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Non-Review Review: The Omen

A whole bunch of ropey sequels and a dodgy remake aside, The Omen remains a rather wonderful little Satanic thriller, and a fantastic horror movie in its own right. The sixties and seventies were populated with reproductive horrors like Rosemary’s Baby and The Omen, and I think that there’s a reason that The Omen has endured. More than three decades after its original release, The Omenremains a superb example of seventies horror at its very finest.

Not quite father-of-the-year material…

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Non-Review Review: Super

Super is pretty much one joke, extended over a movie runtime. It’s a funny joke, and it’s told well by a great cast and a witty director, but it feels a little stretched, even at under a hundred minutes. It also suffered a bit from being released in the same year as Kick-Ass, a movie that dealt with similar themes in a much more compelling manner, but Super remains an interesting examination of geek power fantasy, and some of the more sinister undertones of the conventional superhero narrative.

Not so super, hero…

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Adam Strange: Planet Heist (Review/Retrospective)

This month I’m taking a look at DC’s massive “Infinite Crisis” Event. Although it was all published in one massive omnibus, I’ll be breaking down the lead-in to the series to tackle each thread individually, culminating in a review of the event itself. Check back for more.

Note: Although technically not a lead-in, and not included in the Omnibus, Planet Heist leads directly to Rann-Thanagar War, so I thought I’d take a look at it. Also, it’s a pretty damn fine series.

I’ve always had a soft spot for Adam Strange. Along with The Flash, Strange’s adventures in Mystery in Space are among my favourite of DC’s Silver Age comic books. (That would suggest a fondness for Carmine Infantino, who – his Batman work aside – is certainly a favourite of mine.) I’m boggled that DC has never managed to make more of Strange than they have. A delightful science-fiction concept, blending John Carter of Mars with a fifties ray-gun aesthetic, it seems ripe for pulpy exploitation. In fact, before Marvel announced Guardians of the Galaxy, I figured that Strange might prove DC’s best big screen hope of distinguishing themselves from Marvel.

Andy Diggle and Pascal Ferry’s Planet Heist is a delightful eight-issue miniseries featuring the character, updating him for a new era. I can’t help but feel a little sad that the pair didn’t extend the miniseries into a run, and that Adam Strange remains a neglected character in the DC pantheon.

All the Strange, Strange people…

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Non-Review Review: The Master

The Master is a boldly ambitious picture, if one that’s occasionally difficult to parse. Is it a character study of the two leads, the broken Freddie and dysfunctional Lancaster Dodd? Is it a commentary on the sudden material success and spiritual emptiness of fifties America, in the wake of the Second World War? Is it a study of the phenomenon and psychology of “cult”, with one particular cult in mind? The Master is all these, and probably a great deal more, and its only real flaw is that it never manages to truly fashion these multiple compelling facets into one fully realised whole. Still, that’s a comparatively minor complaint, when dealing with a movie produced with this level of technical craft.

All at sea…

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Non-Review Review: End of Watch

For its first two thirds, End of Watch is a rather novel examination of the routine of the boys in blue who patrol X-13, the most notorious district within Los Angeles’ notorious South Central. Centring on two police officers, Brian Taylor and Mike Zavala, it offers a portrayal of the Los Angeles Police Department that feels almost novel. Rather than centring on the city’s infamous racial tensions, or the allegations of corruption within the force, End of Watch offers a candid and insightful examination of what an average day on the beat might look like, helped along by natural interplay between leads Jake Gyllenhaal and Michael Peña.

The movie runs into problems with its third act, when it opts to abandon its naturalistic, almost documentary, approach to these officers and their world, forcing a climactic confrontation that never really feels like it entirely belongs.

Arresting drama…

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Non-Review Review: Argo

Argo might not seem like it, with the action unfolding amidst the Iranian embassy siege and the stakes involved in the rescue of six hostages, but it is something of an affectionate love letter to cinema from Ben Affleck, who is emerging as one of the most talented actors-writers-directors of our time. From the moment that the grain scratches across the retro Warner Brothers logo to the closing credits where fact and fiction compare and contrast, Argo feels like a celebration of movie magic. Perhaps it’s a little tooself-congratulatory at points, as films made by Hollywood about Hollywood tend to be, but Affleck’s direction keeps the movie surprisingly focused. The film maker does an exceptional job wringing real tension from a true story – no small accomplishment, and a testament to his ability.

Standing out from the crowd…

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Non-Review Review: The Candidate (1972)

The Candidate is that rare movie that is anchored firmly in its own time, released in June 1972, but remains relevant through until today. Writer Jeremy Larner won an Oscar for his screenplay, and his portrayal of election politics seems worryingly plausible. The Candidate is remarkably frank about its politics, but also in its depiction of the system. There’s no pussyfooting around for fear of alienating the audience with hostile political ideas, instead the film embraces its political position and runs from there. While it feels like it was written in the shadow of the then-looming 1972 Presidential election, it does seem to be quite applicable to modern politics.It remains relevant, perhaps an illustration of how little has changed.

If anything, it seems like The Candidate is relatively tame compared to current political realities.

“I came here to chew gum and get elected… and… well, I’m not out of gum.”

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Non-Review Review: The Invisible Man (1933)

We’ll begin with a reign of terror. A few murders here and there. Murders of great men, murders of little men, just to show we make no distinction. We might even wreck a train or two. Just these fingers around a signalman’s throat, that’s all.

The Invisible Man is a classic, sandwiched between James Whale’s celebrated monster movies – Frankenstein and Bride of Frankenstein. The movie was renowned at the time for its special effects, which still hold up remarkably well on the snazzy new blu ray issued by Universal Pictures. However, the film itself is still fantastic on its own terms, featuring a great leading performance from Claude Rains, a witty script and some fantastic direction from Whale. I think it’s also quite wonderfully telling that The Invisible Man manages to feature the story of simultaneously the most human and the most inhuman of these Universal Monster Movies.

The freak who came in from the cold…

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American Vampire, Vol. 4 (Review)

This October, to get us in the mood for Halloween, we’re taking a look at some awesome monster comics. Check back in every Monday this month for a review of Scott Snyder’s American Vampire Saga.

American Vampireis a wonderful vehicle for Scott Snyder to explore his obvious fascination with the social history of the United States. In this fourth volume of the series, Snyder brings the action into the fifties. The fifties time that seemed to be rife with great social change coming out of the Second World War. However, despite those origins, they would ultimately just serve as a prelude to the more dramatic social developments during the sixties. This collection of issues allows Snyder to hint on a number of familiar themes that fit quite well with the setting, including the conflict between old and new – something that has been at the heart of the series since the very beginning.

Grabbing the snake by the… whatever it is you grab snakes by…

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Non-Review Review: Stitches

Stitches is an interesting little Irish film. Featuring an interesting set up to parody the conventions of the supernatural slasher film, the movie finds itself falling prey to them just a little bit too often. Irish writer and director Conor McMahon creates a credible gory teenage bloodbath, but doesn’t really find a narrative hook to engage the audience. Never entirely sure how ironic it is trying to be, Stitches is a solid effort, albeit one far from greatness.

Not clowning around…

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