Hello boyos and cailíní, new episode of Now That’s What I Call Nostalgia has dropped and, appropriately, it’s a massive retrospective on Irish themed cartoon episodes from the the 90s like Gargoyles, Teenage Mutant Ninja Turtles, Johnny Bravo and *shudder* Captain Planet and the Planeteers.
Enjoy our pain, you foreign devils you.
Probably the most thankless job a director can set himself is trying to adapt a beloved stage musical to screen, as the people you most need to win over for your movie to be a success (fans of the stage version) are also the people most likely to tar and feather you in the streets over the slightest deviation from the source material. You may think comic fans get salty about adaptation changes, but they have nothing on musical theatre nerds.
That’s probably why, despite musicals still being a lucrative movie genre, stage musicals adapted to screen are a rare beast and only getting rarer. Of the 50 top grossing movie musicals, only six began life on stage. The rest are either originals like The Greatest Showman, animated musicals or jukebox musicals like Bohemian Rhapsody or (sigh) Alvin and the Chipmunks.
Of course, it wasn’t always thus. The middle decades of the 20th century were a golden age for adaptations for stage musicals as that was the point where theatre and cinema were most alike. Colour photography and improvements in sound tech meant that cinema could finally match the visual and audio splendour of theatre. But, cinema had yet to fully embrace the freedom inherent in the medium and movies of the first half of the century often closely resembled filmed plays with constructed sets and static cameras. As cinema became less and less indebted to its theatrical roots, adapting stage musical to screen became a lot more challenging. To put it simply: movies are not plays and plays are not movies. And trying to turn one into the other can result in some pretty radical changes. And all those challenges are right up on screen in Into the Woods, a movie based on one of the most inherently theatrical musicals of the modern era.
(more…)Hey folks! Delighted that I can reveal this terrifyingly gorgeous cover for my next novel, The Burial Tide!
It’s an Irish folklore influenced horror novel (if you liked Knock Knock you’ll dig it) set on a remote island on the west coast of Ireland where nothing is what it seems. Should be hitting shelves 9th of September!
Avast me hearties and heartettes! Outland Publications have launched their Kickstarter for Rising Tides, an anthology of nineteen pirate stories by some of the best genre writers currently working and also me.
My short story The Devil’s Hoof Upon the Tile appears alongside entries from Kate Heartfield, Jason Fischer, Sarah Thérèse Pelletier and many more. Whether you like your buccaneers fantasy themed, horror themed, historically accurate or genre defying (nothing more dangerous than a genre defying pirate) there’s something for everyone.
So if that sounds fun, do head over to Kickstarter and give them whatever doubloons you can spare.
Hey remember that time Disney spent a load of money on a science fiction epic that was visually spectacular but also kinda inert, weirdly off-brand for them, with a load of tonal and pacing issues that ended up costing them a load of money?
Anyway, Tomorrowland is the second (and to date last) live action feature directed by animation legend Brad Bird and it keeps alive the proud Disney tradition of sci-fi movies that I respect and want to like but are just fundamentally too dang flawed on the writing level to get anything other than a qualified endorsement.
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The nineties were awesome.
Look, I know everybody idolises the first decade they can properly remember but this is different. The nineties really were awesome. The Cold War was over, the War on Terror hadn’t started, we’d fixed acid rain and the hole in the ozone layer (and that whole global warming thing would probably sort itself out) and the only threats to world peace were goobs like Saddam Hussein and Slobodan Milosevic who would occasionally show up to cause trouble before being punted into the air like Team Rocket.
Plus, the movies, the TV shows, the music. I love this whole era. So I was overjoyed when I finally got my hands on a boxset of the complete Daria, an animated sitcom that ran from 1997 to 2002. Not merely a nineties show, but probably the most nineties show.
And imagine my disappointment on discovering that, like so much nostalgia, it doesn’t actually hold up all that well.
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It’s amazing (and a little scary), to think that the brand shiny new 21st century is already at the quarter mark. How did we already go through so many years in such a short period of time? They’re so bloody moreish, aren’t they?
Personally and professionally, 2024 was a quiet-before-the-storm kinda year. I’ve been working on several projects that will (some definitely and some hopefully) all burst on the scene in 2025 which, if we’re honest, sounds more like a proper important kind of year for that kind of thing anyway.
After a quiet year I will have not one, but two books hitting shelves and rest assured, I will be spamming about both of them merrily when the time comes.
Oh, and talking about new projects, Spouse of Mouse, myself and our friend Esther (mostly Esther) have started a new podcast called Now That’s What I call Nostalgia where we talk about the cartoon shows of our youth and discuss what drugs were most likely involved in their creation. First two episodes should be live now and you can listen to them HERE (if nothing happens the first two episodes were not, in fact, live now).
Here on the blog in 2024 I reviewed 1 Canon Disney movie, 2 MCU movies, 1 animé, 1 live action movie, 9 non-Disney canon animated features, 1 Bats versus Bolts, 4 Batman movies and one short film.
The standard of movies I reviewed this year was a huge improvement on 2023’s, not least because the MCU and Disney canon’s output have slowed to a greasy trickle as they to figure out just what’s gone wrong. But, like any bout of explosive diarrhoea, just because the first deluge has passed doesn’t mean it’s safe to get off the pot yet. I look at the horizon, with the MCU stunt-casting left and right and Disney bringing their early nineties cheap cash in sequel strategy into the sacred halls of the canon itself….let’s just say I don’t think the worst is behind us just yet. That said, it’s not like we deserve better.
So, with MCU and Disney reviews slowing to a crawl, that meant I got to focus on Batman reviews and the odder and more obscure articles in my backlog. And, I’m happy to say, I discovered (and re-discovered) some real gems. Best movie this year was…I mean, that’s hardly fair, is it?
I was very gratified at how many of you said you enjoyed my review of The Third Man and I think, yeah, a little culture around here wouldn’t kill us. I’m going to try and review some more classics.
Despite the overall uptick in quality, Worst Movie was actually the more fiercely competitive category as I did review some pretty egregious stinkers: Land Before Time XIII, Wish, The Marvels and Cool World.
But there was only one movie that I actively loathed and think you all know what it is. Dawn of Justice.
Lastly, I want to introduce a new category; Most Pleasant Surprise. These were the movies that I went in to knowing little and expecting less and came out with a new personal favourite. Honourable runner up is Joseph: King of Dreams, the scrappy little direct-to-video sequel that nonetheless set up shop in my head. Some bangers in the soundtrack too. But there was one movie that I was initially cool on but where my opinion of it grew and grew even after I watched it and reviewed it. So if you read my review of Your Name and felt that it was a little unenthusiastic, you’re right. So, let me set the record straight I adore this film.
Fantastic movie. Heart breaking. Yes, Makoto Shinkai fans. I get what you meant now.
Oh, and while I didn’t review it on the blog I may as well leave you with a recommendation.
I loved it as a thriller. I loved it as a character study. I loved it as a work of cinematic art. I loved it as a Catholic. Best new film I’ve seen all year. Whatever you think it is about it’ll probably surprise you. And I will definitely have to review it just so I can talk to someone about the ending.
Anyway, hope you and yours have a safe, wonderful and happy Christmas and new year.
Nollaig shona daoibh go léir,
Mouse.
I don’t honestly know if I should feel sorry for Joseph Cotten or envy him. He had a long and storied career in theatre and film, appearing in several movies that are the mainstay of any respectable list of greatest films of all time. How could you pity any actor whose CV includes The Third Man, The Magnificent Ambersons and of course the big gorilla in the room, Kane?
At the same time, when you think of those movies Cotten’s name isn’t exactly the first one that comes to mind, is it? Of course not.
It certainly doesn’t appear that Cotten resented the fact that Orson Welles was essentially the star around which Cotten’s career orbited, as the two men maintained a close and warm friendship right up until Welles’ death in 1985. And it’s not like he was completely overlooked, either. In fact, it’s so common to say that Joseph Cotten was one of the most underrated stars of Hollywood’s Golden Age that he probably no longer even qualifies as underrated. But screw it, it’s my blog, and if I want to turn it into a Joseph Cotten appreciation corner who of you will stop me? That’s what I thought. We’ve Gotten Cotten Fever up in here!
1998’s Prince of Egypt is what you might call a hard act to follow and the first thing any discussion of Joseph: The King of Dreams should stress is that it is neither fair nor productive to compare the two. But I’d argue there is actually a lot to learn from putting the two movies side by side.
I’ve always believed that, when it comes to animation at least, “cheap” is not the same as “bad”. Obviously, a generous budget is rarely a detriment but plenty of animators have put out stunning work on a shoe-string. And plenty of movies had absolutely scads of money thrown at them and still managed to look like something that the cat puked up on the rug. What makes the Dreamworks Torah Cinematic Universe so instructive is that it’s two movies created at the same time by largely the same team of artists, just with very different budgets. King of Dreams was, like Return of Jafar, intended to be a straight to video sequel (or prequel in this case) of a much bigger, much more-high budget theatrical release. But, Aladdin was done by Disney Feature Animation and Return of Jafar was palmed off to Disney’s TV animation studios in Australia and Japan. By contrast, King of Dreams was animated concurrently with Prince with Egypt, and by the same team of animators. This makes the two movies a fascinating case study, showing how much a budget matters in determining quality and also how much it doesn’t.
Because yeah, I’m not going to sit here and tell you that the two movies are equally beautiful. Clearly they’re not.
And yes, the wonderfully detailed, semi-realistic style of human animation that Prince uses is absolute murder for the King of Dreams team trying to render it with less time and resources and it does sometimes end up looking a little janky. But honestly, more times it doesn’t. My point is, I honestly love this film for how hard it tries and frequently succeeds in escaping the creative ghetto. This is a straight to video cartoon sequel. Hell, this is a faith-based straight to video cartoon sequel. The fact that it’s not absolutely terrible is an achievement. The fact that it’s good, often touching great, is a genuine miracle.
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Around the midpoint of Deadpool & Wolverine I had a rather chilling realisation during this exchange of dialogue between Elektra and Deadpool.
ELEKTRA: Every time one of us has gone up against her, they die. The Punisher, Quicksilver, Daredevil.”
DEADPOOL: “Daredevil? I’m so sorry.”
ELEKTRA: (with an indifferent shrug) “It’s fine.”
So let’s unpack this joke. Here is everything you, the viewer, need to know for this gag to land.
And virtually every joke in this thing is that kind of inside baseball uber-specific nerd bullshit that seems positively tailormade to appeal to me, a 40 something male who had comics instead of friends growing up. And yet…this thing made €1.8 billion dollars. This is as mainstream as movies get now.
Super niche nerd culture is no longer niche. The war is over. Everyone is a massive nerd now.
Total domination.
And I now find myself in a very difficult position as a movie critic.
I thoroughly enjoyed this movie. I laughed my ass off from start to finish.
And yet, when I read, say, Donald Clarke howling in sackcloth outside the sinful Gomorrah that is the modern movie industry, I can’t help but nod along.
This movie isn’t a movie. It’s heroin. It’s very good heroin. And I very much enjoyed it.
But…I should probably be ingesting food instead.
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unshavedmouse 