The Best Advertisement for Journalism
In the fifth season of The Wire (the worst of the five by general consensus, but also the most underrated), David Simon finally tackles head on the institution which is closest to his heart: print journalism. The Wire gives us good journalists and bad ones, with the former suffering because of idiotic decisions made at corporate level and the latter prospering. It's a fairly bleak depiction of the industry, though hardly surprising given Simon's own experiences as a journalist, as well as his singular drive towards what he calls "the audacity of despair." In The Wire, the failure of the journalists (even the good ones) is their remarkable ability to miss the stories that matter. The city of Baltimore is teeming with interesting characters who we have been following for several years. Yet when these characters die, for example, the story of their deaths is buried in some small section of the newspaper. The point Simon is making here - a point which not only applies to journalists, but to police, politicians etc - is that people are ignorant of their own cities. And not only that, but trapped in an ignorance that is self-perpetuating because it is willed. As Detective McNulty says of a former CI, he “saw the street like we wish we could.” In Spotlight, we are given a more hopeful depiction of print media - though not without a final mea culpa. The "street" in this instance is Boston, with the story centering around the sexual abuse suffered at the hands of clergy throughout the city, as well as the institutional cover-up. Indeed, it's perhaps even more the latter than the former. The film shows us good journalists doing good work - interviewing victims, gathering evidence, spotting corrupt practices, facing up to the powers that be. Though a sensational story, the film is not given to sensationalism. It is subdued and matter-of-fact almost to a fault. That said, the "fact" in question is sufficient of itself to evoke heartbreak and fury. How could something not only so horrific, but so widespread, so systematic, so known, have happened? Spotlight's line is that it takes a village (a city) to abuse a child. There is no one with clean hands, though some certainly have dirtier hands than others.
Best Sequel to a Movie That Was Quoted to Death During My Teenage Years
You know what I like about rich Dublin kids? Nothin’! My first exposure to Zoolander was at a Christian summer camp, where a bunch of my dorm mates [?] quoted it to each other ad nauseam. That’s never a good way to endear one to a film. The same thing happened with Napoleon Dynamite and Anchorman. When I eventually got around to watching these films, there was nothing left to enjoy. We've been spared a Napoleon Dynamite 2 (with Jon Heder's miserable career to thank for that), but we have had no such luck with the others. Anchorman 2 is a singularly humourless comedy, and I'll fight anyone who says otherwise. But Zoolander 2 is not far behind. It got one cheap laugh out of me, but one cheap laugh does not a comedy make (that goes for you as well, David Brent: Life on the Road, but we'll talk later). The if-in-doubt-load-your-comedy-up-with-celebrity-appearances formula just isn't working. Who knew? It's time for Hollywood to take a long hard look at itself and figure out what's funny again. The era of the Frat Pack is over. Time of death: The Internship. They had a good run. The question is, where to next? It's hard to know, but don't be surprised to see Bongwater 2 hitting your local cinema this time next year while Hollywood comes up with a more acceptable answer.
Best Poor Man’s Heat
|"Remind me why agreed to do this movie?"|
|GB: "Get out of this franchise while you still can, Aaron! I'll cover for ya."|
AE: "But how are you gonna get out?"
the devil's greatest trick? Possibly, but what is certain is that you would be missing a devil's trick if you don't see this movie. Highly recommended, as it used to say in the RTE guide.
Least Worst Comic Book Film
There's even some mildly interesting political commentary on Superman vs Liberal Democracy, But all of that goes out the window once Jesse Eisenberg's Lex Luthor gets going. Coincidence? I think not. There is an attempt at a kind of pseudo-Nietzschean theme, as well as an attempt at theodicy (can Superman be omnibenevolent and omnipotent?). To put on my theologian's hat for a second, the problem with these attempts is that, contrary to the view of popular atheists (Ireland's friendly racist Ian O'Doherty, for example), God is not thought to be something like an alien (as Terry Eagleton puts it, God plus the universe does not make two). And for Christians, God becomes man, not Übermensch. But all of this is rather beside the point. The real problem with this film is that it's not actually a film at all. It is a two and a half hour advertisement for future films/advertisements. If there are any god-like figures at work here, it's the studio executives intent on creating a cinematic universe, or rather, the Mammon which has them grovelling at its feet and willing to do anything to appease it. 2019's Plastic Man may end up being the film of the decade. But I'll be damned before I go to see it.
|A metaphor: Oscar Isaac is comic book movies, |
Jennifer Lawrence is the film industry