As well as news and reviews for Subtitled Online, I also produced a number of feature articles relating to world cinema and TV.
After writing for the site for a while, I accidentally became its resident expert on European crime drama, waves of which were imported to the UK after the runaway success of The Killing in 2011. As part of a series, the site’s editor asked me to write a piece on its history and why it was so popular. And I did.
The Killing III
On the subject of crime drama, the third and final series of The Killing was some highly anticipated TV, and I made the foolish decision to write a feature article about each pair of episodes as they aired. It was quite a psychologically exhausting undertaking to view them as soon as possible after airing (no early access for me!) and write them up as quickly as I could in such a way that was not only comprehensive and engaging, but also maintained an implication I was completely following everything that was going on, which took far more concentration than I normally engage when watching TV.
The Trash Heap
The Trash Heap was what I planned to be a regular column, in which I would ramble about the enjoyment that can be wrung from shamelessly bad cinema and write an article showcasing a noteworthy piece of entertaining trash every month or so. The only one I got around to doing before the site shut down was Starcrash, an Italian space opera made to cash in on the success of Star Wars. Others I had planned to follow it up with were nonsensical French gorefest Switchblade Romance and Filipino dwarf-starring James Bond knockoff For Y’ur Height Only.
Films and TV from foreign counties get remade in English. This is a fact upon which endless discussions and arguments have played out, with the issue likely to never achieve resolution so long as remakes exist.
Guillermo del Toro
When the site’s writers were encouraged to write a personal reflection on what it was they loved about world cinema, I found the level of detail I was going into about Guillermo del Toro, my favourite world cinema director, was getting a little out of hand. So I instead replaced what I already had with a general overview and expanded it into a full-length article.
On the other end of the spectrum from Guillermo del Toro, I also had some things to say about Uwe Boll, who I utterly despise for his inability to make films even the slightest bit entertaining, even by commanding vast budgets and often adapting otherwise promising computer games. It spread into two parts. Be aware the links contain unapologetic vitriol.
In further attempts to pretend to be a proper journalist, I managed to undertake a few interviews and not do too bad a job in looking like I knew what I was doing. They were Syl Disjonk, a French-Canadian director and VFX artist I met at Dead by Dawn in 2012 who directed a surreal and darkly fantastical short called Ethereal Chrysalis; Richard Powell and Zach Green, a director-producer duo whose short horror film Familiar I reviewed; and Timo Vuorensola, the director of retro-sci-fi action comedy Iron Sky.