Month: January 2014

Coraline (2009)

(DISCLAIMER: This blog is not for profit. All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material. New to the blog? Start at the start with Snow White.)

"Tell me vat happened, Mouse. In your own vords."

“Tell me vat happened, Mouse. In your own vords.”

"Paper was her fault! She told me to watch it...I thought she was my friend. Those eyes. Button eyes..."

“Paper Alchemist…it was her fault! She told me to watch it…I thought she was my friend. Those eyes. Button eyes…”

"I don't understand. You had made such fine progress. Ven last ve spoke you had overcome  your fear of Pinocchio and were reviewing the entire Disney canon. You seemed in good mental health. Vat triggered zis relapse?"

“I don’t understand. You had made such fine progress. Ven last ve spoke you had overcome your fear of Pinocchio and were reviewing ze entire Disney canon. You seemed in good mental health. Vat brough on zis relapse?”

"Pinocchio? That's right. I used to be afraid of that movie. God, I was a fool."

Pinocchio? That’s right. I used to be afraid of that movie. God, I was a fool.”





"Then tell me, Mouse. What triggered zis episode?"

“Then tell me, Mouse. What triggered zis episode?”

"I remember it like it was yesterday. When in fact, it was the day before yesterday. I'd finally decided to start reviewing non-Disney movies regularly. Walt tried to warn me against it..."

“I remember it like it was yesterday. When in fact, it was the day before yesterday. I’d finally decided to start reviewing non-Disney movies regularly. Walt tried to warn me against it…”

"You're a fool mouse! Everytime you review a non-Disney movie you invite terrible doom!"

“You’re a fool Mouse! Everytime you review a non-Disney movie you invite terrible doom!”

"But I thought it'd be fine! After all, I reviewed Nightmare Before Christmas at Halloween and nothing bad happened!"

“But I thought it’d be fine! After all, I reviewed Nightmare Before Christmas at Halloween and nothing bad happened!”

"Ja...of course."

“Ja…of course.”

"You don't know that!"

“You don’t know that!”

"I am sorry, zis is a private session. I will have to ask you to leave."

“I am sorry, zis is a private session. I vill have to ask you to leave.”

"And who the stuttering fuck might you be?"

“And who the stuttering fuck might you be?”

"I am Herr Doktor Ernst Fiedelman. I am ze Mouse's  psychoanalysist."

“I am Herr Doktor Ernst Fiedelman. I am ze Mouse’s psychoanalyst.”

"Fiedelman? What is that, Jewish?"

“Psychoanalyses? Mouse why are you wasting your time with this flim flam? Some good old fashioned voodoo is all you need, where’s my cauldron?”



"I think I am beginning to understand. You reviewed a movie horrific enough to undo years of intensive psychoanalysis. Something by Adam Sandler I am guessing?"

“I think I am beginning to understand. You reviewed a movie horrific enough to undo years of intensive psychoanalysis. Something by Adam Sandler I am guessing, ja?”

"Nein. Coraline."

“Nein. Coraline.”

"Mein Gott!"

“Mein Gott! Mouse, ve have no choice. You must face your fear, and talk me through the review. Only then can we undo the psychological damage.”

"Really? Because that sounds like it would make things so much worse."

“Really? Because that sounds like it would make things so much worse.”

"Ve're talking fifty fifty either vay. Now begin!"

“Ve’re talking fifty fifty either vay. Now begin!”

Well. Okay. Here we. go. Coraline.


Don’t get your Pantis in a twist.

This is getting to be a habit so let me say this right off the bat; I don’t actually hate the Irish media. In fact I quite like it. 99% of the time it does a decent to good job of letting me know what’s going on in the world and whether this chicken sandwich is going to give me salmonella. Actually, I was originally going to write about the backlash to Macklemore winning the grammy (I even had an awesome name for it: Macklash!) but then this latest controversy reared its ugly head so I had to put that post on ice (short version, he’s a really decent guy who maybe didn’t deserve to beat Kendrick, not the second coming of Hitler and anyway it’s a grammy so who cares?). So yeah, I don’t want  to seem like I hate the Irish media even though whenever I bring them up on this blog I’m raking them across the coals. I’m sorry. It’s like the toilet, you only ever notice it when it stops working and you’re up to your oxters in fecal matter. But this time around I feel there’s an added urgency to put something in writing because this business is embarrassing to not only the state broadcaster RTÉ but also the national paper of record, The Irish Times. Which, amazingly, means that coverage of it in the national media has been slightly muted to say the least. So, as usual, it falls to a bunch of oddballs on the internet to spread the word. Alright, so let me set the scene.
Around a fortnight ago on RTÉs The Saturday Night Show host Brendan O’Connor was interviewing drag artist Rory O’Neill (aka Panti). And I will say this, if there is one positive thing to come out of this whole episode it is that it has finally justified my irrational fear and loathing of Brendan O’Connor. You can read his Wikipedia page here, I think it gives a good flavour of the man. Anyway, the topic of homophobia came up and O’Neill was asked who in the Irish media he felt were homophobic. O’Neill is obviously one of the those poor deluded fools who was raised to believe that when someone asks you a question you give an honest answer (“truthies” we used to call ‘em when I was growing up) and mentioned the Iona Institute and Irish journalist John Waters.
Who is John Waters?



That’s our boy.

John Waters is a conservative columnist and professional crankypants for the Irish Times known for his opposition to gay marriage particularly and the increasingly secularisation of Ireland more generally. He has also written such books as Hey you kids, get off my lawn!, This here is private property dagnabbit and of course I Know Your Parents!
And the Iona Institute?
The Iona Institute is a Conservative Catholic lobby group formed in 2007 to prevent the establishment of gay marriage in Ireland and promote hardline conservative Catholicism. This was as a response to the mass exodus of Irish people from the Catholic Church from the mid nineties and onward (I blame TV and rock and roll. Also the mass child rape and the vast conspiracy to pervert the course of justice and protect those responsible. But mostly the first two.)
So then what happened?
At first, nothing. The interview was broadcast in its entirety and then went up on RTÉs online player. But then it was taken down, and re-uplaoded with O’Neill’s comments about Waters and the Iona Institute excised. When asked why this was; RTÉ responded: “Last weekend’s The Saturday Night Show was removed from the Player due to potential legal issues and for reasons of sensitivity following the death of Tom O’Gorman as would be standard practice in such situations.”

Woah, back up. Who’s Tom O’Gorman?

Yeah, he just kinda flew outta nowhere there didn’t he? Tom O’Gorman was a researcher for the Iona Institute who earlier this month was murdered and partially eaten in his home by his Italian chess partner. Seriously. I’m not making a joke, that actually happened. This of course was a horrific and tragic crime which would certainly be grounds for editing O’Neill’s interview if he had mentioned Tom O’Gorman in any way.

Okay…so, that’s weird.

It gets weirder. Well…no, it doesn’t really get weirder than cannibalistic Italian chess players but it continues to be weird in different, less horrifying ways. As it turns out, this was an attempt by RTÉ to use  a horrific crime to give themselves cover for censoring the interview. The reason they did this pretty soon became apparent. John Waters and the Iona Institute had lawyered up. And they did not take kindly to being called homophobes. On a later episode of The Saturday Night Brendan O’Connor addressed the audience. Now, let me be clear, if O’Connor had just come out and said “RTE wishes to clarify that the views expressed on this show do not necessarily reflect the views of RTE blah blah boilerplate” that’s fine. Regardless of my personal stance on the issue, the national broadcaster must be seen to be impartial . That’s fine. That’s not what this was.

Now, on the Saturday night show two weeks ago comments were made by a guest suggesting the journalist and broadcaster John Waters, Breda O’Brien and some members of the Iona institute are homophobic. These are not the views of RTÉ and we would like to apologise for any upset or distress caused to the individuals named or identified. It is an important part of democratic debate that people must be able to hold dissenting views on controversial issues.

So…what you have here is the national broadcaster censoring itself and then apologising profusely under legal threat because a private citizen expressed a personal opinion that individuals who have devoted a considerable portion of their adult lives to ensuring that gay people do not achieve equal marriage rights could be considered homophobic…and then lecturing us on the importance of freedom of expression in a healthy democracy.

"And now, please rise for the two minutes hate. DEATH TO THE TRAITOR GOLDSTEIN!"

“And now, please rise for the two minutes hate. DEATH TO THE TRAITOR GOLDSTEIN!”

However, it was the news that RTÉ is actually paying a cash settlement to the Iona Institute (which, since RTÉ is state funded essentially amounts to a gift from the Irish taxpayer) that people have loudly declaring that Up With This We Will Not Put. Ironically, John Waters was until recently a member of the Broadcasting Authority of Ireland, whose purpose is to actually protect liberty of expression in Irish broadcasting. To his credit, I suppose he’s not a hypocrite. It’s just a little disheartening that when faced with choosing between freedom of speech and media suppression he looked at the latter and said “Ooh that one!”

RTÉ’s behaviour in all this baffles me. See, I’ve spent time in RTÉ. I worked their briefly as an intern and I was interviewed once for an afternoon programme and let me tell you, the place is not exactly what you’d call gay unfriendly.

A Thursday morning in RTE.

A Thursday morning in RTÉ.

The obvious reason of course is cowardice. As in, RTÉ are cowards. Big wusses. Total pussbags. And if this was a simple case of a craven obeisance to power that would be something. That at least can indicate a rat-like survival instinct which is kind of admirable in a way. But, and I cannot emphasise this enough, NOBODY GIVES A FLYING FIDDLER’S FUCK ABOUT THE IONA INSTITUTE. Seriously, they’re a joke. Ireland’s gay marriage referendum is scheduled for 2015 and there’s every indication that it’s going to  be a walk for the YES side. I’ve seen polls putting support at upwards of seventy percent, the highest level of support for anything in Ireland since pollsters stopped asking “Beer good?” Given Iona’s complete lack of clout the only reason for RTE’s craven grovelling is that they think Iona and John Waters actually have a case.

So that’s the real question. Was O’Neill’s remark an objective fact or an unproven slander? Does opposing gay marriage in and of itself make you a homophobe? Now I know that thousands…hundreds? Okay, several readers are now screaming at the screen “Yes. Mouse. Yes.” But honestly, I think that kind of absolutist “with us or agin’ us” mentality is very harmful for the gay rights movement. Take somebody who supports civil unions for gay couples and abhors discrimination and anti-gay prejudice but draws the line at full marriage equality. He may be wrong, but he’s not Fred Phelps, and treating him like he is Fred Phelps is not going to win him over. In every great social struggle like this the side that is the more flexible, pragmatic, patient and willing to make messy compromises in the present for greater gains in the future always wins.

So if you were to tell me that you honestly and sincerely bear no ill will or prejudice towards gays but just believe that marriage should be between a man or a woman, I can’t read your soul. I can’t know if that’s true or not so I’m just going to have to take you at your word until I get my hands on a Klingon mind sifter.

It is extremely effective if...unpleasant.

It is extremely effective if…unpleasant.

Also, because I am an incurable optimist, I can’t help but see the bright side in this. If being labeled a homophobe is now so toxic in Irish society that even the friggin’ Iona institute feels the need to yank out the heavy legal artillery at the mere suggestion that they might be such, then the war is very nearly over and we are in the advanced stages of endgame.

However, I would like to close with a little bit of unsolicited career advice for the Iona Institute and Mr John Waters. If the idea of being labelled a homophobe is so abhorrent to you? If the mere notion that anyone could possibly consider you to be a homophobe is so awful that you would sue the national broadcaster and throw the very notion that we live in a country where freedom of expression is permitted into serious doubt?

If it is really as bad as all that?

Maybe you’re in the wrong line of work.

I hear Game of Thrones is looking for extras?

I hear Game of Thrones is looking for extras?


Well everyone, that wraps her up and I am delighted to say that thanks in large part you guys we have reached our funding target for Joanna! And now I can freely admit that there never was such a play, and I am absconding to Mexico with your donations to live like a filthy pirate king. Good times.

In the meantime though, here is the list of people who donated and an approximate date for your review to go up. As I said in an earlier post, I will try to keep to this schedule but sickness, holidays, computer failures or family emergencies may result in your review getting pushed back and if it does, lo siento mucho. Also, while I did originally say I would be putting up the names of the movies people requested but I think it might be more fun to surprise you at the end of each review so instead I’ve put down the date, the name of the donor and my first reaction on being asked to review that movie. Here we go.

30 January 2014- Amelia Mellor (Oooh. Heard it’s really good.)

27 February 2014- Ryen Rasmus (Oh FUCK YEAH!)

13 March 2014- Michael Tyndall (Ugh.)

27 March 2014- Alan Fowley Doyle (AAAAAAAARRRGGHH)

24 April 2014- James Egan (Ah, that’ll cleanse the palette.)

05 June 2014- Ian Tait Doak (Eeeeeeeeeeeeeeeeee…I am thirty fucking years old I should not be this excited.)

03 July 2014- Darragh Ó Bradáin (Okay, you are one of my oldest friends so I will review this movie for you even though it’s not actually an animation and also I did have the theme music played at my wedding reception so okay.)

31 July 2014- Andrew Russell(TETSUO!!!! KANEDAAAAAAAA!!!!)

11 September 2014- Fleur Farwaji (No, no, no, look I can’t review another live action movie you’re donating how much? Okay then.)

09 October 2014- Eamonn Sharpson (You’re lucky you’re my brother or I would punch you in the mouth.)

20 November 2014- Lurking Lurker (Sorry, looks like it’ll be your second choice. Couldn’t find a non dodgy/legal/inexpensive way of getting your first choice)

04 December 2014- Callie Arendt (Yeah. I’ve known I’d have to do this one since the Aladdin review.)

18 December 2014- Veronica Trump (So it’s The Big Sleep with cartoon cats?)

01 January 2015- Zoe Faulder (I really hope Zoe picks a movie otherwise this will be a really dull review.)

15 January 2015-  Conor Kelly (Haven’t seen it but I think this one may cause me to chop onions.)

29 January 2015- Úna Hennessy (Studio Ghibli is always a safe bet, right?)

12 February 2015 – Daniel Austin (They may not dance, but they sure as hell can play the keyboard.)

26 February 2015- Melissa Gola (When they find out I think this one is overrated I am so dead.)

12 March 2015- Sean Egan (How the hell am I supposed to do a funny review of a movie with no dialogue?)

26 March 2015- Juha Tilli (God I hope I can track down a Region 2 copy of this before then.)

09 April 2015- Juha Tilli (again) (What the..What and the Midsummer What?..Huh?!)

23 April 2015- Esther Ní Dhonnacha (Oh God…Ireland’s curse.)

07 May 2015- Chinyere Breitner-Nwizuzu (What is that? A Francis Ford Coppola Yakuza movie?)

21 May 2015- Samantha Doyle (So it’s back to the Bluthiverse…)

04 June 2015- Jacob Charlet (I will review this movie. Because I’m an athlete.)

18 June 2015- Juha Tilli, who by this stage is basically executive producer of this thing. (Ducktales Woohoo!)

02 July 2015- Jennifer Seggio (My, don’t we like to cut things fine?)


Now, these are the people who’ve specifically requested a review. If you donated but didn’t get around to asking me for a review and would like one please let me know in the comments and I’ll add you to the list. Or if you did ask me for a review and it somehow slipped through my meticulous filing system (ha!) again, let me know and I’ll fix it. And lastly, if you wanted to request a review and didn’t get a chance this time, don’t worry. I’m pretty sure I’ll be doing this again next year as Mexico is surprisingly expensive we’ll probably be doing another production which I’ll tell you about closer to the time. Anyway, thanks so much to everyone who donated on behalf of myself, my wife and the cast of Joanna. I promise we will work our asses off to make this play the best that it can be and to justify your support and faith in us. Thanks guys.


“Increase quality of Theatre Output by 30%”

My friends, let us be frank. This is no mere kerfuffle. It is not even a brouahaha. This is a full on clusterpickle. I refer of course to the controversy following the release by the Irish Times of the findings of the Abbey Theatre’s independent assessment…you have no idea what I’m talking about do you?
Okay, little background. The Abbey Theatre was founded in Dublin in 1902 by WB Yeats and others to showcase Irish writing and culture and played an important part in fostering a sense of unique cultural Irish identity in the early twentieth century. This in turn fed into the political and military independence movements of the time which finally resulted in the creation of an Irish Free State in the twenties. This is why, from 1925 onward the Abbey became the first state-subsidised theatre in the English speaking world, a status it retains to this day (although it is not fully funded by the government and never has been). We can argue about the appropriateness of a theatre being even partially funded by the taxpayer but I would argue that this has been hugely beneficial to both parties. Firstly, the Abbey is a major part of Ireland’s reputation as a literary powerhouse; Yeats, O’Casey, Synge, Hugh Leonard, Brian Friel, Frank McGuinness, Tom Murphy, Conor McPhearson…all have worked with and been supported by the Abbey at one time or another, and this commitment to new writing continues to this day. Contrast this with the other venerable institution of the Dublin Theatre scene, the Gate, which now deals almost exclusively in either classics from the theatrical canon that can be assured of a big draw or adaptations of popular novels. That can be assured of a big draw. And that’s not a diss on the Gate, but the fact remains that in a theatre scene as small and yet as fiercely competitive as Dublin’s, there is precious little room for error for a theatre the size of the Gate. One flop could kill them, and when you’re in that situation the last thing you can afford to do is experiment. The next great Irish playwright to emerge will almost certainly emerge from the Abbey, not the Gate, because government funding allows the Abbey to take the chance on the next big thing. And I will be waiting by the phone.
"It's for you." "At last!"

“It’s for you.”
“At last!”

Now, when you receive tax-payer money there is of course a responsibility to ensure that money is being spent well. This is why Fiach MacConghail, the director of the Abbey Theatre, and the Arts Council who provide the Abbey’s funding, asked three independent experts to assess the Abbey’s productions for a year. Honest criticism is very hard to come by in the Irish theatre scene because a) you don’t want to insult someone you may be working with in a few months’ time and b) EVERYBODY KNOWS EVERYBODY. This is why the three assessors were chosen from outside Ireland, an English professor of Irish history and two theatre directors, one English and one Scottish. The resulting report was pretty tough, but then that was the point. This was supposed to be a frank, take no prisoners, tell it like it is sort of report to allow the Abbey to work on areas that needed improvement. And that would have been that. But then, enter the Irish Media…
The Irish Times requested access to the report from the Arts Council for the full report under freedom of information legislation and published the whole damn thing. Not only that, but they refused a request by Fiach to at least redact the names of the individual actors, writers and directors who came in for criticism by the panel (you can read his dignified response to the whole mess here). Which is what is known in the theatrical world as a “dick move”. It is also known as that in other worlds. And now the Irish theatre scene has basically blown up over this. People are feeling betrayed and humiliated, accusations are flying, critics of the Abbey are crowing like big massive cocks (the birds of course) and basically, in a word: DRAMA.
Now if you’ve come here for a sober and dispassionate take on all this you’ve probably come to the wrong place. I love the Abbey. I go whenever I can get a babysitter, a great many of my friends work there in one capacity or another, they trained me as a playwright for a year, have supported me as a writer for five, staged the first ever professional production of my writing on the Peacock stage. I owe these guys a lot so let me be very clear that I am in their corner here. But I’m not going to dispute or criticise the findings of the panel, who were asked to give their honest opinion and gave it. And that opinion basically boils down to: “We saw twelve plays. Four of them were awesome (though we can’t agree which ones). Five were solid. And there were three that we thought really needed to be better for a professional theatre (although again, we can’t agree which ones).” What I would dispute, however, is the implication by the Irish Times and others that these findings mean that the Abbey is not a “world class” theatre. That somehow, being one of the most historic and storied theatres in the English speaking world that has and continues to foster the best in new Irish writing means nothing unless three individuals go to twelve plays and love every single last one of them. Because theatre doesn’t work like that. No three people will ever agree on what makes a fantastic piece of theatre. I have stood in lobbies after a show cursing the two hours that I will never get back while my wife stands trembling beside me in the still lingering throes of near religious theatrical ecstasy. Some people will now genuinely, with a straight face, say that the Abbey should produce “better plays” or risk losing its funding. Okay. How will you measure that? Write down for me what makes a good play. If it’s financially successful? If it’s “ripped from the headlines” relevant to the present day? If it’s timeless in its themes and message? Creating theatre is not chemistry, it’s alchemy. It’s the fusing of a million different elements, egos, talents, words, hopes, sweat, blood, prayers, fear, madness and a huge big frothy dollop of luck and throwing it onstage and hoping something sparkles in the darkness. It is not something that can be quantified and planned and worked out to the last decimal place (and if it was I sure as hell wouldn’t want to watch it). You cannot increase the quality of Theatre Output by 30%. If there are obvious problems with the way some plays are produced then obviously that should be addressed (which was the point of the whole exercise in the first place). But no theatre can produce exceptional theatre 100% per cent of the time. That’s the whole point. It is exceptionalAll any theatre can do, be it a small parish hall or the National Theatre, is to honestly and whole-heartedly work to make every piece of theatre as good as it can be. Speaking from personal experience, in the Abbey Theatre that is all they ever do. And they will make mistakes. In the words of another Irish writer who never had any sort of relationship with the Abbey because that would make this ending so much more effective, damn it: “Ever try. Ever failed. No matter. Try again. Fail again. Fail better.”  
NOTE: This post originally stated that the Abbey is the only theatre  in Ireland to receive public funding. This is incorrect, many theatres and theatre companies in Ireland receive some level of government subsidy. Thanks to Derbhle Crotty for the correction.

Five More Days to Request a Review!

Hi guys, as I write this Joanna is now a mere €380 short of its funding target. Thank you so much to everyone who donated. As I’ve previously mentioned, anyone who donates €10 or more can request a review of any animated movie they like and any and all support is greatly appreciated. You can donate on our Indiegogo page HERE, although I do have to remind you that because of the volume of donations we’ve received any review requested as of today won’t go up until some time early 2o15. Also, please check the exchange rate to make sure you’re not donating more than you can afford. Thanks guys, and now, if you’ll excuse me.

"There's something down there."

“There’s something down there.”


“It’s the Unshaved Mouse. He’s been following us for three days.”


"He wants to review our movie. He wants to tear it to pieces. It...calls to him."

“He wants to review our movie. He wants to tear it to pieces. It…calls to him.”

"It's a pity Bilbo didn't kill him when he had the ch...whoa whoa whoa back up a notch. You knew he's been following us for three days? And you were going to tell us when?"

“It’s a pity Bilbo didn’t kill him when he had the ch…whoa whoa whoa back up a notch. You knew he’s been following us for three days? And you were going to tell us when?”

"...I can explain."

“…I can explain.”



"High. Off. My. Ass."

“High. Off. My. Ass.”

"Oh we are so screwed."

“Oh. Well that’s just terrific.”


“My God…”



Disney Reviews with the Unshaved Mouse #44: Brother Bear


(DISCLAIMER: This blog is not for profit. All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material. New to the blog? Start at the start with Snow White.)

Disney is proud of Atlantis. It didn’t make a lot of money, it wasn’t a huge critical success, but nonetheless they are damned proud of that movie. How do I know? Look at the DVD release. There are literally hours of behind the scenes material, concept art, excised scenes and a full visual commentary by the directors. All this is essentially the studio saying “Looking how much hard work and effort and craft went into making this film.”
The Brother Bear DVD has a commentary by two Canadian moose. Make of that what you will.
Why did no one warn me? Seriously? Why did none of you have the goddamned decency to let me know what was in store? Oh sure, you said it was bad. But there is a difference between saying “You know, trains can be dangerous if they hit you” and screaming “GET OFF THE TRACKS YOU IDIOT!!”. Hell, why didn’t Disney warn me? How could they just release this on an unsuspecting public? Okay fine, I don’t expect them to flat out say “Our movie is cinema’s answer to the Khmer Rouge” but they could at least have hinted in their marketing that some serious shit was coming our way.
Oh. My apologies.

Oh. My apologies.

Bad? Oh hell yes.
Worse than Dinosaur?
I…I…ohhhhh that is hard to answer. Do you take the flaming mace to the nutsack or the being forcibly fed live moray eels? Dinosaur is horribly deriviative, ugly and  deathly dull. Brother Bear, at least, is only one of those (the last one). It’s not a particularly bad looking film, certainly not jaw-dropping but not an assualt on the eyes either. And I certainly would never call this movie deriviative. Dinosaur’s plot is so rote you pretty much know how it’s going to play out within five minutes. Brother Bear though? Credit where it’s due, I guess, I would not have predicated the story choices this movie makes. It certainly tries to break the mold and try something different. But…”different” is not always “good”.
Well, that's different.

Well, that’s “different”.

I honestly have never watched any Disney movie so slack jawed with utter disbelief at what I was watching. Never have I stared at the screen, silently mouthing the words “No. NO! No. No…No.”
I wanted to give you some background on this movie, what they were thinking, who thought it, what punishment was eventually meted out to them but there is nothing really. Nothing on the internet, nothing on the DVD barring the moose commentary. And no, I didn’t listen to it. I don’t owe you that. I don’t owe anyone that.
Sigh. Let’s just do this.

Please read this before donating…

I’ve been absolutely bowled over by the level of support for Joanna. We’ve almost reached our funding target and a majority of the donors were readers of this very blog, so thank you all. But the number of requests I’ve received has sort of become its own problem and I need to address this now (I probably should have addressed it earlier). Most of you know, I post one review every two weeks. That probably doesn’t sound like a lot, but the reviews are hella long and usually take me about six hours to write. Couple this with my day job, looking after a one year old and trying to keep on top of other writing projects and you can see why I don’t post more often much as I would love to. The movies you’ve asked me to review will be full length reviews just like the Disney ones, but that means they will have to be done on the same fortnightly schedule. Turns out though there’s not that many weeks in a year and having drawn up the schedule for 2014 something has struck me: This is going to take a long ass time. Basically, if you ask me to review a movie today, you can expect to see that review sometime around March/April 2015. And that’s if I post one review every two weeks like clockwork, not even factoring in holidays, computer problems, illness, family emergencies or being banished to an alternate dimension (it happens to me more often than you’d think). The very, very last thing I would want would be for you to donate, expecting to see a review within a few weeks and then feel like I’d cheated you. Does this mean I don’t want you to donate? Oh hell no! But if you do, please be aware that you are not “buying” a review, anymore than you are buying a pink ribbon if you donate to cancer research. The review is my way of saying thank you for your generosity and it will unfortunately take me a long time to get around to it, because it turns out I have a whole load of wonderful, generous people to thank. However, if you are entitled to any of the other perks from the indiegogo page (posters, scripts and whatnot), we will try to dispatch them to you as soon as the funding period ends. Thanks guys.