Tag Archives: John Lithgow

2010: The Year We Make Contact Review

Bold it may be to make a sequel to a feature helmed by one of the all-time greats, director Peter Hyams probably didn’t consider the influence of Stanley Kubrick when whirring away on his science-fiction project. Arthur C. Clarke developed sequel after sequel to the lightning in a bottle experimentation of 2001: A Space Odyssey. Like any prolific science fiction writer from the 20th century, he churned out more and more. Eventually losing grasp on the pop culture that would surely adapt his works, Clarke petered out with 3001: The Final Odyssey, a lukewarm bow wrapped around a dead horse, beaten to a pulp years before with its second adaptation, the Roy Scheider-led 2010: The Year We Make Contact.  

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The Bubble Review

Judd Apatow, having seen the horrific incident where Will Smith smacked Chris Rock in the mouth, took to Twitter to say “he could have killed him,” in a now-deleted Tweet. The Bubble, Apatow’s latest directed effort, could kill thousands through sheer boredom. His meta-comedy about actors screwing, screaming and swooning at the camera isn’t as smart as it thinks it could be. This is Spinal Tap was forty years ago and bucked the trend of irreverent meta-comedy. Most are playing catch up, and Apatow doesn’t have the same chops as Larry Charles or Larry David. The only bubble Apatow needs to worry about is the one this all-star cast is trapped in, with him commanding them between a series of asinine comedy bits.

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Raising Cain Review

Frankenstein’s monster dragged to the modern-day not just with new intentions of its message, but with a savage demonisation of a man who should, in an ideal world, be trusted. Brian De Palma spins those chilling Mary Shelley meanings into Raising Cain, a feature that sees a man devoted to his work reflect on the failures of his father. It is a horrified realisation of a son following in the demented footsteps of his father, but also an exciting and delicate take on the Giallo genre. De Palma would dabble in Giallo time and time again, and although Raising Cain does not convince an audience entirely of its merits in such a genre, there is enough variety and challenging, interesting material within to make a case for its dedication to such a sub-genre of horror. 

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Shrek Review

After years of nostalgia simmering on the mind, it is hard to look back on the stories of old with much of a neutral appointment. I am the man that stands by Robots and Bee Movie, after all. They are odd little artefacts, and between you and me, they were far more fascinating before becoming meme fodder for the new generation. Shrek is much the same, a re-telling of those legendary stories, but twisted into background fodder. Directors Andrew Adamson and Vicky Jenson are far more concerned with crafting their own experience, using the classics of old as a backdrop to one of the most defining, culturally approachable characters of recent memory. It is terrifying how easy to access Shrek really is.  

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Rise of the Planet of the Apes Review

If we treat animals like, well, animals, then they are sure to rise up against us, bite our throats out and beat us with sticks. Monkey see, monkey do, and as this poor ape is locked in a box and taken away to do science, Rise of the Planet of the Apes kindles the fire of the revolution at the heart of its primate tribe. Through a series of truly unfortunate events, the rise of the apes comes not because of fear, but because of how we treat them. Should they have even been let out of their cages in the first place, or had Will Rodman (James Franco) not shown a bit of heart, then perhaps this series of events would never have taken place. Rupert Wyatt uses these simple blemishes to paint a bigger picture with Rise of the Planet of the Apes, a film that looks into how such a planet would ever come about.

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