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My 12 for ’12: The Master & The American Century

I’m counting down my top twelve films of the year between now and January, starting at #12 and heading to #1. I expect the list to be a little bit predictable, a little bit surprising, a little bit of everything. All films released in the UK and Ireland in 2012 qualify. Sound off below, and let me know if I’m on the money, or if I’m completely off the radar. And let me know your own picks or recommendations.

This is #6

It’s very weird being a popular culture nerd who lives outside the United States. A significant portion of pop culture is exported directly from the United States. I grew up on Star Trek and Batman, two iconic American franchises. I probably know more about American history – filtered through feature films, television shows and other popular forms of entertainment – than school taught me about the origins of my own nation. Even then, it still feels a little strange to watch American film makers commentating on American situations, and to not only recognise but almost understand how those references work within the American subconscious.

The Master is a fascinating exploration of post war America, the period where America well and truly emerged as the defining global power, where the country embraced economic prosperity and manifest destiny no longer referred to expansion out west, but a bold adventure into a promising future. In an article published shortly before America entered the Second World War, Henry R. Luce argued that the twentieth century was “the American century.” If it seemed that way before the conflict, it was all but certain afterwards. Of course, economic prosperity does not always bring with it a sense of peace and tranquillity, and The Master explores the sense of existential ennui that took root in a way that is, if you’ll pardon the pun, masterful.

themaster2

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The Spirit Archives, Vol. 25 (Review/Retrospective)

DC have done a tremendous job with their Spirit Archives collection. Twenty-four volumes collecting the twelve years of the Sunday strip is quite an accomplishment, and they’d be forgiven for stopping there. No other character in DC’s back catalogue has such a consistent collection of their early years. (Batman and Superman might have similar volumes of material collected, but somewhat haphazardly.) It’s to the company’s credit that they decided to close out their collections of Eisner’s work on the character with what might be considered two appendices. The next collection will include most of Eisner’s post-1952 work on the character, but this hardcover collects each and every daily Spirit strip published between 1941 and 1942. While it might not be the most essential collection every published (whether in terms of the character or in the history of daily newspaper strips), but it’s still nice to see it collected with the rest of Eisner’s work.

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12 Movie Moments of 2012: Running (Shame)

As well as counting down the top twelve films, I’m also going to count down my top twelve movie related “moments” of 2012. The term “moment” is elastic, so expect some crazy nonsense here. And, as usual, I accept that my taste is completely absurd, so I fully expect you to disagree. With that in mind, this is #8

It is quite common to see New York presented in an unpleasant light. After all, Martin Scorsese’s films capture the metropolis at its very best and its very worst, and there are countless gangster films devoted to exploring the dark underbelly of a city that is easily one of the most recognisable in the world. I have never been to New York, and yet I feel like – through years of film-watching – I have come to know the city almost as if I have lived there.

As such, I was surprised when Shame managed to offer me a somewhat novel take on New York itself. The city is as much a character in the film as any of Steve McQueen’s supporting cast. (Indeed, Carey Mulligan even gets to perform an extended version of “New York, New York” in tribute to her co-star.) McQueen manages to craft a distinctly unpleasant and uncomfortable exploration of the city without resorting to any of the trite clichés that one associates with the horrors of urban living.

Indeed, one long single-take shot of Brandon running within the confines of the city offered a more powerful sense of urban anomie and isolation than I have ever seen before, presenting a cold blue city completely indifferent and unaware of the millions of people living within the city limits.

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The Spirit Archives, Vol. 24 (Review/Retrospective)

And so, the end is near. The Spirit Archives, Vol. 24 is a bumper-sized edition, collecting every Spirit weekly strip published in 1952, from January through to October. It’s nice of DC to put out a slightly larger collection to finish out the weekly strip, rather than breaking the final year of the comic into two smaller (possibly more profitable) volumes. This collection devotes its cover to The Outer Space Spirit, but that storyline only emerges towards the end of the book. Given how much attention Wally Wood and Jules Feiffer’s reinvention of the masked crimefighter has generated, it’s interesting that it’s actually a fairly small contribution in terms of page count. Still, reading those adventures now, it’s easy to see why the storyline has attracted such a strong following, even if you practically see the weekly strip dwindling as you approach the final pages.

And we're flying to the moon and back...

And we’re flying to the moon and back…

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The Spirit Archives, Vol. 23 (Review/Retrospective)

You know that The Spirit is in a state of declining health when even the back cover concedes that, “by the second half of 1951, The Spirit was winding down.” Still, having read the collection from cover-to-cover, I find it quite difficult to disagree. The Spirit Archives, Vol. 23 provides an interesting study of a comic strip coming to terms with its own mortality, but there’s also a sad sense that the magic is slowly evaporating from Will Eisner’s iconic creation. We are no longer watching a beloved comic strip missing a few steps. Instead, we’re watching a slow and painful deterioration.

I gather, from the look on his face, he has read the strips...

I gather, from the look on his face, he has read the strips…

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The Spirit Archives, Vol. 22 (Review/Retrospective)

There’s a sense that Eisner and his staff knew that the end was rapidly approaching. Narratively speaking, there’s a lot of different elements here that suggest – at least unconsciously – an effort to tidy up The Spirit so that it could be neatly folded up and put away. Eisner hadn’t completely abandoned his creation to its fate at this point, but it seemed like he was well aware that the strip might not continue forever. The Spirit Archive, Vol. 22 seems a bit more reflective than the editions that came before, acknowledging that the worm is slowly turning.

Gun to my head, I'd say the strip is in trouble...

Gun to my head, I’d say the strip is in trouble…

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Winners of the 2012 International On-Line Film Critics’ Poll

The International On-Line Film Critics’ Poll has just published the winners of their 2012 poll. I was honoured to take part, and I was very glad with most of the results. You can read the nominations here, but the winners are listed below. The superb Tinker Tailor Soldier Spy was the biggest winner – winning Best Film, placing on the Top Ten Films, taking home Best Director, securing Best Actor for a very deserving Gary Oldman, along with Best Cast and Best Adapted Screenplay to boot. A host of other wonderful films (including The Master) did very well as well.

Results after the jump.

Looks like we're all Smiley's people...

Looks like we’re all Smiley’s people…

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The Spirit Archives, Vol. 21 (Review/Retrospective)

The end is nigh. Even if I didn’t know that these wonderful hardcover collections from DC comics were finishing up soon (with the last of the weekly strips collected in The Spirit Archives, Vol. 24), I could probably get a sense that things were winding down from a quick read of The Spirit Archives, Vol. 21. Up until this point, The Spirit has had five years of quality following Will Eisner’s return from service in the Second World War. It’s very hard to think of any comic (then or now) that has enjoyed any four consecutive years of quality that measures up to the work by Eisner on The Spirit at the very height of its game.

And it is, I must confess, very easy to get caught off-guard by the slow (but steady) decline in quality in The Spirit. After all, off-peak Spirit by Will Eisner is still better than most of its contemporary comics. And, to be fair, the vast majority of modern comics. There is some great stuff here – some truly fantastic, great stuff. Unfortunately, there’s also a lot of evidence that Eisner’s creative energies were ebbing just a bit. The end was fast approaching, and this collection features the first truly noticeable stumbles.

Somebody's a fan of the Great Train Robbery...

Somebody’s a fan of the Great Train Robbery…

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The Spirit Archives, Vol. 20 (Review/Retrospective)

By 1950, it seemed like time was almost up for The Spirit. Indeed, the run of stories collected here represents perhaps the last six months of the truly superb hot streak the strip had been on since Eisner returned home from the Second World War. There’ll be time, discussing the next few volumes, to explore and to contemplate the decay and decline of The Spirit as a Sunday newspaper strip, but The Spirit Archives, Vol. 20 contains a pretty solid run of weekend adventures for the masked crimefighter. There’s still a lot of the fun and energy and verve that defined Eisner’s best work on the character, even if you can almost sense the ennui creeping in at the very edge of the page.

The man behind the mask...

The man behind the mask…

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My 12 for ’12: The Raid (Redemption) & An Action Aesthetic…

I’m counting down my top twelve films of the year between now and January, starting at #12 and heading to #1. I expect the list to be a little bit predictable, a little bit surprising, a little bit of everything. All films released in the UK and Ireland in 2012 qualify. Sound off below, and let me know if I’m on the money, or if I’m completely off the radar. And let me know your own picks or recommendations.

This is #12

It’s a bit of a stereotype that critics don’t like action movies. It’s one of those handy clichés that gets trotted around whenever some mega-blockbuster brings in a ridiculously large number at the box office after a thrashing from the pundits. I can’t speak for the critics, of course, but I can tell you that the reason I disliked The Bourne Legacy or Transformers 3: Dark of the Moon had nothing to do with an innate dislike of action movies as a genre. I’m a big fan of action movies. However, like any other genre, an action movie needs to be done right.

The Raid does an action movie right.

theraid1

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