friend?, but is reportedly in the process of being retitled.

It is interesting to wonder why Fred Rogers is of such great interest at this precise moment, something that Won’t You Be My Neighbour? skirts around without tackling directly. Instead, Won’t You Be My Neighbour? is a sweet and affecting documentary that maybe brushes a little too lightly against its subject in places, but speaks most convincingly to what he represented and why he is so beloved.

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