Category Archives: Cinema

New Year, New Movies

As promised, something a little lighter. The turn of the year brings with it Oscar season and a swathe of awards-bait movies. Somewhat unusually, this year I’ve managed to see a few of them. This has proved to be good timing. Movies gunning for golden statuettes can tend to be desperately self indulgent, but I actually enjoyed most of the movies that I watched over the Christmas period.

Below are brief reviews of four of those movies (one of them is not an awards-bait movie, but I did see it over the holidays). I also saw The Irishman, Scorsese’s mob epic, on Netflix, which was probably the best way to watch it, as it’s an interminably long retread of ground that Scorsese has already crossed and re-crossed, mostly in the company of the same actors. I’m not a big Scorsese fan but when all a movie has going for it is familiarity and technical achievement, it’s going to be a lesser work.

For upcoming movies, I still want to catch Greta Gerwig’s Little Women and I’m looking forward to Armando Ianucci’s The Personal History of David Copperfield. However, while I wait for those, on with the reviews, in more or less chronological order:


Knives Out, Rian Johnson

Having become the focus of Internet fan ire a year earlier for his work on Star Wars: The Last Jedi, Rian Johnson’s return with a wonderful modern version of the classic Agatha Christie detective story is a warming success. Garnished with a truly wonderful cast, led by Anna de Armas and Daniel Craig, it does what Johnson likes doing best: takes apart a well-known genre, figures out what makes it tick, then puts it back together in a form just skewed enough to require the audience to pay close attention.

Paying attention pays off in this case, as Knives Out plays fair throughout, providing all the information that the audience needs to figure out what’s going on. Casually mentioned facts reappear later in the story, and no one is entirely to be trusted. Even better, the film lays out early on exactly what happened, turning instead into an exploration of how and why it happened. It’s a subtle distinction, but it brings the characters and their motivations to the fore, much to the evident joy of the cast.

Often when the people involved in a movie have clearly had a good time making it, the movie itself is a bit of a mess. That’s not the case here. Johnson’s script is tight and purposeful, and his cast are clearly having a ball playing a bevy of horrible, entitled people. Chris Evans, Michael Shannon, and Jamie Lee Curtis are all worthy of note, but Craig’s louche detective Benoit Blanc is a constant joy. All the happier news then that Johnson is planning further movies starring him. Bring them on.


Star Wars: Rise of the Skywalker, J.J. Abrams

It’s been a tough few years for Star Wars fans at the movies. For all the money they’ve made, the Star Wars films have stuttered for Disney, with production on movies outside the main story having been halted. Which leaves only the final movie in the trilogy of trilogies for now. Following on from The Force Awakens, which was predictable but buoyed up by its appealing young cast, and The Last Jedi, which did interesting things with the Star Wars universe but clunked in several areas, we have Rise of the Skywalker, which lands with the dullest, heaviest of thuds.

The problem lies mostly with the writer/director. J.J. Abrams has a talent for tapping into fan nostalgia and grabbing audience interest with mysterious stories, but if Rise of the Skywalker proves anything, it’s that he has no idea how to plot a movie. He got away with it in The Force Awakens, which could devote itself to setting up mysteries for later films and which in any case borrowed its plot from earlier films in the franchise, but here he’s required to provide payoff for at least two and as much as eight earlier films, and he really doesn’t.

What he does instead is deliver a film stuffed from one end to the other with incident, action, and brand new and unexplained twists and turns. In this constantly weaving spaghetti junction of plot lines, the appealing traits of the core cast are lost and no time at all is taken to build suspense or allow the impact of seemingly galaxy-shaking events to sink in. Despite watching Star Wars since I was old enough to follow a story, my sense of wonder only twitched once, a positive reaction far outweighed by my eye rolling at overt fan service and sighing at yet another pointless hint that never gets followed up on. This should have been so much more.


JoJo Rabbit, Taika Waititi

Imagine the trickiest assignment you could give a scriptwriter. A comedy set in the waning days of World War II, told from the perspective of a ten-year-old Nazi fanboy, with Hitler as his imaginary friend? Oh, and it has to deal sincerely with anti-semitism, tragedy, and despair, all without being offensive or trite. That’ll probably be close to as tough as it gets. It’s entirely to Taiki Waititi’s credit that he took on the assignment in the first place and a sign of just how good a writer and director he is that the resulting film is something close to a triumph.

I’ve seen and heard a few reviewers complain that as a satire it’s toothless as a result of its silliness, which somewhat misses the fact that JoJo Rabbit isn’t a satire. It’s a coming-of-age story, told amid the most insane of circumstances, as the titular JoJo is required to confront the Nazi “truths” that have been drummed into him from his earliest days, embodied by Waititi’s Hitler, an imaginary friend who is by turns supportive, manic, and hateful.

The complexities of the supporting characters are deliberately hinted at rather than delved into: JoJo simply isn’t equipped to understand their despair, devotion, and rebellion. The exception is Thomasin McKenzie’s Elsa, a jewish girl he finds hiding in his house. Older and more insightful than JoJo, she has a drive for survival that he doesn’t understand, and it’s through her that he finds a path to growing up and developing empathy. By turns hilarious and deeply heartfelt, JoJo Rabbit was my favourite movie of the winter.


1917, Sam Mendes

Most of the attention paid to Sam Mendes’ World War I epic 1917 prior to its release centred around its unusual editing. The entire two hours is presented as taking place in more or less real time, with a single time jump in the middle. Any edits are carefully concealed, with the result that the camera almost never leaves its protagonists as they struggle through no-man’s land and across the western front during a lull in the fighting.

Does this structural flourish actually serve the movie? Arguably, it increases the sense of immersion, as the audience has little opportunity to breathe or look away across the two hours of the film. By the end of the movie, they’re likely to be just as exhausted as the survivors are. However, film editing is an almost universally recognised language, and at times the refusal of the editor to cut away or switch to a closeup can be jarring and remind the audience of the artifice of what they’re watching.

What’s left then is a solid, well-told story of desperation and heroism amid the horrors of the World War I trenches. Mendes doesn’t shy away from showing how awful the experience was, though the film is rarely gratuitous in its use of corpses and death. The cast, while not as impressive as that of Knives Out, does provide some highlights for viewers, but it’s the core duo of Dean-Charles Chapman and George MacKay that impress the most. The weight of having an entire film production focused on you for far longer than normal can’t be underestimated, and succeeding as well as it does marks 1917 as an impressive feat.


Cancer Update: Towards the end of my second week on alectinib/Alcensa, things are settling down a bit. The most notable side effect has been a lowering of my heart rate, which may have knock-on effects in time but otherwise isn’t bothering me too much for now. My weight has also gone up a bit, but the cause of that is harder to identify. Constipation and returning to a sedentary job with ample access to snacks could both be contributing. So it’s probably a good thing that I started running again today.

Well, I say running. It was more of a 5k run/walk/stagger. However, the breathing wasn’t a problem. Instead, the out-of-practice legs were. So, as before, good news worth taking and I’ll run with that. Once I recover, that is.

A Tale of Two Captains

The history of the comics industry, with all its twists and turns, contains fewer stories more convoluted than that of Captain Marvel. A plethora of characters have held that title across multiple publishers, and there’s no way to tell the tale in a straightforward fashion. There’s even an extension to the Captain Marvel story that ropes in a British copy called Marvelman, comics’ greatest writer, and a slew of hard-fought court cases.

Given all of this complication, there must be some cosmic synchronicity at work in two versions of this storied character having their movie debut within a month of each other, in the form of Marvel/Disney’s Captain Marvel and DC/Warner’s Shazam! It might be a little spurious to compare the two movies, but it might also be a little fun and tell us something about the seemingly bloated state of the superhero movie genre right now.

Besides, when has being spurious ever stopped this blog before?

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The Not-So Subtle Knife—The Favourite

Do you have a favourite? Not just a best friend, though they can play that role. Perhaps a sibling or a spouse, someone whose judgement you trust, someone who knows you as well as you do yourself. Someone you could rely on so much that they could take over your life. What if the power you gave to this favourite was, effectively, power over an entire nation? What, then, if you found yourself with two potential favourites? What would that reveal about where the true power lay?

The Favourite*, the latest film from Yorgos Lanthimos, sees men play games of war and politics as women wield the real power.

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Spider-Diversity

Anyone can be Spider-Man. It’s an unusual theme for a superhero movie, where the exceptional nature of the central character is usually the central point. However, Spider-Man: Into the Spider-Verse is an unusual superhero movie. Animated at a time when live-action superheroes rule at the box office, it’s currently struggling against the live-action Aquaman, but if there’s any justice, it will find success in the long term, because Into the Spider-Verse is a far more interesting movie and a fitting bookend for a superhero year that started with Black Panther.

Spoilers for the movie (which you really ought to go and see) below.

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Aquaman—An Overstuffed Fish Taco

DC/Warner Bros.’s latest superhero movie, Aquaman, manages the impressive trick of being both too long and too short. Before you get to the end of it, you’ll have the feeling that you’ve been tricked into starting an epic series of novels, yet there’s also an ongoing feeling that the amount of story it’s trying to fit in exceeds the amount of minutes it’s prepared to devote to it.

(Spoilers beyond this point, but not too many.)

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A Long Time Gone


A picture of a dead whale. Because this blog is like a … never mind.

It’s been a long time, hasn’t it? Not that this was deliberate on my part. I had plenty of intentions of posting new and fascinating content, but circumstance and laziness always got in the way. I do intend to be better though. Thoughts about films, books and games will be forthcoming, and there will – in a not overextended period of time – be more travel journals. (Yes, that time of the year has come around again. I have become terribly predictable in my elder years.) In the meantime, a few thoughts on some of the media I’ve been consuming lately.

Mysterium: It’s a board game. Which is not something that I play enough of these days. (There’s a Tuesday evening boardgaming evening in the Black Sheep pub in Dublin that I’ve been making excuses for not going to for weeks now.) What sold me on Mysterium was the review from Shut Up and Sit Down, a site you should really be following. Boiled down to a brief description, it’s cooperative psychic Cluedo (Clue for Americans) and is as easy to play and strange as that description suggests. One player is a silent ghost who hands out vision cards to the gathered psychics; the others are those selfsame psychics, who must use those visions to solve a long-ago murder. Cue a lot of confused babbling about the exact meaning of the symbolism on the vision cards and exasperated gurning on the part of the Ghost, who doesn’t understand why they can’t figure it out. It’s a lot of fun, and most importantly you don’t need to be a boardgame veteran to play. Highly recommended.

(I also played Cards Against Humanity for the first time at a recent wedding (no, really) and proved beyond all reasonable doubt that I am a horrible person. Which is all that you need to know about that.)

The Just City: I burned my way through Lev Grossman’s The Magicians trilogy recently, having enjoyed the TV series to start with, so normally I’d be writing about that. But I’d been looking forward to reading Jo Walton’s The Just City for so long that it sneaks in ahead of it. The high concept – the goddess Athena decides to build the theoretical state from Plato’s The Republic as an experiment – is delightful, and the execution more than lives up to it. The viewpoint characters are chosen to pick apart the assumptions of privilege and precedent at the heart of Plato’s supposed clean-slate state, and while it’s no surprise when holes are poked in it, the manner in which it happens is consistently engaging. The second book in this series is already out, and the third is coming soon, and if they live up to the opener they’ll have a happy place for themselves on my bookshelves.

Stellaris: It’s been an odd year for games. This was the first of three games I was really looking forward to, and poor reviews for the latter two – No Man’s Sky and Deus Ex: Mankind Divided – have put me off splashing money on them until the next Steam sale. So in the moments between the vaguely social activities that are my forays into Lord of the Rings Online, I’ve been playing Paradox’s Stellaris, a mostly successful attempt to lift its grand strategy template into space and take the place of much-loved classics like Master of Orion. The opening stages of the game, as with all Civilization-style games, are the key draw, as you map out a galaxy for your new interstellar power (designed with plenty of freedom courtesy of the game’s engine), and the mid-game has improved with Paradox’s legendary post-launch support. As yet, none of my games have made it into the late-game phase, so I can’t really report on that (blame LotRO) but with larger patches and content expansions looming, I’m looking forward to seeing the game it becomes.

Film: Honestly, nothing I’ve seen in the past few months has really floated my boat. Which is a little depressing. Overhyped offerings are the order of the day in blockbuster season, and even those films that promise something more haven’t gone anywhere. There’s been no Mad Max: Fury Road this year, and while that’s a high bar to clear, it would be nice if someone at least got close. Or made the attempt.

So, that’s where I am right now. There are political thoughts (shudder) and other matters in my brain that may or may not get exposed in the three-and-a-bit weeks before I escape on another travelogue. In the meantime, my apologies for having been absent and my promise to be a little more present in the weeks and months to come.

Captain America: Civil War – Bucking the Trend

I'd prefer aquamarine vs. chartreuse, myself.
Red vs. Blue. Isn’t that always the way?

For all of the successes of the Marvel superhero universe, most of the sub-franchises haven’t enjoyed uninterrupted upward curves. Iron Man 2 was a mess, Thor: The Dark World was a bit dull, and Avengers: Age of Ultron seemed tired by comparison with its mega-successful predecessor. Only the Captain America movies have shown consistent progress: starting well with The First Avenger, getting better with The Winter Soldier, and now topping the lot with Civil War.

(All the spoilers below…)

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