Author Archives: alasdair101

Reflexivity in Remington Steele

Remington Steele was a lightly comedic detective procedural from the early 1980s. It had two gimmicks – front and centre is the conceit that Remington Steele is a fraud, an invention of the real detective, Laura Holt, who was not … Continue reading

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King Arthur: Legend of the Sword [2017]

It is axiomatic in my critical writing that a work should be taken on its own terms as much as possible, and I try to then understand given it succeeds, what meaning the thing conveys. This is a very difficult … Continue reading

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Atomic Blonde [2017]

Atomic Blonde belongs to a male-dominated genre and aesthetic, not only dominated, but almost explicitly anti-woman. Women exist in this genre space almost purely to get “Fridged“, rescued, or indifferently used by the hero in furtherance of his aims. The … Continue reading

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The Fate of the Furious [2017]

The response to the film by critics was by-and-large “it’s bonkers and doesn’t care”, which is critical short-hand for “I didn’t understand what this film was doing or how, but it seemed to appeal to the (stupid) masses”. Consider for … Continue reading

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The Circle [2017]

Often when I read a negative review about a film, I’ll eventually come to the conclusion that the reviewer brought their own agenda to the review rather than coldly evaluating the work in its own terms. How valid that is … Continue reading

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The work of the Critic ™

A long time ago Hulk posted a scathing review of The Amazing Spiderman, and I had a riposte, and I find myself now having to come back again to defend Spiderman: Homecoming from his “criticism“. His basic problem is that … Continue reading

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The Simple Art of Melancholy

The question of just what “Film Noir” is has plagued discussions of the genre since its retrospective creation by French critics in the 1950s and 1960s. As the term pertains to “Hard Boiled” detectives, whose presence was a clear signifier … Continue reading

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