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Tintin: Tintin in the Congo (Review)

In the lead-up to the release of The Adventures of Tintin: The Secret of the Unicorn, I’m going to be taking a look at Hergé’s celebrated comic book character, from his humble beginnings through to the incomplete post-modern finale. I hope you enjoy the ride.

“Unfortunate,” is probably a word that gets tossed around quite frequently about Tintin in the Congo. The second adventure in the series, it was omitted from the list of books on the back of my old Tintin collection, for reasons that aren’t too hard to fathom. Apparently, like Tintin in the Land of the Soviets, the book was driven by editorial edict – to encourage Belgians to move to the colonies in the Congo, rather than to drum up fear and mistrust of communist Russia – though, to be frank, I really can’t see much here stirring a desire to emigrate. Tintin in the Congo is very mush a product of its time, filled with casual racism and awkward portrayals. That doesn’t make it any better, and it’s genuinely quite difficult to look past that fact.

Fur and loathing in the Belgian Congo...

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Tintin: Tintin in the Land of the Soviets (Review)

In the lead-up to the release of The Adventures of Tintin: The Secret of the Unicorn, I’m going to be taking a look at Hergé’s celebrated comic book character, from his humble beginnings through to the incomplete post-modern finale. I hope you enjoy the ride.

The two earliest Tintin adventures, Tintin in the Land of the Soviets and Tintin in the Congo, are looked back upon as the black sheep of the Tintin novels produced by Hergé. While Tintin in the Land of the Soviets is shameless anti-Communist propaganda (and does contain a hint of the foul racism we’d see a lot more of in Tintin in the Congo), one can detect a lot of the charm that Hergé brought to his iconic creations, scattered throughout the work, from the surreal sense of humour to the writing style to the love of ridiculous suspense, seemingly for the sake of suspense. The best was definitely yet to come, but it all started here.

The collection isn't Tintin at his finest...

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Non-Review Review: Cowboys & Aliens

This movie was seen as part of Movie Fest, the rather wonderful film festival organised by Vincent and everybody else over at movies.ie. It was well worth attending, and I’m already looking forward to next year. Good job all.

It’s a testament to Jon Favreau’s skills as a filmmaker that Cowboys & Aliens ends up as a watchable, if entirely forgettable, addition to an ever-growing summer schedule. The movie is plagued by fairly fundamental problems, from a miscast lead to a failure to follow through on an interesting premise, right down to being one of the more blandly predictable blockbusters in quite some time. Favreau plays the best hand he can with the cards he has been dealt, offering a passable imitation of Steven Spielberg, but the problem is that none of it adds up to a win.

Not quite a blast...

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What Measure is a Monster? or Sympathy for the Devil…

I loved Super 8. It was just a wonderfully made coming-of-age tale that paid excellent homage to those old Spielberg films (even those he produced, like The Goonies, not just the ones he directed). However, as I got thinking about the film, and the plot that focuses on a rather ugly-looking alien escaped from government custody, I did find myself somewhat conflicted in what to make of the menace. Was it a poor victim of torture and inhumane treatment at the hands of the United States military, or was it a genuinely evil creature that deserved to be put down? It’s interesting how Abrams manipulates us into feeling sympathy for the creature, despite the fact it tends to feast on innocent human flesh.

Well, it's certainly alien...

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Twixt a Rock and a Hard Place: Francis Ford Coppola, Movie DJ…

A large part of me has tremendous respect for Francis Ford Coppola, even if his stock was considerably diminished by the twin misfires of The Godfather, Part III and Bram Stoker’s Dracula in the nineties. However, it takes a significant amount of courage to pretty much turn your back on major movie studios and produce a string of relatively independent and relatively experimental films, especially when you could legitimately be described as one of the main architects of modern cinema. Part of me wonders what would happen if George Lucas and Steven Spielberg attempted something similar to the string of low-budget arthouse releases Coppola has directed in recent years. His latest film, Twixt, comes with a gimmick that would put 3D to shame. The director is taking it on tour, and will apparently “remix” it for each and every audience. There’s no guarantee that two different audiences will see the same film.

Mixmeister Coppola...

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Non-Review Review: Super 8

Super 8 is a love letter to film. It’s an ode to the trashy, forgettable – yet still endearing – stuff, like a bunch kids screwing around with an obvious fixation on the work of George A. Romero. It’s also a sweet tribute to the film that emotionally connects with us, like the footage of a long lost relative projected against a wall, almost convincing us for a second that they’re still with us. JJ Abrams might consciously evoke early Spielberg with his style, but it’s only to celebrate the common ground they both share, the believe that film is truly powerful and emotion medium, one that strikes a chord on the most improbable of notes, teaching us life lessons and engaging us in nothing short of magic. The posters and trailers might convince you that Super 8 is a classic monster movie with seventies trappings – and it is – but it’s also that other difficult-to-get-quite-genre, the coming-of-age tale. Just one that features giant monsters.

Nice camera work...

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Pottering Away: Reflections on the Harry Potter franchise…

It’s quite strange, considering a movie series as opposed to its independent constituent elements. It seems like in taking in the broad tapestry of adventure allows the viewer a completely different appreciation for the story being told, especially when measured against considering each individual film on its own terms. With the Harry Potter series finally ending, I had an excuse to go back and dig through the old DVDs, watching each and every instalment in the series as a means of saying one final goodbye. However, despite the fact that some of the films may have been less impressive than others, or the fact that the plots didn’t always flow consistently from one film to the next, I still think that the eight films taken in their totality represent a rather wonderful accomplishment for all involved.

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Time to Worry About Snyder’s Superman?

Well, the reviews for SuckerPunch are in, and they are… less than encouraging. I could have great fun going through them looking for pithy put-downs, but let’s just agree that it looks pretty bad. The film was a critical and commercial flop, generally agreed to be the handiwork of a director who was allowed to run completely wild with Warner Brothers footing the bill. As inevitably happens after a disaster like this, people are wondering about the director’s next film – it would be a hot topic even if it wasn’t relaunching Superman, but the amount of weight that Warner Brothers is putting on Superman makes it a downright explosive little issue. So, do I believe that Snyder can do it?

No Snyde(r) remarks...

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Stop Motion Capture: Time to Worry About Tintin?

Mars Needs Moms bombed at the box office. Badly. Really badly. Ignoring the fact that Disney is in need of another hit, the failure of the Seth-Green-starring Robert-Zemeckis-produced motion-capture 3D CGI films raises serious questions about the future of that particular animation style. However, I wonder if it’s playing across the minds of Steven Spielberg and Peter Jackson as they add the finishing touches to their Tintin adaptation.

All at sea?

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Pete Postlethwaite

The quote from Spielberg about “probably the best actor in the world today” has been doing the rounds today, understandably, as well as Postlethwaite’s good-natured response (he remarked that it sounded like “a beer commercial”), but I think the below quote pretty much sums up my respect for Postlethwaite and his strength as an actor.

There are some moments that work. Pete Postlethwaite, as a big game hunter who flies onto the island with a second wave of dinosaur mercenaries, doesn’t step wrong; he plays a convincing if shallow character, even if he’s called upon to make lengthy speeches in speeding Jeeps, and to utter arty lines about “movable feasts” and having “spent enough time in the company of death.’‘ He alone among the major characters seems convinced that he is on an island with dinosaurs, and not merely in a special-effects movie about them.

Roger Ebert reviews Jurassic Park: The Lost World

It’s not his best role, nor his most notable. However, even then he managed to shine on the screen, and – when I think of him – that’s the quote that comes to mind. His career featured any number of fantastic films (The Usual Suspects, Inception), but he always brought his best – even when the movie probably didn’t deserve it. I won’t go on at length, because far more authoritative and eloquent individuals have already offered their feelings.

Rest in peace. You will be missed.