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My Top 50 Movies of the Decade…

Alright here it is, my top fifty films of the decade. I’ve decided to stop complaining about Donal Clarke’s list in the Irish Times and just let rip myself. There’s more than a few crazy choices down there, but – after a week in the works – I’m happy with it. I doubt that a lot of other people will be.

Like the Oscars, but... you know, better...

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It’s For-eign, Not For Americans…

What is the deal with remaking foreign films for American audiences, really? That Akira remake apparently still alive.

Despite the high volume of foreign films being remade, there are comparatively few English films that warrant an Americanised reworking, so I’m going to suggest that it’s not merely the cultural barrier that needs transcending. I think it’s the foreign language barrier. So, what’s the point in remaking and reimagining foreign properties for huge amounts of money – why not simply pay more heed to the original product?

For the record, NOT how you do a 180-degree turn...

For the record, NOT how you do a 180-degree turn...

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Start Spreadin’ the News…

It appears that Martin Scorsese’s on-again, off-again, on-again, off-again, on-again biopic of Frank Sinatra is back on again. I’ve been following the project during it’s languished history in, if not development hell, at least development limbo.

To be honest, I was most excited about the Robert deNiro iteration of the project. That supporting cast sounded fantastic. Now it’s been confirmed, how do I feel? Well, good, to be honest.
It’s odd that the end of a director’s career would show more breadth than the early years, but the last decade has seen an astonishing broadening of Scrocese’s pallete. We’ve had a Hollywood biopic (The Aviator), a historical epic (Gangs of New York), spiritual drama (Silence), a conventional thriller (Shutter Island) and even an old-style mob yarn (The Departed). Sure he’s experimented before – the seemingly anomolous Age of Innocence now makes sense as a precursor to Gangs of New York, The Doors still stands out as an odd choice in his career – but that string of wildly-variable-in-genre films seems unprecedented. Even the most conventional choice in that lineup (The Departed) seems oddly out of sync with his early mob exploits (Goodfellas, Casino). So, why is this relevant?

After so much variety, I look forward to a bit of vintage Scorsese. A biography of a Los Vegas lounge singer with ties to the mob seems to be relatively familiar ground. This doesn’t mean I’m writing off any of his impressive slate of Oscar-buzz-generating releases already on the horizon – the release of any Scorsese film is cause to celebrate – but this film has been discussed and talked about for so long that it’s hard not to especially anticipate it. Sure, his last “dream project” was Gangs of New York that met with a somewhat muted critical reception, but I felt the director’s love with the material in every frame.

The casting rumours have begun again with many media outlets suggesting Johnny Depp or Leonardo diCarpio. I’m happy with either – I trust Scorcese on this. Both are incredibly competent actors who would do the material proud. I think diCaprio has done his best work with Scorsese – though he did deserve an Oscar nod for Revolutionary Road – and I think that Depp and Scorsese would make a fantastic team. Hell, I’d even trust the director with John Travolta.

It is Scorsese’s dream project after all. I’m just tagging along for the ride.