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New Podcast! Scannain Podcast (2019) #22!

It’s time for the Scannain podcast!

This week, I join Jay CoyleGrace Duffy and Luke Dunne from Film in Dublin to discuss what we watched, the week in film news, the top ten and the new releases.

What We Watched

The Week in Film News

The top ten:

  1. Paw Patrol Mighty Pups
  2. The Hustle
  3. Avengers: Endgame
  4. John Wick: Chapter III – Parabellum
  5. Ma
  6. Detective Pikachu
  7. Godzilla: King of the Monsters
  8. Rocketman
  9. The Secret Lives of Pets II
  10. Aladdin

New releases:

You can listen to the podcast directly here.

Note: Due to unforeseen technical issues, the audio quality is a little rougher this week than usual, and there was some audio lost towards the end of the conversation – including the discussion of Late Night.

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Non-Review Review: X-Men – Dark Phoenix

It reflects the strange state of the modern multimedia landscape that X-Men: Dark Phoenix feels almost like a plucky underdog.

This is a major studio summer blockbuster with a budget of well over one hundred million dollars. More than that, it is the twelfth film in a series that has historically been both critically and commercially successful; the films have earned over $5.7bn dollars worldwide, eight of the twelve films have positive scores on Rotten Tomatoes, seven of those twelve have been popular enough to end on the Internet Movie Database‘s top 250 films of all-time. The current franchise stars a two-time Oscar winner. The last film in the series earned an Oscar nomination for its screenplay.

A hot property.

Dark Phoenix should be an event. Instead, it arrives with a relative whimper. The release date was pushed back repeatedly, first from November 2018 to February 2019, and then to June 2019. It has been hounded by largely unfounded industry gossip about terrible test screenings. It is tracking for the lowest opening weekend in the franchise. In the time between the film entering production and its eventual release, it has been somewhat overshadowed by news that Disney are to buy 20th Century Fox, and that this franchise will be rebooted.

“I am inevitable,” Thanos famously boasted in Avengers: Endgame, the literal manifestation of death and time who existed to be vanquished by the assembled heroes. He might have been speaking of the influence of Disney. Dark Phoenix crashes against that inevitability, shattering and snapping against those immovable objects. Dark Phoenix is a mess, a disorganised husk of a movie carved out in an editing booth and built from last-minute reshoots. However, it is not quite the disaster that it should be. Instead, it seems almost endearingly defiant, a blockbuster flavoured with passive aggression.

Raining on their parade.

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Non-Review Review: X-Men – Apocalypse

X-Men: Apocalypse is a retro superhero blockbuster, and not just because it happens to be set in the eighties.

At this stage, the X-Men franchise is practically a warhorse of superhero cinema. Although Blade tends to get overlooked in discussions of the current superhero boom, it is fair to trace the current deluge of superhero films back to the twin releases of Bryan Singer’s X-Men and Sam Raimi’s Spider-Man. Without those two films, released more than a decade-and-a-half ago, the current blockbuster landscape would look a lot different. Those films changed audience expectations and demonstrated what could be done with the format.

xmenapocalypse1

“Shoot me from a low angle to make me seem huge. I’m talking real ‘Triumph of the Will’, here.” (Special Guest Caption by Ed Azad.)

There have two big screen reboots of Spider-Man in the intervening years, with both Andrew Garfield and Tom Holland stepping into the red booties vacated by Tobey Maguire. In contrast, the Hugh Jackman and Patrick Stewart are still playing the iconic roles they established more than fifteen years ago, with X-Men: Days of Future Past straining to reconcile the original cast with the replacements who appeared in X-Men: First Class. However, in the intervening years, superhero cinema has changed dramatically.

In many respects, Apocalypse feels like the X-Men is playing catch-up with the generation of superhero blockbusters that arrived it its wake, taking the opportunity to do its own big “rock ’em, sock ’em” apocalyptic superhero team-up showdown of the kind that has never really featured in the franchise. Apocalypse finds the X-Men franchise embracing a particular style of superhero brawler typified by The Avengers back in 2012. Ironically, the genre itself has moved on, leaving the entire exercise feeling a little quaint.

xmenapocalypse

“It was acceptable in the eighties.” (Special Guest Caption by Ed Azad.)

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Jessica Jones – AKA Take a Bloody Number (Review)

AKA Take a Bloody Number is the penultimate episode of the season, and continues the process of narrowing the focus.

There is a sense that Jessica Jones is largely clearing away the clutter as it moves towards its final episodes. AKA Sin Bin found the show building to critical mass, and subsequent episodes have shrewdly decided to begin letting the air out slowly rather than bursting the balloon. AKA 1,000 Cuts resolved Jeri’s divorce subplot and killed off Hope Slottman. AKA I’ve Got the Blues disbanded the survivors’ group and took care of Will Simpson’s supersoldier plot. AKA Take a Bloody Number brings back Luke Cage, allowing the show to focus on the relationship between Luke and Jessica for the first time since AKA You’re a Winner! Luke seems to have missed the show’s climax, but he is still a matter than needs addressing.

jessicajones-takeabloodynumber29a

One of the strengths of Jessica Jones is a willingness to let its cast drift into and out of focus as the plot demands. Characters like Luke Cage and Jeri Hogarth are absent from consecutive episodes, and stretches of the season. This is likely due to actor availability issues, with Mike Colter soon to be headlining Luke Cage and Carrie-Anne Moss arguably the biggest star (and certainly the most recognisable “film” star) in the cast. Nevertheless, it does allow Jessica Jones a narrative expedience. Instead of having to constantly check in on various characters with a drip-feed of character development, the show can decide only to use them as is strictly necessary. It is a technique that works out quite well for the show. (Indeed, the show might have done better to adopt it with Kilgrave.)

AKA Take a Bloody Number works as a fairly streamlined piece of television, resisting the urge to escalate the scales (and the scope) of the story as it approaches its endgame. The climactic confrontation between Luke and Jessica is arguably just as effective as the climax of AKA Sin Bin, despite the smaller number of intersecting plot threads and involved characters.

jessicajones-takeabloodynumber10a

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The X-Files – Rush (Review)

This November, we’re taking a trip back in time to review the seventh season of The X-Files and the first (and only) season of Harsh Realm.

When did The X-Files get so old?

As with a lot of the seventh season, Rush is an episode that seems consciously aware of the series’ advancing age. Whether watching Mulder’s life go by in The Sixth Extinction II: Amor Fati or battling zombies in Millennium, the seventh season is acutely aware of the fact that any prime-time drama that has been on the air for seven years is rapidly approaching obsolescence. What was once young and fresh becomes old and tired. There is a sense that the series really wouldn’t mind the prospect of retirement, now that it’s well past the syndication mark.

"He wore sneakers... for sneaking."

“He wore sneakers… for sneaking.”

Rush emphasises the advancing years of the show, often awkwardly putting its tongue in its cheeky as it suggests that Mulder and Scully are really lumbering dinosaurs trying to navigate the fast-paced world of high school. David Amann’s script is occasionally a little too wry and self-aware for its own good; this is an episode based around a laboured pun about how “speed” is also a drug, after all. Rush often demotes Mulder and Scully to passive observes, quipping and flirting from the sidelines as the plot unfolds around them.

Rush lacks the charm and dynamism that define the show’s (and the season’s) standout hours, but it is a well-constructed and enjoyable standalone adventure on its own terms. As with Hungry, it feels like a conscious effort to get “back to basics” with the series. If the seventh season is going to fixate on the series’ status as a televisual lame duck counting down its last few episodes, this is not such a bad way to do it.

Scully'll take a run at this...

Scully’ll take a run at this…

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Non-Review Review: Fantastic Four (2015)

The second scene of Fantastic Four opens on a shot of a red neon sign reading “Grimm”, panning down slowly to a scrapyard packed with exhausted husks of old vehicles that have long outlived their usefulness. If you were to reduce Josh Trank’s Fantastic Four down to a single shot, that would be it; the purest possible distillation of this hundred-minute effort to adapt Marvel’s (literal) first family to the silver screen. It is possible to make a good Fantastic Four film, even if the movies bearing the family’s name suggest otherwise; The Incredibles proved as much.

What is remarkable about Fantastic Four is just how thoroughly and meticulously the edges have been sanded down, replaced with a misshapen grey blob that wants to be X-Men or The Avengers, or anything but what it is. All the moving parts of the film are compelling on their own merits. This is the first studio effort from Josh Trank. It is a vehicle for Miles Teller. It has a soundtrack from Philip Glass (and Marco Beltrami). It features Victor Von Doom in an era when studios have demonstrated they are not afraid of comic book tropes and absurdities.

Fantastic finish?

Fantastic finish?

Fantastic Four effortlessly squanders just about all that good will in a ruthlessly efficient manner, a demonstration of how brutal a bad script and a cynical edit can be. Trank only fleetingly shines through, commandeering the film for about ten minutes in the middle. Miles Teller is reduced to an exposition machine. Any unique identifiers on the Philip Glass soundtrack are pared down for generic superhero movie bombast. The film is so concerned that the audience won’t take a character named Doctor Doom seriously that he’s barely in the film.

The most interesting aspect of Fantastic Four is the recurring sense that the characters themselves openly resent the direction that the project took. Sadly, even Reed Richards cannot stretch far enough to bend the film back into shape.

Clobbering time...

Clobbering time…

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Gary Friedrich, Don Heck and Werner Roth’s X-Men – X-Men Omnibus, Vol. 2 (Review/Retrospective)

This May, to celebrate the release of X-Men: Days of Future Past, we’re taking a look at some classic and modern X-Men (and X-Men-related) comics. Check back daily for the latest review.

By the time that Gary Friedrich had taken over writing duties on X-Men, it was clear that the title was in trouble. To be fair, this has nothing to do with the rapid turnover of writing talent on the book. At this point in the history of Marvel, it often seemed like writers were wandering around the office waiting to fill any gap that happened to develop. Friedrich wasn’t a replacement for Roy Thomas as an attempt to herald a bold new direction for the book. Indeed, his first issue was a story pitched by Thomas.

However, at the same time, it’s quite clear that X-Men was struggling to stay afloat. The comic was seemingly re-tooling itself month-in and month-out. Professor Xavier had been killed off towards the end of Roy Thomas’ last run. The cover now trumpeted individual members of the cast and back-up stories opted to focus on characters within the team, hoping they might find an audience as solo super heroes.

The first death of the dream...

The first death of the dream…

This trend continued into Gary Friedrich’s short tenure as X-Men writer. The first issue of Gary Friedrich’s run focuses on a guest star from the golden age, while his last solo script dissolves the X-Men as a team. In the middle, there’s a crossover with The Avengers. This was a very troubled book entering its fourth year, and the fact that it could not seem to settle on a single creative team or direction contributed to that sense of listlessness.

X-Men was a book that simply wasn’t working.

These men... these X-Men!

These men… these X-Men!

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