Film, Reviews, Top Gun

TOP GUN: MAVERICK is heartfelt, old-fashioned, joyous blockbuster filmmaking (Film Review)

Though one of the staple examples of 1980s blockbuster filmmaking, nobody truly expected Top Gun to either have or need a sequel, especially not approaching forty years on.

The so-called ‘legacyquel’, coined to describe sequels to existing properties that arrive long after the original picture or films, has been in vogue over the last 5-10 years in everything from Terminator: Dark Fate to Bill and Ted Face the Music. The results have been frequently a mixed bag with some franchises unable to recapture the magic or flair of the original movies. One of the reasons Top Gun: Maverick—which at 36 years after its predecessor stands as one of the more distant examples of the form—works so well is that it doesn’t have a masterpiece to try and emulate.

You’ll be hard pressed to find someone who watched Top Gun and actively hated it or at least believed it was poor filmmaking. Aside from permeating popular culture to a degree only 80s pictures such as Back to the Future or Indiana Jones managed, Tony Scott’s original movie balanced kitsch 80s action, plenty of testosterone-fuelled coded homoeroticism, sun-kissed American landscapes and a brace of exuberant rock to deliver a picture built largely on Tom Cruise’s nascent charisma and a gung-ho celebration of American exceptionalism. While a staple of its era, Top Gun is not a great piece of cinema.

This leaves Top Gun: Maverick plenty of leg room to both evoke the beloved film before it and craft something contemporary. The fact it does this, and does it so well, is a testament to everyone involved. It is, easily, the finest ‘legacyquel’ to date ever made.

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The Office, TV, Writing

TV Review: THE OFFICE – ‘Work Experience’ (1×02)

In some ways, Work Experience exists as an extension of the first episode of The Office, in how it frames itself around a similar story structure.

Just as the tour that David Brent gives incoming temp Ricky works as a device to introduce Wernham Hogg and the culture within the office, here the action is framed around a similar tour being given to Donna, a new office assistant who Brent has taken on temporarily as a favour to his friends Ron & Elaine (the real life names of Stephen Merchant’s parents incidentally). Whereas Downsize was designed to use this device as a way of setting the scene of the office and Brent’s personality, Work Experience is predominantly focused on exploring the culture inside the office and, particularly, the institutionalised level of sexism that becomes apparent with the arrival of Donna and thanks to images being shared of pornography adapted for comedy purposes.

It makes a lot of sense for Ricky Gervais & Merchant to do this in the second episode, having established the setting, because the culture and tone employed in so crucial to understanding The Office and what the documentary captures about not just Wernham Hogg but office culture as a whole. Donna is young and attractive, if seemingly quite working class and with zero interest in a role she has clearly been corralled into doing, but the treatment of her is instantly appalling in a manner that the show recognises as such while mining as much comedy out of the built-in misogyny as possible. This is often the delicate balance The Office treads, and for the most part stays on the right side of – depicting cultural trends and behaviours in a corporate business environment that shouldn’t be present but have been allowed to perpetuate.

Work Experience doesn’t necessarily go down as the showiest episode of The Office, filled with truly memorable moments in the series’ run, but it’s a key establishing piece for the audience.

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Film, Partisan Cinema, Writing

Partisan Cinema: IN THE LINE OF FIRE (1993) – Clint and J.F.K

In a recurring feature called Partisan Cinema, A. J. Black looks at movies from a political slant, gleaning insight from them about how they relate to society then, and indeed now…

In the Line of Fire feels increasingly like a cultural artefact in this day and age.

Though in some ways rooted in the 1990s, in an era divested of the Cold War but away from a future of terrorist uncertainty, there is a political timelessness about Wolfgang Petersen’s movie. It feels at though it exists between two worlds. Barring one exception, this was the last film starring Clint Eastwood in the title role that he didn’t direct and you perhaps feel at times Eastwood wants to jump out of In the Line of Fire and establish his own political sentiments on Jeff Maguire’s script and Petersen’s effective, if at times pedestrian direction.

Eastwood has at times asserted his fairly right-wing political leanings on his filmmaking, most notably in American Sniper, but In the Line of Fire remains essentially neutral in terms of political discourse. The President under threat is never even characterised, beyond the traditional American image of a white, middle-aged man. He could be Reagan. He could be Carter. He could even be Clinton, who was in office at the time. Petersen’s film isn’t concerned with the man Eastwood’s ageing Secret Service agent Frank Horrigan is determined to protect, simply about what protecting a President means.

The film is concerned primarily with age in terms of Frank and indeed America itself. The shadow of John F. Kennedy’s assassination hovers over the picture, given how Frank is, as he modestly describes himself at one point to René Russo’s junior agent, a “living legend”; the only remaining serving agent who was in Dealey Plaza on the day of the President’s assassination in November 1963.

Thirty years after the most powerful event in modern American history, In the Line of Fire focuses on a character who has never been able to escape it. Frank, in many respects, is analogous to America as an entity.
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Film, Gemini Man, Reviews

GEMINI MAN is an uncanny 90s action thriller that fell through a time vortex (Film Review)

Somebody on Twitter suggested the tagline for Gemini Man should have been “where there’s a Will, there’s a Will” which not only made me laugh but also could aptly describe Ang Lee’s rather uncanny picture.

Gemini Man infamously resided in Hollywood’s so-called ‘development hell’ for two decades, with Darren Lemke’s idea snapped up by producer Jerry Bruckheimer as far back as 1997. It filtered through multiple directors over the years such as Curtis Hanson and Joe Carnahan, not to mention a galaxy of Hollywood megastars including Arnold Schwarzenegger, Harrison Ford, Tom Cruise, Clint Eastwood, Mel Gibson, even at one time, err, Chris O’Donnell. The list goes on. It even cycled through half a dozen writers – Billy Ray, Andrew Niccol, Brian Helgeland. Gemini Man, in other words, has been through the wringer across twenty years in which mainstream cinema has significantly changed, not being made principally because studios didn’t believe the technology to duplicate a younger version of their headline star was quite there.

Fast forward to the late 2010’s, a world of VR headsets, advanced home computer devices and CG technology which can paint a picture like Avengers: Endgame, in which a legion of superheroes go to war against a super-villain and his space army. If ever there was a time to make Gemini Man, it was now, yet who two decades ago would have imagined Ang Lee—principally a darling of thoughtful character-driven deconstruction—as the director to develop such a high concept as international assassin Will Smith doing battle with his younger, cloned self, all part of an insidious conspiracy within the Defence Intelligence Agency to develop the next generation of soldier hardware. This might have ended up in the hands of a Tony Scott or Roger Spottiswoode had it been made earlier.

The answer lies in the fact Gemini Man, for all it’s action thriller trappings, secretly wants to be a philosophical family drama. It just spends much of the running time trying to convince you otherwise.

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Essays, Film

Christopher Nolan, DUNKIRK and his Cinematic Ideology

Across the last week, since the release of his latest movie Dunkirk, much has been written about Christopher Nolan, as always happens whenever he puts a picture out. Nolan may be the most divisive mainstream, heavyweight filmmaker working in cinema today. Some believe he’s a genius. Some believe he’s Stanley Kubrick reborn. Some even believe he’s a rampant Conservative and his films are nothing more than ‘Tory Porn’.

You would do well, incidentally, to read the writing of my friend and super-talented pop culture writer Darren Mooney on Nolan recently, as its insightful, filled with wisdom and there’s every chance he’s not done on the subject yet, simply because the gaggle of voices weighing in on Nolan once again has reached fever pitch. Is Dunkirk a masterpiece? Or is it yet another piece of super-overrated cinema from a filmmaker who can’t see past his own delusions of grandeur? For me, it’s the former, but this is coming from someone who has always considered Nolan to be, if not the greatest living cinematic auteur, then at least among the top five.

Dark Knight Rises

What interests me is the accusation he is a Conservative filmmaker when a titanic weight of evidence suggests quite the opposite. Do read the above linked article with the accusation, much as partly I’m loathe to link to it – despite having been written by someone very pleased with their prose, someone with visible disdain for modern film criticism and a level of bitterness toward politics in general, it nonetheless outlines an argument with a level of brevity.

Frankly it’s not a piece worth dwelling on and picking apart because some of the arguments are lunacy, but what it does is raise an interesting question: just where does Nolan, and his films, stand on the political spectrum?

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