Jonathan Crocker

Crashing in as a 10-tonne metaphor, Michael Bay’s deafening mega-blockbuster sees humanity attacked by a destructive new super-technology. Well, quite. Yawping a stunning new age for digital animation, Hasbro’s 60ft alien robots transform from helicopters and hi-fis in a seamless spectacle of hydraulic crank and whir, as the evil Decepticons battle the heroic Autobots for mankind’s future. Cue the in-built irony: in Bay’s world, moving parts aren’t for the actors. Read the rest of this entry »

Popularity: 3% [?]

Look closer… Vertigo’s sick little brother sees snoop reporter Jimmy Stewart stuck in a wheelchair with nothing to do but waggle his long lens at the neighbours. Has he discovered a murder? Should he get involved? Should we? Too late, already. With the camera locked inside Stewart’s room for the entire film, Hitchcock’s chilling essay on voyeurism (read: movie-going) stares right back at you. Meaning? Rear Window is the definitive guilty-pleasure movie. Watch it in a double-bill with Michael Powell’s Peeping Tom, then go for counseling. Read the rest of this entry »

Popularity: 3% [?]