There are few things in this world I hold in greater disdain than stupid movies. I’m talking about the action-dependent, spectacle-driven, CGI-saturated, studio-spawned, soul-sapped, Frankenstein’s monster-type movies that dominate the summer cinemascape by pandering to the lowest common denominator. Movies like the upcoming Jurassic World: Fallen Kingdom and The Meg, which both already look more nauseating than a bucket of KFC chicken in a carnival Zipper and so thinly-written to have only used single-sided script paper.
A Ghost Story is the exact opposite of those sort of action-heavy movies. In fact, it’s so far in the opposite direction of those movies that there’s almost no action in it at all – not even simple actions like moving, talking, or facially expressing. That featured image heading my article? That’s a GIF!
Continue reading A Ghost Story: The Indie-est Story Ever Told
Today we’re going to deviate from my usual analyses of Plot and Character and delve into something I seldom have interest in discussing – theme. Thematic analysis has its place, of course – mostly in the hands of arthouse critics who relish the death of the author or sociology students who labour under the delusion that Crash was somehow good – but for myself I’m generally less concerned with the question “What does it mean?” and more interested in the questions “Does it work?” and “Why or why not?”
Then I saw Ingrid Goes West. Obviously too late to include it in my 2017 Top Ten, which is a damn shame because if I had even known this film existed when assembling that list it would have bumped Thor: Ragnorok down into the dishonorable mentions and nestled itself somewhere around sixth place. Beyond merely being a great film and an effective Character tale, Ingrid Goes West deserves attention for having something important to say – something an entire generation of phone-slinging, social media-inundated hashtaggers desperately need to hear.
Continue reading Ingrid Goes West: #aRelevantTragicomedy
Ahh, Christmas time – a festive season of peace, love, and goodwill extended to everyone you spent the rest of the year flipping off. Families congregate under chintzy decorations and pretend to tolerate one another over extravagant feasts, Die Hard loops endlessly on an impulsively-purchased 4K TV, and everyone represses all their inner rage that’s been mountain since the last election and forces some good cheer on a holiday that’s devolved into a cynical capitalistic cash-grab.
Seems like a good a time as any to discuss Mayhem – no, silly reader, not the state of Warner Bros’s accounting department following Justice League’s opening weekend; I’m talking about the new action-horror-comedy extravaganza by world-famous director (reads off cue card) Joe Lynch. Since premiering at Cannes back in May it’s been heralded by critics as Office Space meets The Purge, and since viewing it myself I’d personally add the endorsement ‘on cocaine’ to fully capture its spirit.
Continue reading Mayhem: It’s Exactly What it Sounds Like
Marvel’s latest popcorn-muncher, Thor: Asgardian Rhapsody, premiered this month to critical acclaim, serving audiences a god’s portion of colourful, lighthearted, and (barring a few ‘edgy’ words) family-friendly entertainment and proceeding to earn Disney somewhere in the vicinity of ninety-two zillion dollars.
I wrote that paragraph at the end of October in complete confidence it would prove itself to be true – not because I’m some kind of absurdly intelligent Sherlock-figure who can determine the outcome of any given scenario courtesy of a supercomputer brain coupled with increasingly lazy writing – but because Disney is at the top of its A-game in regards to its Marvel properties and has yet to truly fail.
With something like seventeen bloody installments of the MCU in the can, Disney has all but mastered a formula for bona fide theatrical enjoyability combined with a guaranteed financial return that largely consists of making everything look and feel like Guardians of the Galaxy, and after a glance at their future release schedule it’s evident they’re only gaining momentum. Strap on your seat belts, kids, because we’re going to get nine Marvel movies a year until we’re all rotting in the ground.
Continue reading Thor: Ragnarok and the Marvel Problem