Perennial & enduring doyen of 1980's pop culture, Duncan has a keen eye for retro-futuristic aesthetics, transforming robots, and computer programmes that refuse to load (no matter how many times you play the tape). Occasionally drawn into holding a serious & sincere opinion, the rest of his free time is spent in either a dark room playing a movie, or in a dark room playing loud music - he is never happier than when the two converge. Specialising in the geekier end of the cinematic spectrum, that's not to say he can't appreciate a film with words along the bottom of the screen, or sometimes even devoid of colour. Should you care to win him over, there is no greater treat than a Chris Nolan film in IMAX.
Pop over to Clockworkshorts.com to see an archive of his film reviews and extensive collection of his DJ mixes.
Website URL: http://www.Clockworkshorts.com
Some things are just meant to be. In 2005, Lethal Weapon and Last Boy Scout screenwriter Shane Black directed his first feature: Kiss Kiss Bang Bang. The film combined two supremely powerful catalysts to explosive effect, namely Black’s ear for hilariously snarky banter amidst violent gun-play and the phoenix-like post rehab Robert Downey Jr. Whilst not a huge blockbuster hit, the film has gone on to be a widely loved cult favourite and directly led to Jon Favreau’s casting RDJ as the titular Tony Stark. Meanwhile, in comic book land, Warren Ellis was writing his “Extremis” arc for Iron Man. Extremis is recognised as the point at which a previously silly, 2nd tier Marvel hero was given a Grim’n’Gritty new millennial reboot and has been cited as a major influence on Favreau’s Iron Man movie.
“Shut it!” ; “You’re Nicked!”; “Leave it aaaaht!” No, this isn’t another episode of The Apprentice, but a modern updating of the 1970’s most iconic and well-loved British cop shows.
Arriving in the cinemas conveniently in time for the school Summer Holidays is the fourth entry in the ongoing CGI animated Ice Age series. Money spinning franchises are as inevitable in Hollywood as the vast shifting tectonic plates in this particular entry, so even though the 3rd was critically deemed to be somehow flat or uninspired, its box office victory (as the fourth highest grossing animated feature of all time) meant that yet another was bound to happen.
Finally arriving on our shores is one of last year's festival favourites, and indeed winner of the 2011 Cannes Jury Prize: Polisse. Directed by celebrated French actress Maïwenn, and inspired by a television documentary, the film follows the Parisian Child Protection Unit as the staff go about their (frequently harrowing) daily business and inevitably burn off steam during their downtime.