• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

New Podcast! Scannain Podcast (2018) #44!

It’s time for the latest Scannain podcast! Almost live from the Dublin Feminist Film Festival this week.

Recorded late on Wednesday evening, following the screening of the festival shorts and Parklands. Directed by Kathryn Millard, with cinematography by Mandy Walker, Parklands is notable as Cate Blanchett’s first starring role. So Jay Coyle, Ronan Doyle and I talk a little bit about our reactions to both the shorts and the film itself.

As usual, we talk about the top ten and the new releases, as well as what we’ve watched this week outside of the festival. In this episode, Jay discusses both the massive list of great films he has to watch before the end of the year, and his decision to watch both The Meg and Skyscraper instead. Ronan has seen two of the films in the top ten, having very strong opinions about both A Star is Born and Bohemian Rhapsody.

There is a lot to cover in news, including the announcement of a new Criterion streaming service risen from the ashes of Filmstruck, the awards at the Cork Film Festival, the Irish Film Festival London, the Polish Film Festival at the Irish Film Institute and the launch of Screen Skills Ireland. So a busy week.

The top ten:

  1. Overlord
  2. Johnny English Strikes Again
  3. Burn The Stage: The Movie
  4. Smallfoot
  5. The Nutcracker and the Four Realms
  6. Widows
  7. A Star is Born
  8. Bohemian Rhapsody
  9. The Grinch
  10. Fantastic Beasts: The Crimes of Grindelwald

New releases:

You can download the episode here, or listen to it below.

Non-Review Review: Skyscraper

Hollywood never really gives up on a genre that it loves, even when it might appear that the audience has moved on.

The perpetual reinvention of the western is one example, a genre that is constantly updated in terms of style and substance to reflect the times. The western has been reinvented and reimagined countless times over the past few decades, whether by combining it with other genres or by examining its underlying assumptions. The western survives in movies like The Hateful EightThe RevenantBone Tomahawk; films that are very clearly westerns even if audiences from the genre’s peak would struggle to recognise them.

Hanging on in there.

Disaster films are another example of Hollywood’s perpetual reinvention of a genre that has fallen out of style. While by no means as ubiquitous as they once were, disaster films still pop up from time to time. The attempts to update the disaster film often take the form of hybridisation, of tying the trappings of the genre into a more marketable template. In the nineties, Independence Day cleverly wed the disaster movie to an alien invasion narrative. More recently, Patriots’ Day tied the structure and rhythms of the disaster movie into a counter-terrorism epic.

Skyscraper hits upon what might be the ultimate genre fusion for the disaster movie template. At the very least, it feels like an inevitable hybrid in the modern cinematic climate. At its core, Skyscraper essentially asks… “what if a disaster movie, but also a superhero film?

The bed Rock of a stable marriage.

Continue reading