cinema
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by Oscar O’Sullivan In the age of complete cultural penetration for superhero properties, where audiences are familiar with and eager for more of the most bizarre corners of these comic-book universes, one question seems to gnaw at the Distinguished Competition – how can we sell Superman? Nearly a hundred years on from his inception, how…
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by Oscar O’Sullivan Mission: Impossible – The Final Reckoning has so much going on that it feels daunting to figure out where to start, as even the beginning if the film is like a headlong dive into the deep end of a pool that’s on fire. Once we decide where to begin, we face the…
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by Oscar O’Sullivan In the opening scene of Wes Anderson’s new film The Phoenician Scheme, a man is killed in a manner that is both uncharacteristically brutal and completely in keeping with the director’s sensibilities – Benicio Del Toro turns and looks at the unsuspecting victim, there is a beat of confused calm, and then…
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by Oscar O’Sullivan I am a fan of Marvel. I feel like I have to make this clear whenever I touch a comic-book film because, by and large, the way I talk about Marvel movies nowadays would have you believe I am the greatest and most fervent enemy of the House of Ideas. But I…
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by Oscar O’Sullivan The first hour of Sinners is not exactly indicative of the film that everyone is raving about. The film that is taking cinemas by storm doesn’t exist until hour two, but it also could not exist without that first act. For as shocking, exciting and genre-busting the main event is, the endless…
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by Oscar O’Sullivan From the moment Bong Joon Ho’s Mickey 17 was first announced and people learned of it’s sci-fi premise, a cloning mishap resulting in two versions of the same expendable worker co-existing, there was one question that was always on the forefront of people’s minds during the long, oft-delayed wait for the film’s…
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by Oscar O’Sullivan I’ve got the Oscar Fever – hope you’ve got it too! At least, I wish I could say I have the Oscar Fever this year. We were spoiled with the offerings of 2022 and 2023, where robust lists of nominees made for exciting and satisfying awards races. This may is just one…
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by Oscar O’Sullivan Monday – The Living Daylights Now here is the serious spy thriller Bond that was teased by For Your Eyes Only before Roger Moore spent his final two instalments back in comic-strip territory. Timothy Dalton is here at last to reinvent Bond (a few years too early, mind you) and reinvent he…
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by Oscar O’Sullivan Monday – A View to a Kill And so Roger Moore’s long and tempestuous tenure as James Bond comes to an end with, in my opinion, the best of his seven outings, though not by too wide a margin. A View to a Kill isn’t redefining the formula by any means –…
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by Oscar O’Sullivan How can a film so massive, so utterly bloated with money and special effects and action, feel so incredibly slight? So impermanent, insignificant, intangible? My main impression of Marvel’s latest effort to course correct was that it felt mercifully brief, coming in just under two hours and feeling even less than that.…
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