A Movie Buff’s Hat Buying Guide

September 25, 2017 Jaaŋɡ-Michael Terryjäck 0

They say that there’s a hat for every person.



Hats play a key role in some of the most iconic movies of our time, often playing the role of costume and prop simultaneously.


Whether it’s a broad-rimmed fedora, a tightly knitted beanie or simply a classic trilby; a piece of headgear can be crucial to intimating a particular era, theme or sense of character.  Part of the reason why us everyday folk have such trouble with picking out a particular hat is that so many of them have been claimed by iconic movie characters and to pull on one of these items is almost like dressing up in their image.


Before you take the plunge and grab your first one, take a little perusal of some of my favourites and consider if you really want to align yourself with these particular characters:


Indiana Jones’ Fedora


It takes a brave person to pull on a fedora before leaving the house. For decades this hat has been inextricably linked with George Lucas’ Indiana Jones, played with rogueish charm by Harrison Ford. The character was created as a homage to the adventuring heroes of the 30s, with the events of the Indiana Jones movies taking place between 1912 and 1957, a time when a hat was an essential part of a man’s wardrobe, rather than just an accessory.



When should I wear it? Just don’t. Unless you’re going on an archaeological dig or taking a trip into the desert; a fedora has no place in your wardrobe.


Robert Angier’s Top Hat


The Prestige is one of Christopher Nolan’s less talked about movies. Made in between his sleeper hit Batman Begins and the record-breaking The Dark Knight, it tells the story of two stage musicians in the 19th century competing to create the most dazzling illusions. Their ongoing feud leads both men down dark paths in order to achieve their goals, leaving a trail of tragedy in their wake. Aristocratic magician, Robert Angier’s top hat symbolises both his class and also plays a part in revealing the dark sacrifice that his character makes for the sake of his show.



When should I wear it? Are you going to a 19th century ball or an Edwardian tea-party any time soon? Didn’t think so – leave this one in the shop.


Steve Zissou’s Red Bobble Hat


A basket of bright red winter pom pom hats sits in the corner of Steve Zissou’s ramshackle bedroom; like the Speedos and custom made Adidas Roms, these quirky items are essential pieces of uniform for the crew of the Belafonte, the eponymous character’s exploration vessel in Wes Anderson’s The Life Aquatic. These little touches are what makes Anderson’s movies so distinctive, they communicate to the audience the superfluous level of Zissou’s success, allowing us to see how far he has truly fallen from those halcyon days of merchandising deals and television shows.



When should I wear it? A cold winter’s day, a trip into town – this is a low-key piece of headgear that can be worn without drawing too much attention.


Godric Gryffindor’s Sorting Hat


It’s rare that a hat has it’s own lines in film, let alone plays a key role in the action, but such is the case for the Sorting Hat in J. K. Rowling’s Harry Potter series. Voiced with rambunctious entitlement by British veteran actor Leslie Phillips, the Sorting Hat is worn by every major student character in the film series, deciding which house that they will be aligned with for the entirety of their stay at Hogwarts. Besides this initiation ritual, the Hat comes to the aid of the students in a number of surprising ways, proving to be more than just an accessory.



When should I wear it? This would be an odd choice of headgear even if you were heading to a Potter convention. However, a replica could sit well on a plinth in your hallway…if you’re that way inclined.…

6 Upcoming Films from Original Ideas

September 20, 2017 Jaaŋɡ-Michael Terryjäck 0

Sequels, Reboots and Remakes have been making the most money this year.



Is there anything original to look forward to in 2017?


Just taking a brief look at the Box Office figures for the year reveals what kind of films make the most money in today’s movie age. The top 10 internationally grossing movies of the year so far have are all been either sequels, remakes or reboots. Take a closer look and you’ll soon see that only 5 of the top 30 grossing films of the year were based on original ideas, those chosen few include: The Boss Baby, Jordan Peele’s outstanding Get Out and several Asia-only releases including, ahem…Kung Fu Yoga.


Although critics are constantly threatening that ‘franchise fatigue‘ will soon bite large scale productions where it hurts them most, support for big tent-poles, such as Wonder Woman and Guardians of the Galaxy: Vol. 2 suggest otherwise. With a packed schedule of sequels and reboots, including the now obligatory Star Wars instalment, a third film based on the Lego toys and Zack Snyder’s mammoth Justice League; you’d be forgiven for thinking that there’s no room for original movie ideas anymore.


In reaction to the inevitable feeling of fatigue that you might be feeling at the moment, I’ve collected 6 trailers for movies hitting screens this year, which should surprise you with their originality and unique vision:


Logan Lucky


A director that’s been lurking in the shadows for some time, Steven Soderbergh returns to the seedy world of the heist with his 30th feature film. A far cry from the high-roller casinos of his Oceans films, Logan Lucky takes place in the deep South and involves a group of down on their luck siblings (Channing Tatum, Riley Keough and Adam Driver) seeking a way to get rich and break a family curse.


Logan Lucky is in cinemas now.




It’s been nearly three years since Darren Aronofosky’s last film, the grand but flawed Noah; he returns this year with an original screenplay and an all-star cast including Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer and Kristen Wiig. The film centres around a young wife (Lawrence) whose peaceful domestic life is upended by a mysterious older couple, who lodge with her.


Mother! will be released on September 15th.


Beach Rats


Director-writer Eliza Hittman’s second film promises to take the audience on yet another hyper-realistic journey through the dangerous landscape of youth and sexuality. A teenage boy in Brooklyn balances a difficult home life with delinquency and casual sex with older men he meets online. Newcomers Harris Dickinson and Madeline Weinstein lead the cast of mostly unknowns.


Beach Rats gets its UK release on November 3rd.


The Killing of a Sacred Deer


Grecian director Yorgos Lanthimos’ career is still in its infancy yet he continues to attract big names to work on his bizarre, high-concept projects. His follow-up to the wonderfully weird The Lobster will also star Colin Farrell as well as seasoned vets Nicole Kidman, Alicia Silverstone and British newcomer Barry Keoghan (fresh from his trip to Dunkirk). The plot revolves around a young lad (Keoghan) attempting to introduce a plastic surgeon into his dysfunctional family.


The Killing… is out on October 27th.




Some haven’t noticed, but for the last few years Pixar have been building a slate of movies that include sequels to longstanding franchises balanced with launching original movies that take real risks in terms of new ideas. Coco‘s low-key cast is exclusively hispanic for this musical themed adventure through the Land of the Dead, as always though, the animation will be the draw for most.


Coco hit cinemas on November 22nd.




So far in his career, Alexander Payne’s bread and butter has been deeply moving character dramas about normal people, in extraordinary situations, think: The Descendants or, his last movie, Nebraska. For his next though, he’s reuniting with his writing partner from Oscar-winner Sideways, to make something a little outside of the box. Matt Damon and Kristen Wiig play a married couple seeking to reduce their environmental impact and live a better life, by shrinking themselves down to 4-inches.



Downsizing arrives in theatres on 22nd December.…

In defence of…Gone in 60 Seconds

September 18, 2017 Jaaŋɡ-Michael Terryjäck 0

There were a lot of awful movies released in the 90s.



Super Mario Bros, Showgirls and Val Kilmer’s awful remake of The Island of Dr. Moreau come to mind, but it’s important to remember that the shit didn’t stop hitting the fan at the turn of the millennium.


Although the year 2000 brought us such cult classics as Requiem for a Dream, Almost Famous and Sexy Beast – the brave new world that we were living in also brought us some absolute stinkers. I’m talking Disney’s Dinosaur (a saccharine animated feature which they bizarrely repeated with 2015’s The Good Dinosaur), Battlefield Earth and, brace yourselves, Coyote Ugly.


Despite some truly great work being done during this time, it’s a sad truth that young, original directors were not being supported by an industry that was mostly propped up by financiers in their 40s who mistakenly thought that a heady mix of nudity, fast cars, dumb as heck plotting, or a blend of all three, was the only way to make money in the movie industry. As a result, movie goers were treated to a veritable schlock fest of trash that has quite rightly been consigned to the past. Films like Road Trip, Scary Movie and What Women Want might well have entertained the masses, but time has proven them to be crass, shallow and toxic in their treatment of sexuality, race and relationships.


It would be a mistake to lump Gone in 60 Seconds in with these howlers from 2000. A loose remake of the 1974 film of the same name, this film was unappreciated, even by the schlock trained audiences of the time, and was said to have lost it’s backers up to $90 million. A re-watch of this sturdy actioner will reveal a movie that has clearly been made with more passion and patience than most other productions of the time.


Admittedly, the premise for the film is a little ridiculous.


Nicolas Cage, still riding a high from the action triptych of The Rock, Con Air and Face/Off, plays retired car thief Memphis (the first of several laughable name choices) and Giovanni Ribisi (brilliantly wired and nervy) is his younger brother who’s in deep with extremely British mobster, Raymond Calitri played by hammy, but fun, Christopher Eccleston. Ribisi’s Kip (that’s right, two brothers called Kip and Memphis) botches the job to Calitri’s distaste. Preferring his cars whole, as opposed to a barely drive-able collection of Porsche parts, he threatens to kill Kip unless Memphis comes out of retirement for ‘one last job’ and nab the cars in the space of 72 hours. Cue a visit to the matriarch of the family, followed by a rapid assembling of his old crew in order to tackle the gargantuan task.


In less than two hours we’re taken on a whirlwind tour of California, meeting colourful characters such as Mirror Man, Sway (a feline Angelina Jolie) and…Sphinx (a mostly silent but effective Vinnie Jones). Even the cops chasing the crooks are lumped with questionable names: Detectives Castleback and Drycoff (a name that literally no one in real life has) are hot on the trail of Memphis and his crew, making for an exciting thrill ride that is light on narrative and heavy on quips and action.


Gone in 60 Seconds is not going to go down in history as ‘one of the greats’, however, t’s clear that the producers have real love for the vehicles and the rough-diamond crew of thieves, regardless of how ridiculous their names are.


It might not test your brain, but it will certainly put a smile on your face more than Coyote Ugly.