This year has been an immense year for culture; in film we have had stunning blockbuster after stunning blockbuster. And although this writer has not seen as many new films as he would have liked, the list below includes films seen for the first time. The writer likes to think this give the list a particular twist not seen in other lists, which are solely on films out over the past year. But we don't watch films like that - sometimes it takes a lifetime for someone to see a film; how many people, for example, have only seen the great Casablanca for the first time this year?
It's horrendously difficult to put these seven in order, but we shall try:
7. Fantastic Mr Fox
"Purists wont like it, and the very young will probably feel alienated by it, something a closer adaptation might have avoided, but on the whole this is a lovely film, a great addition to Anderson's work."
7/10
6. Brave
"Having watched it in a cinema full of little people who throughly enjoyed it from the gasps and cheers and laughs, one can definitely say that this is the best Pixar kids film the studio has made for some time. But the joy of Pixar's greatest hits is that you can watch them whatever age and find something in them for you. Although the film's visuals are certainly captivating, there is very little else for grown ups here."
7/10
5. Ted
"Family Guy has in recent years been criticised for not being as good as it was in its early days, and that can be certainly true of many episodes, MacFarlane perhaps putting too much of himself into different projects. But Ted is a triumph for the director; and after all, The Simpsons made a film that was three levels above their input in their television series at the time. The same may soon be said of Stewie and the gang."
7/10
4. The Muppets
"One could almost be tempted to argue that anyone who didn't like at least one second of this film is actually a cold blooded reptile with no heart. Because The Muppets will drag you into its world of colour and laughter and, above all, optimism and you will willingly be dragged."
8/10
3. Drive
"Drive is brilliant, evocative and stunning all in one; though it perhaps wastes a couple of the talents involved in it, and is a little too short (not often a criticism for a film), it is still a major production that needs to be seen."
8/10
2. The Dark Knight Rises
"To relaunch a well loved story and do it right is an immense task. To carry the story on and make an even better film in the progress is monumental. To finish that story and do it right is akin to climbing Mount Everest by hopping on one leg. With The Dark Knight Trilogy, Christopher Nolan has done all this and more...He is the rightful owner to the title of Greatest Film Maker of the moment; a modern day Scorcese with a traditionally epic view of films such as DeMille would have been proud of."
9/10
1. Skyfall
"Bond is back. From the very first notes of the score to the last thrilling shot, the Bond franchise has made it through the murk of financial problems...to deliver a superb mission...Such a fantastic work and proof of Bond's hobby: 'Ressurection'."
9/10
Sunday, 16 December 2012
Thursday, 29 November 2012
Tis NEARLY the season...
This blog has a fondness for the festive season. In fact, it could be argued, come December 1st, this writer is the merriest person you'd ever be likely to meet. Come December 1st, every word spoken is laced with tinsel, every look flashes with electric light bulbs, every beat of the heart is pulsating with hope and Joy To The World. Come December 1st.
Sadly, in this world that we live in, you cannot escape Christmas in November. Today, upon watching television, almost every advert had a festive ring/theme to it, even if the product wasn't necessarily for Christmas. This is not unusual in the least, but it's still rather depressing.
Only two things bring joy to this blog on these occasions. The first is the fact that this season is the season where Cinema really comes alive again. This is not suggesting for a moment that the year beforehand has been disappointing - far from it, with the mega hits of The Dark Knight Rises and Skyfall tussling for the top spot in The Culture Section's annual Top Ten to be produced towards the end of the year. But as we approach the season for goodwill, we also approach the season of awards. And so, the big hitters arrive - Seven Psychopaths, Les Miserables, Life Of Pi, Silver Linings Playbook and all the rest, all filtering through as they start their long campaign just to be nominated for awards. This is very good news indeed, and brings the tidings of great joy often promised by the studios, never mind a heavenly choir of angels.
The second reason this blog finds it's ice cold heart in November slightly thawed is this year's John Lewis advert. Over the last couple of years the genius who has obviously been hired just because he/she has amazing ideas specifically for the superstore's festive commercials has produced immense works, often sound tracked by beautiful pieces of music. This year is perhaps the pinnacle, the ultimate triumph. The take of a snowman battling through the elements to buy his snow lady girlfriend the perfect gift she really needs is wonderfully shot and perfectly sound tracked by an awe inspiring cover of Frankie Goes To Hollywood's "The Power Of Love" by new star Gabrielle Aplin. The photography is gorgeous, the music simply beautiful.
This blog would therefore like to anounce two campaigns: first, if you have not seen this advert yet, watch it, NOW, even if you, like this writer, are still a Scrooge up until the December page of your calender. Secondly to John Lewis: this blog believes that you will never, EVER top the wonder of your advert this year. Therefore, this blog suggests you simply repeat it again next year, and the year after that. Make it a tradition. It reduces a friend of this blog to tears every time she watches it. Now that's magic.
Sadly, in this world that we live in, you cannot escape Christmas in November. Today, upon watching television, almost every advert had a festive ring/theme to it, even if the product wasn't necessarily for Christmas. This is not unusual in the least, but it's still rather depressing.
Only two things bring joy to this blog on these occasions. The first is the fact that this season is the season where Cinema really comes alive again. This is not suggesting for a moment that the year beforehand has been disappointing - far from it, with the mega hits of The Dark Knight Rises and Skyfall tussling for the top spot in The Culture Section's annual Top Ten to be produced towards the end of the year. But as we approach the season for goodwill, we also approach the season of awards. And so, the big hitters arrive - Seven Psychopaths, Les Miserables, Life Of Pi, Silver Linings Playbook and all the rest, all filtering through as they start their long campaign just to be nominated for awards. This is very good news indeed, and brings the tidings of great joy often promised by the studios, never mind a heavenly choir of angels.
The second reason this blog finds it's ice cold heart in November slightly thawed is this year's John Lewis advert. Over the last couple of years the genius who has obviously been hired just because he/she has amazing ideas specifically for the superstore's festive commercials has produced immense works, often sound tracked by beautiful pieces of music. This year is perhaps the pinnacle, the ultimate triumph. The take of a snowman battling through the elements to buy his snow lady girlfriend the perfect gift she really needs is wonderfully shot and perfectly sound tracked by an awe inspiring cover of Frankie Goes To Hollywood's "The Power Of Love" by new star Gabrielle Aplin. The photography is gorgeous, the music simply beautiful.
This blog would therefore like to anounce two campaigns: first, if you have not seen this advert yet, watch it, NOW, even if you, like this writer, are still a Scrooge up until the December page of your calender. Secondly to John Lewis: this blog believes that you will never, EVER top the wonder of your advert this year. Therefore, this blog suggests you simply repeat it again next year, and the year after that. Make it a tradition. It reduces a friend of this blog to tears every time she watches it. Now that's magic.
Sunday, 18 November 2012
Music Round Up
As promised, three reviews of three albums from the last few months.
First, Coexist, the second album from the Mercury Prize winning The xx.
From the first strains of the echoey guitar strings, this album proves to be a case of more of the same. This isn't a bad thing; the eerie sounds of The xx still push them apart from many others on the scene. But, as with their first, arguably better self-titled album, the style of the music they play starts to make all the songs sound a little samey. While their lyrics are still hauntingly beautiful, towards the end you begin to yearn for something a little more. Then again, this is still perfect chillout music.
7/10
In terms of second albums, Ellie Goulding's Halcyon is a revelation.
While Lights, her first, was full of catchy tunes and hopeful optimism, this second album is very open and honest; there's a lot more of an electronic feel to this than in her previous work, yet her gorgeous soprano vocals still cut through and soar: perfect example being "Hanging On". It then towards the end of the album changes gears into a more ballad, piano led atmosphere; the song "I Know You Care" in particular is lovely. It's a beautiful triumph that just gets better with every listen.
9/10
When it comes to defining a feel of an album, The 2nd Law by Muse proves difficult, for the simple, brilliant reason that every track sounds and feels different.
From the Bond theme-esque opening to the glorious, over the top "Survival"; the funky kick of "Panic Station" to the moody, magnificent "Madness". If ever there wasa showcase for the talents of this band, this album is it. Towards the end the songs are soaked in dubstep, but refreshingly this does not invade the majority of the rest of the album.Muse are the perfect hybridor even, if you want, lovechild, of Queen and Radiohead. Excellent.
9/10
First, Coexist, the second album from the Mercury Prize winning The xx.
7/10
In terms of second albums, Ellie Goulding's Halcyon is a revelation.
While Lights, her first, was full of catchy tunes and hopeful optimism, this second album is very open and honest; there's a lot more of an electronic feel to this than in her previous work, yet her gorgeous soprano vocals still cut through and soar: perfect example being "Hanging On". It then towards the end of the album changes gears into a more ballad, piano led atmosphere; the song "I Know You Care" in particular is lovely. It's a beautiful triumph that just gets better with every listen.
9/10
When it comes to defining a feel of an album, The 2nd Law by Muse proves difficult, for the simple, brilliant reason that every track sounds and feels different.
From the Bond theme-esque opening to the glorious, over the top "Survival"; the funky kick of "Panic Station" to the moody, magnificent "Madness". If ever there wasa showcase for the talents of this band, this album is it. Towards the end the songs are soaked in dubstep, but refreshingly this does not invade the majority of the rest of the album.Muse are the perfect hybridor even, if you want, lovechild, of Queen and Radiohead. Excellent.
9/10
Wednesday, 7 November 2012
Election 2012
As the dust settles on the American election for 2012, we breathe a sigh of relief,though by no means are we convinced that things will be easier this time round. In fact, President Obama now has the daunting and unenviable task of trying to get his work done and push reforms through a senate that is dominated by a Republican party who have now been beaten twice by the Coolest Man In The World.
But for this blog, the most interesting factor in this election was the vote turnout. Barack Obama and the Democrats won through votes from Hispanics, Women, African Americans and, of course, the younger generation. The Democrats now seem to represent true diversity; they acknowledge the fact that the United States is just that - a mixture of race, colour and creed. The Republicans refuse to accept this (not all members of the party, just the party in general). But through diversity comes true culture, a true cooking pot of music, dance, art, drama, literature and film that is going to infiltrate the mainstream now and go further than ever before. This blog applauds and supports this; it feels it is vital. Now it turns to its home country, to the UK.
Lets celebrate the diversity in Britain; lets celebrate the culture, the people, their stories. We have a potentially historic turning point coming up in the next two years where Scotland will have the opportunity to vote whether or not they want to stay in Britain; it's their choice, but lets give them the opportunity to see how wonderful it would be to stay in the UK, and, if not, lets celebrate their culture, their traditions.
Even if you don't believe its true, that you think its all schmaltzy syrupy nonsense from one of the greatest modern speakers of our time, wouldn't it be wonderful for the UK to be truly somewhere that everyone Obama mentioned at the end of his speech last night could call home? This blog certainly does - bring on the diversity! Bring on the culture!
But for this blog, the most interesting factor in this election was the vote turnout. Barack Obama and the Democrats won through votes from Hispanics, Women, African Americans and, of course, the younger generation. The Democrats now seem to represent true diversity; they acknowledge the fact that the United States is just that - a mixture of race, colour and creed. The Republicans refuse to accept this (not all members of the party, just the party in general). But through diversity comes true culture, a true cooking pot of music, dance, art, drama, literature and film that is going to infiltrate the mainstream now and go further than ever before. This blog applauds and supports this; it feels it is vital. Now it turns to its home country, to the UK.
Lets celebrate the diversity in Britain; lets celebrate the culture, the people, their stories. We have a potentially historic turning point coming up in the next two years where Scotland will have the opportunity to vote whether or not they want to stay in Britain; it's their choice, but lets give them the opportunity to see how wonderful it would be to stay in the UK, and, if not, lets celebrate their culture, their traditions.
Even if you don't believe its true, that you think its all schmaltzy syrupy nonsense from one of the greatest modern speakers of our time, wouldn't it be wonderful for the UK to be truly somewhere that everyone Obama mentioned at the end of his speech last night could call home? This blog certainly does - bring on the diversity! Bring on the culture!
Thursday, 1 November 2012
"Skyfall" Review
Bond is back. From the very first notes of the score to the last thrilling shot, the Bond franchise has made it through the murk of financial problems and, more importantly, the underwhelming and complicated Quantum Of Solace to deliver a superb mission.
That's not to say this is business as usual. Though old faces (human and vehicle) appear again after a notable absence, this is a film firmly set in two camps: Daniel Craig and Sam Mendes. The Craig Bond films have been and always will be gritty, dark, edgy affairs, the type to rival the competition of Bourne and other more realistic action films. With Mendes, the first Oscar winning director to helm a Bond film, we get perhaps the most beautiful looking Bond film there's ever been. A gorgeous looking neon set fight scene in China, for example, or the one long shot that heralds the arrival of the film's antagonist, Silva (a dazzling performance from another Oscar winner, Javier Bardem).This is a different kind of Bond film, one that may stand alongside On Her Majesty's Secret Service as a world apart from the usual Bond formula.
Though the film starts with a thrilling pre-credits sequence involving cars, bikes, trains and cranes, the story is very character driven. An important piece of technology has been stolen containing names of undercover agents throughout the world; M's job and soon her very life is on the line. M is the Bond Woman in this film - driven, determined and at times ballsy, Judi Dench proves in her biggest role to date of the franchise just why she is the head of Mi6. Being a Mendes film, there are other suitably brilliant performances too from other British names - Ralph Fienes, Ben Whishaw and Naomi Harris, plus an excellent cameo from Albert Finney.
The action, when it comes, is fast and furious, with as much work done for real as possible, something the Bond films should be commended for (and something that shows up when it isn't, case in point: Die Another Day). The final third becomes a kind of mixture of Bond stripped of everything but the essentials, Home Alone and Straw Dogs, a weird mix that actually works. When it's all over, you breathe a sigh of relief and, more importantly, you're already impatient for the next instalment.
Though excellent, it's not perfect; despite having the best Bond theme for ages from Adele, the score by Thomas Newman is probably something that will grow with time. You miss the Barry-esque qualities that David Arnold brought to the series. As for the Bond theme itself, it feels slightly underused, though fills you with a guilty pleasure when it does kick in. The film could also arguably have been cut a little shorter, but the time really flew by when watching.
Such a fantastic work and proof of Bond's hobby: "Ressurection".
9/10
That's not to say this is business as usual. Though old faces (human and vehicle) appear again after a notable absence, this is a film firmly set in two camps: Daniel Craig and Sam Mendes. The Craig Bond films have been and always will be gritty, dark, edgy affairs, the type to rival the competition of Bourne and other more realistic action films. With Mendes, the first Oscar winning director to helm a Bond film, we get perhaps the most beautiful looking Bond film there's ever been. A gorgeous looking neon set fight scene in China, for example, or the one long shot that heralds the arrival of the film's antagonist, Silva (a dazzling performance from another Oscar winner, Javier Bardem).This is a different kind of Bond film, one that may stand alongside On Her Majesty's Secret Service as a world apart from the usual Bond formula.
Though the film starts with a thrilling pre-credits sequence involving cars, bikes, trains and cranes, the story is very character driven. An important piece of technology has been stolen containing names of undercover agents throughout the world; M's job and soon her very life is on the line. M is the Bond Woman in this film - driven, determined and at times ballsy, Judi Dench proves in her biggest role to date of the franchise just why she is the head of Mi6. Being a Mendes film, there are other suitably brilliant performances too from other British names - Ralph Fienes, Ben Whishaw and Naomi Harris, plus an excellent cameo from Albert Finney.
The action, when it comes, is fast and furious, with as much work done for real as possible, something the Bond films should be commended for (and something that shows up when it isn't, case in point: Die Another Day). The final third becomes a kind of mixture of Bond stripped of everything but the essentials, Home Alone and Straw Dogs, a weird mix that actually works. When it's all over, you breathe a sigh of relief and, more importantly, you're already impatient for the next instalment.
Though excellent, it's not perfect; despite having the best Bond theme for ages from Adele, the score by Thomas Newman is probably something that will grow with time. You miss the Barry-esque qualities that David Arnold brought to the series. As for the Bond theme itself, it feels slightly underused, though fills you with a guilty pleasure when it does kick in. The film could also arguably have been cut a little shorter, but the time really flew by when watching.
Such a fantastic work and proof of Bond's hobby: "Ressurection".
9/10
Tuesday, 23 October 2012
Best Bond Films
Unless you've been hiding under a very large soundproof rock over the last couple of weeks, you will be very much aware that the long awaited 23rd film in the James Bond 007 franchise, Skyfall, will be released on Friday. Of course, this blog will deliver its verdict on the film in due time, but for now, here is the blog's list of all Bond films in what it believes to be the favourites. Not the greatest, mind. The favourites.
22. Die Another Day - the film that killed the franchise for a few years, and sadly ended Pierce Brosnan's decent run up till then.
21. Moonraker - when Bond tries to jump on a band wagon, it generally gets it wrong. This is the case in this post Star Wars effort. An okay villain and lots of sexism.
20. Diamonds Are Forever - Sean Connery returned to the film that starts the tradition of Bond girls IQs been smaller than their bra sizes; Charles Grey's Blofeld, though amusing, should be a different character.
19. Quantum Of Solace - not as much of a mess as some would suggest, but a complicated plot doesn't help; the theme song is awful too.
18. The Man With The Golden Gun - a fantastic villain played by Christopher Lee is the only decent thing in this tired film, the last for the partnership of Albert Brocolli and Harry Saltzman.
17. A View To A Kill - A mixture of good and awful; Christopher Walken is blistering as the villain, and Grace Jones adds glamour, but Roger Moore looks very very old and the less said about the Bond girl in this one the better.
16. License To Kill - A dark, gritty, edgy film that tried too hard to be the same as the other action films around it; despite some great performances, the film is let down by the bandwagon curse again.
15. Octopussy - A colourful caper that should have been Moore's last; a good, old-fashioned romp from an author who knows how to write good, old fashioned romps.
14. For Your Eyes Only - the darkest of Moore's films, a Cold War flick that strips back the gadgets and throws away the meglomaniacs for once.
13. The Living Daylights - Timothy Dalton's debut is better than people remember, though it suffers from a lack of a strong villain.
12.Thunderball - The first Bond film to hit a bum note; though the underwater scenes would have been impressive back in the day,they are too long now and look slightly dated.
11. Live And Let Die - Moore's first Bond film is a fantastic adventure, filled with excellent bad guys and great class, though sadly not the greatest of Bond girls.
10.The World Is Not Enough - The most spy of Brosnan's Bond films, with a plot that twists and turns and a wonderful cast; shame about the nuclear scientist in hot pants
9. You Only Live Twice - the larger than life film that introduced Blofeld in all his bald glory, with some beautiful location shots in Japan
8. The Spy Who Loved Me - Moore's best; an exciting, engaging film that proved that Brocolli could produce on his own.
7. From Russia With Love - perhaps the most Cold War of all the Bonds; a faithful adaptation of a great novel with an excellent performance from Connery.
6. Casino Royale - Daniel Craig saves Bond; this is a great modern interpretation of the character that makes poker exciting.
5. On Her Majesty's Secret Service - the most misunderstood Bond film with the most misunderstood Bond; George Lazenby's only folly was himself. A wonderful film with a heartbreaking end
4. Goldfinger - summed up simply by the title. Big, bold, Bond. Glorious stuff.
3. GoldenEye - Brosnan's debut is fast, exciting, surprising and intelligent; a great way to show Bond could survive in the post Cold War world.
2. Dr No - the first Bond film is one of the best; it introduces so much into the cultural mainstream and establishes a formula that many try to copy and fail superbly.
1. Tomorrow Never Dies - not the greatest, but a hell of a lot of fun. Brosnan is very comfortable in the role, the storyline is topical even today, and the villain, sometimes mocked, is wonderfully psychopathic.
22. Die Another Day - the film that killed the franchise for a few years, and sadly ended Pierce Brosnan's decent run up till then.
21. Moonraker - when Bond tries to jump on a band wagon, it generally gets it wrong. This is the case in this post Star Wars effort. An okay villain and lots of sexism.
20. Diamonds Are Forever - Sean Connery returned to the film that starts the tradition of Bond girls IQs been smaller than their bra sizes; Charles Grey's Blofeld, though amusing, should be a different character.
19. Quantum Of Solace - not as much of a mess as some would suggest, but a complicated plot doesn't help; the theme song is awful too.
18. The Man With The Golden Gun - a fantastic villain played by Christopher Lee is the only decent thing in this tired film, the last for the partnership of Albert Brocolli and Harry Saltzman.
17. A View To A Kill - A mixture of good and awful; Christopher Walken is blistering as the villain, and Grace Jones adds glamour, but Roger Moore looks very very old and the less said about the Bond girl in this one the better.
16. License To Kill - A dark, gritty, edgy film that tried too hard to be the same as the other action films around it; despite some great performances, the film is let down by the bandwagon curse again.
15. Octopussy - A colourful caper that should have been Moore's last; a good, old-fashioned romp from an author who knows how to write good, old fashioned romps.
14. For Your Eyes Only - the darkest of Moore's films, a Cold War flick that strips back the gadgets and throws away the meglomaniacs for once.
13. The Living Daylights - Timothy Dalton's debut is better than people remember, though it suffers from a lack of a strong villain.
12.Thunderball - The first Bond film to hit a bum note; though the underwater scenes would have been impressive back in the day,they are too long now and look slightly dated.
11. Live And Let Die - Moore's first Bond film is a fantastic adventure, filled with excellent bad guys and great class, though sadly not the greatest of Bond girls.
10.The World Is Not Enough - The most spy of Brosnan's Bond films, with a plot that twists and turns and a wonderful cast; shame about the nuclear scientist in hot pants
9. You Only Live Twice - the larger than life film that introduced Blofeld in all his bald glory, with some beautiful location shots in Japan
8. The Spy Who Loved Me - Moore's best; an exciting, engaging film that proved that Brocolli could produce on his own.
7. From Russia With Love - perhaps the most Cold War of all the Bonds; a faithful adaptation of a great novel with an excellent performance from Connery.
6. Casino Royale - Daniel Craig saves Bond; this is a great modern interpretation of the character that makes poker exciting.
5. On Her Majesty's Secret Service - the most misunderstood Bond film with the most misunderstood Bond; George Lazenby's only folly was himself. A wonderful film with a heartbreaking end
4. Goldfinger - summed up simply by the title. Big, bold, Bond. Glorious stuff.
3. GoldenEye - Brosnan's debut is fast, exciting, surprising and intelligent; a great way to show Bond could survive in the post Cold War world.
2. Dr No - the first Bond film is one of the best; it introduces so much into the cultural mainstream and establishes a formula that many try to copy and fail superbly.
1. Tomorrow Never Dies - not the greatest, but a hell of a lot of fun. Brosnan is very comfortable in the role, the storyline is topical even today, and the villain, sometimes mocked, is wonderfully psychopathic.
Saturday, 13 October 2012
Culture Section Round Up
Every so often, this blog will take a step back and focus on some of the stories circulating the cultural world, a few tasty morsels for us all to chew on.
In the theatre world, the worst kept secret on Broadway is finally out; Tom Hanks is doing a play. If you're a multi-millionaire over there be sure to book your tickets. Us honest, hard working plebs may not stand a chance of even sniffing the box office, let alone going to see it. Ticket prices on Broadway are now higher than they've ever been before, making it even more of a financial and, yes, creative risk to put any kind of show on over there. Although the West End is still fairly affordable, it is, just like Off Broadway establishments, the little theatres and the touring companies that have become the true pioneers now. Just look at Betty Blue Eyes last year; a musical loved by the critics, but it never stood a chance because people weren't buying the tickets. That's not the show's fault; the blame sadly has to lie on the producers, an astonishing claim to make I know since one of them is Cameron Mackintosh. In the 1980s Mackintosh was incredibly savvy with the way he produced his mega-hits; start on the West End, then transfer to Broadway when you've got enough money from the West End show. All producers need to focus on now is exactly that step, but for Broadway read West End, for West End read little theatres.
Not that that's stopping new productions moving in there. The star of the new production of Charlie And The Chocolate Factory was announced yesterday; surprisingly, it wasn't Russel Brand. Perhaps he failed his audition at the Olympic Closing Ceremony. The star to play Willy Wonka is Douglas Hodge, a very good actor who's already had a success in musicals and won a string of awards recently for his performance in La Cage Aux Folles. He also seems more like the kind of actor that Sam Mendes, the show's director, would go for. And Sam Mendes directs good musicals: Cabaret, Company, etc. Hopes are high for this one, even if one could be cynical at another Dahl musical after the huge success of Matilda. That show is being put on soon on the Great White Way, while we're inheriting two of their success stories: this year's Tony award winning Once, based on the gorgeous film of the same name, and (finally) The Book of Mormon, the (again) Tony award winner from the creators of South Park and one part of Avenue Q's creative team. Both these shows will be hitting our shores next Spring. The money is on Mormon to last longer than Once, but maybe it will surprise us. After all it's going to the Phoenix which is showing the last few weeks of its hit Blood Brothers. Stranger things have happened.
****
The theme tune for the new Bond film, Skyfall, by Adele has been released; it is already ten times better than the last effort by Alicia Keys and Jack White. It retains the Barry-esque qualities of so many great themes that echoed throughout the franchise over the 50 years. Pressure now on Tomas Newman to compose a score worthy of not just John Barry but also David Arnold, whose work on the last six Bond films has been superb.
And on the subject of music, this blog will soon be submitting its reviews of three scorching new albums: The XX, Muse and Ellie Goulding.
****
This blog has stayed silent up to now on the still developing horror story that is the allegations of sexual abuse by the late Jimmy Saville towards young girls in the 60s and 70s; it will remain to do so, save for this piece here. Last night (Friday 12th October) the BBC television comedy panel show Have I Got News For You took a brave step and focused a large part of their new series opener on the story. There were few laughs (obviously) and some footage from an archived episode with Saville that was chilling with hindsight. This blog applauds the programme makers for taking this decision; it meant that the panel could have a proper discussion about the story and the treatment over the last few weeks of the BBC by the media. As one of the guests, Graham Linehan, pointed out, the media are as just as much to fault over the scandal as the BBC are, if any. And for someone whose work has only really appeared on Channel 4 to come to the defence of the BBC, that's pretty decent. It was a risky step and was taken wisely, and all of the makers should be congratulated.
In the theatre world, the worst kept secret on Broadway is finally out; Tom Hanks is doing a play. If you're a multi-millionaire over there be sure to book your tickets. Us honest, hard working plebs may not stand a chance of even sniffing the box office, let alone going to see it. Ticket prices on Broadway are now higher than they've ever been before, making it even more of a financial and, yes, creative risk to put any kind of show on over there. Although the West End is still fairly affordable, it is, just like Off Broadway establishments, the little theatres and the touring companies that have become the true pioneers now. Just look at Betty Blue Eyes last year; a musical loved by the critics, but it never stood a chance because people weren't buying the tickets. That's not the show's fault; the blame sadly has to lie on the producers, an astonishing claim to make I know since one of them is Cameron Mackintosh. In the 1980s Mackintosh was incredibly savvy with the way he produced his mega-hits; start on the West End, then transfer to Broadway when you've got enough money from the West End show. All producers need to focus on now is exactly that step, but for Broadway read West End, for West End read little theatres.
Not that that's stopping new productions moving in there. The star of the new production of Charlie And The Chocolate Factory was announced yesterday; surprisingly, it wasn't Russel Brand. Perhaps he failed his audition at the Olympic Closing Ceremony. The star to play Willy Wonka is Douglas Hodge, a very good actor who's already had a success in musicals and won a string of awards recently for his performance in La Cage Aux Folles. He also seems more like the kind of actor that Sam Mendes, the show's director, would go for. And Sam Mendes directs good musicals: Cabaret, Company, etc. Hopes are high for this one, even if one could be cynical at another Dahl musical after the huge success of Matilda. That show is being put on soon on the Great White Way, while we're inheriting two of their success stories: this year's Tony award winning Once, based on the gorgeous film of the same name, and (finally) The Book of Mormon, the (again) Tony award winner from the creators of South Park and one part of Avenue Q's creative team. Both these shows will be hitting our shores next Spring. The money is on Mormon to last longer than Once, but maybe it will surprise us. After all it's going to the Phoenix which is showing the last few weeks of its hit Blood Brothers. Stranger things have happened.
****
The theme tune for the new Bond film, Skyfall, by Adele has been released; it is already ten times better than the last effort by Alicia Keys and Jack White. It retains the Barry-esque qualities of so many great themes that echoed throughout the franchise over the 50 years. Pressure now on Tomas Newman to compose a score worthy of not just John Barry but also David Arnold, whose work on the last six Bond films has been superb.
And on the subject of music, this blog will soon be submitting its reviews of three scorching new albums: The XX, Muse and Ellie Goulding.
****
This blog has stayed silent up to now on the still developing horror story that is the allegations of sexual abuse by the late Jimmy Saville towards young girls in the 60s and 70s; it will remain to do so, save for this piece here. Last night (Friday 12th October) the BBC television comedy panel show Have I Got News For You took a brave step and focused a large part of their new series opener on the story. There were few laughs (obviously) and some footage from an archived episode with Saville that was chilling with hindsight. This blog applauds the programme makers for taking this decision; it meant that the panel could have a proper discussion about the story and the treatment over the last few weeks of the BBC by the media. As one of the guests, Graham Linehan, pointed out, the media are as just as much to fault over the scandal as the BBC are, if any. And for someone whose work has only really appeared on Channel 4 to come to the defence of the BBC, that's pretty decent. It was a risky step and was taken wisely, and all of the makers should be congratulated.
Tuesday, 2 October 2012
"Drive" Review
A Driver (Ryan Gosling) makes his money by Hollywood stunt work by day and the occasional get away job at night; he's good, the best of the best. He strikes up a friendship with a young mother (Carey Mulligan) whose husband, once released from prison, is targeted for protection money by vicious mobsters. The driver agrees to help him, but when things go wrong, he must go to darker lengths to protect his new friends...
Drive is an awesome film; powerful, brooding and at times shockingly violent, it is a slow crescendo of tension that ultimately comes to a satisfying, if slightly ambiguous conclusion. Nicolas Winding Refn has created an ode to the great movies of the mid-80s, noticeable by the titles of the film and the synthesised soundtrack by Cliff Martinez which never invades the atmosphere of the film.
Refn is aided by fabulous performances; Mulligan proves even further how good an actress she can be, while Bryan Cranston adds to his Breaking Bad persona with a crooked garage owner who makes more trouble than he realises. The film's protagonists are a wonderful mixture of brute force and bizarre, Ron Pearlman's more archetypal gangster matched by a unique performance from Albert Brooks, who shocks as a quiet psychopath.
But the film belongs to Gosling; his performance is quiet and thoughtful, rarely raising his voice or fists unless absolutely necessary. He oozes cool, particularly in the stunning first ten minutes of the film where we see him take part in a getaway job - the watch on the steering wheel,the police radio by his side, the streets of the city perfectly memorised. It's a wonderful job that shows just how versatile an actor he really is.
The film looks beautiful, wonderfully photographed and lit eerily with the lights of the city nightlife. The violence, when it happens, echos the violence in The Godfather - it is essential to the plot, no matter how sudden or shocking; one such example involving Christina Hendricks, who has a small but vital role in the failed robbery, a role that perhaps could have been a little bigger. But the violent acts move the story along, as the driver goes from helpful, potential love interest to Carey Mulligan's mother to the vengeful saviour we see at the end of the film.
Drive is brilliant, evocative and stunning all in one; though it perhaps wastes a couple of the talents involved in it, and is a little too short (not often a criticism for a film), it is still a major production that needs to be seen.
8/10
Drive is an awesome film; powerful, brooding and at times shockingly violent, it is a slow crescendo of tension that ultimately comes to a satisfying, if slightly ambiguous conclusion. Nicolas Winding Refn has created an ode to the great movies of the mid-80s, noticeable by the titles of the film and the synthesised soundtrack by Cliff Martinez which never invades the atmosphere of the film.
Refn is aided by fabulous performances; Mulligan proves even further how good an actress she can be, while Bryan Cranston adds to his Breaking Bad persona with a crooked garage owner who makes more trouble than he realises. The film's protagonists are a wonderful mixture of brute force and bizarre, Ron Pearlman's more archetypal gangster matched by a unique performance from Albert Brooks, who shocks as a quiet psychopath.
But the film belongs to Gosling; his performance is quiet and thoughtful, rarely raising his voice or fists unless absolutely necessary. He oozes cool, particularly in the stunning first ten minutes of the film where we see him take part in a getaway job - the watch on the steering wheel,the police radio by his side, the streets of the city perfectly memorised. It's a wonderful job that shows just how versatile an actor he really is.
The film looks beautiful, wonderfully photographed and lit eerily with the lights of the city nightlife. The violence, when it happens, echos the violence in The Godfather - it is essential to the plot, no matter how sudden or shocking; one such example involving Christina Hendricks, who has a small but vital role in the failed robbery, a role that perhaps could have been a little bigger. But the violent acts move the story along, as the driver goes from helpful, potential love interest to Carey Mulligan's mother to the vengeful saviour we see at the end of the film.
Drive is brilliant, evocative and stunning all in one; though it perhaps wastes a couple of the talents involved in it, and is a little too short (not often a criticism for a film), it is still a major production that needs to be seen.
8/10
Friday, 21 September 2012
"Ted" Review
Get ready for a smorgasbord of reviews coming from this blog over the next few days. We start with the first film from Family Guy creator Seth MacFarlane...
A young boy makes a wish that his teddy bear could come to life and, as in all good fairy stories, it comes true. The trouble is, as the boy grows up into a thirty-something guy (Mark Whalberg) with a long suffering girlfriend (Mila Kunis) and dead end job to boot, so does the teddy bear, Ted (MacFarlane); into a cheeky, pot smoking layabout...
It's refreshing that, though his first feature film is primarily live action, MacFarlane has not strayed away from animation. The first striking feature of this movie is Ted himself, a wonderfully animated character who never looks that different from the stuffed inanimate object we see at the beginning of the film. Though his voice is eerily reminiscent of Peter Griffin, something Ted denies in one of the film's very funny in-jokes, he is a character that could have been very easily the stoner friend in any comedy.
He also doesn't overshadow the film's story as much as you would expect, given he's the title character and all. The one thing that MacFarlane shows is his heart within the storyline - this is a film about Whalberg and Kunis and their relationship. Though Kunis is never given a lot of time to shine as much as Black Swan showed us she could, their trials and tribulations are the back bone of the story.
The film never goes too far into mawkish sentiment though; a lot of Ted's one liners are often hilarious and occasionally border line offensive. A couple of fantastic cameos - Norah Jones and a surprise Hollywood A-lister whose presence should remain nameless just for the pure hilarity of it. Sam J Jones is the biggest laugh - an extended love letter to Flash Gordon filling a big set piece in the middle of the film that is more relevant than first appears.
Sadly the plot tries to cram a little too much in; Giovanni Ribsi is effective as a creepy Ted-stalker who serves as the film's villain of sorts, but is never given enough time on screen to make as much an impact on the plot. The film tries to add the element of peril in when it really works better as a romantic comedy.
Family Guy has in recent years been criticised for not being as good as it was in its early days, and that can be certainly true of many episodes, MacFarlane perhaps putting too much of himself into different projects. But Ted is a triumph for the director; and after all, The Simpsons made a film that was three levels above their input in their television series at the time. The same may soon be said of Stewie and the gang.
7/10
A young boy makes a wish that his teddy bear could come to life and, as in all good fairy stories, it comes true. The trouble is, as the boy grows up into a thirty-something guy (Mark Whalberg) with a long suffering girlfriend (Mila Kunis) and dead end job to boot, so does the teddy bear, Ted (MacFarlane); into a cheeky, pot smoking layabout...
It's refreshing that, though his first feature film is primarily live action, MacFarlane has not strayed away from animation. The first striking feature of this movie is Ted himself, a wonderfully animated character who never looks that different from the stuffed inanimate object we see at the beginning of the film. Though his voice is eerily reminiscent of Peter Griffin, something Ted denies in one of the film's very funny in-jokes, he is a character that could have been very easily the stoner friend in any comedy.
He also doesn't overshadow the film's story as much as you would expect, given he's the title character and all. The one thing that MacFarlane shows is his heart within the storyline - this is a film about Whalberg and Kunis and their relationship. Though Kunis is never given a lot of time to shine as much as Black Swan showed us she could, their trials and tribulations are the back bone of the story.
The film never goes too far into mawkish sentiment though; a lot of Ted's one liners are often hilarious and occasionally border line offensive. A couple of fantastic cameos - Norah Jones and a surprise Hollywood A-lister whose presence should remain nameless just for the pure hilarity of it. Sam J Jones is the biggest laugh - an extended love letter to Flash Gordon filling a big set piece in the middle of the film that is more relevant than first appears.
Sadly the plot tries to cram a little too much in; Giovanni Ribsi is effective as a creepy Ted-stalker who serves as the film's villain of sorts, but is never given enough time on screen to make as much an impact on the plot. The film tries to add the element of peril in when it really works better as a romantic comedy.
Family Guy has in recent years been criticised for not being as good as it was in its early days, and that can be certainly true of many episodes, MacFarlane perhaps putting too much of himself into different projects. But Ted is a triumph for the director; and after all, The Simpsons made a film that was three levels above their input in their television series at the time. The same may soon be said of Stewie and the gang.
7/10
Saturday, 15 September 2012
Chris Moyles' Last Hurrah
Yesterday morning, Chris Moyles broadcast his last ever Breakfast Radio show on BBC Radio 1; its very likely that it was his last ever radio show period.
This was an end of an era; the DJ who has presented this show the longest, the 38 year old built up a fan base that at its peak attracted over 7 million listeners. The fact that at least 120,000 texts were sent into the show yesterday morning alone proves his winning popularity. But, as always has been the case with Radio 1, Moyles' age caught up with him.
It's like a version of the film Logan's Run, where you are disposed of once you reach a certain age. The target is the younger audience and apparently this is only feasible with a younger DJ. What's nice in this instance is that Moyles' reign ended on his own terms; he wasn't fired, he chose to go.
But while the ambition of Radio 1 is perfectly understandable - they're looking at a target of the older teen/student market- it shouldn't matter with a breakfast show. A breakfast show is universal; a breakfast show is listened to by people on their way to work, driving their kids to school. As soon as this is over, then the listeners to the radio station - and this is any radio station, mind - will drop simply because life gets in the way; unless you're lucky enough to be able to listen to the radio where you work, the next time you listen to it is when you're back in your car.
Moyles' replacement is the perfectly likable Nick Grimshaw who, cleverly, has already announced that his breakfast show will be very different to Moyles'; his predecessor had a team to joke and chat with, while Grimshaw will be on his own. Whatever happens, however good Grimshaw is, listeners will drop. X-FM are probably rubbing their hands with glee.
This was an end of an era; the DJ who has presented this show the longest, the 38 year old built up a fan base that at its peak attracted over 7 million listeners. The fact that at least 120,000 texts were sent into the show yesterday morning alone proves his winning popularity. But, as always has been the case with Radio 1, Moyles' age caught up with him.
It's like a version of the film Logan's Run, where you are disposed of once you reach a certain age. The target is the younger audience and apparently this is only feasible with a younger DJ. What's nice in this instance is that Moyles' reign ended on his own terms; he wasn't fired, he chose to go.
But while the ambition of Radio 1 is perfectly understandable - they're looking at a target of the older teen/student market- it shouldn't matter with a breakfast show. A breakfast show is universal; a breakfast show is listened to by people on their way to work, driving their kids to school. As soon as this is over, then the listeners to the radio station - and this is any radio station, mind - will drop simply because life gets in the way; unless you're lucky enough to be able to listen to the radio where you work, the next time you listen to it is when you're back in your car.
Moyles' replacement is the perfectly likable Nick Grimshaw who, cleverly, has already announced that his breakfast show will be very different to Moyles'; his predecessor had a team to joke and chat with, while Grimshaw will be on his own. Whatever happens, however good Grimshaw is, listeners will drop. X-FM are probably rubbing their hands with glee.
Thursday, 30 August 2012
"Brave"
Princess Merida (Kelly Macdonald) lives in Medieval Scotland with her royal parents (Emma Thompson and Billy Connolly). From an early age she has prefered a bow and arrow to polite manners and proper princess conduct. Her mother, however, has other ideas, and arranges a competition for the other clans first borns to win her hand. Mother and daughter are now set against each other, but when Merida tries to use magic to change her fate, the two of them end up having to work together before everything changes...
The Pixar canon has more times then not produced stunning films; not only are the visuals impressive, the story and the script is on the same level. Unlike their rivals at Dreamworks and Fox, they are also very careful to not sell a film just on the stars that are playing the characters. A classic example: how many more people went to see Kung Fu Panda because Jack Black was in it? However, there have been occasions where the films just haven't met the high standards set by their greatest works,examples off which include Wall-E, Up, Finding Nemo, The Incredibles and, of course, the Toy Story Trilogy. The lesser films, though occasional blips, stick out like sore thumbs in the otherwise impressive history.
Sadly, Brave is in this category. That's not to say it isn't any good; it's a lot better than a lot of films out at the moment and a lot of animation that has been out over the last year. The concept of having a film set entirely in Medieval Scotland is a risky one for certain, particularly when you consider the international market and the US cinemas.
The visuals are stunning, though - Scotland's wild Highland countryside is perfectly captured by the Pixar geniuses; cloth, water and fur are all wonderfully created to the quality we have come to expect. The almost entirely Scottish cast, ably led by Kelly Macdonald as Princess Merida, are very good, if a little uninspiring, particularly when you have Billy Connolly in the credits.
But the story lets the film down. After an impressive opening, the film becomes a kind of lacklustre cousin to the dire Disney film Brother Bear, one of the films in the early 2000s that put a death knell on the classic Disney giant status. There is also a significant lack of any proper villain in the film. Julie Walters, as a witch, is potentially wasted as an antagonist, which is left to a demon bear who, while scary enough for little people, just doesn't have the same effect as Lotso Bear or Syndrome.
This however is from a grown man's point of view; having watched it in a cinema full of little people who throughly enjoyed it from the gasps and cheers and laughs, one can definitley say that this is the best Pixar kids film the studio has made for some time. But the joy of Pixar's greatest hits is that you can watch them whatever age and find something in them for you. Although the film's visuals are certainly captivating, there is very little else for grown ups here.
7/10
The Pixar canon has more times then not produced stunning films; not only are the visuals impressive, the story and the script is on the same level. Unlike their rivals at Dreamworks and Fox, they are also very careful to not sell a film just on the stars that are playing the characters. A classic example: how many more people went to see Kung Fu Panda because Jack Black was in it? However, there have been occasions where the films just haven't met the high standards set by their greatest works,examples off which include Wall-E, Up, Finding Nemo, The Incredibles and, of course, the Toy Story Trilogy. The lesser films, though occasional blips, stick out like sore thumbs in the otherwise impressive history.
Sadly, Brave is in this category. That's not to say it isn't any good; it's a lot better than a lot of films out at the moment and a lot of animation that has been out over the last year. The concept of having a film set entirely in Medieval Scotland is a risky one for certain, particularly when you consider the international market and the US cinemas.
The visuals are stunning, though - Scotland's wild Highland countryside is perfectly captured by the Pixar geniuses; cloth, water and fur are all wonderfully created to the quality we have come to expect. The almost entirely Scottish cast, ably led by Kelly Macdonald as Princess Merida, are very good, if a little uninspiring, particularly when you have Billy Connolly in the credits.
But the story lets the film down. After an impressive opening, the film becomes a kind of lacklustre cousin to the dire Disney film Brother Bear, one of the films in the early 2000s that put a death knell on the classic Disney giant status. There is also a significant lack of any proper villain in the film. Julie Walters, as a witch, is potentially wasted as an antagonist, which is left to a demon bear who, while scary enough for little people, just doesn't have the same effect as Lotso Bear or Syndrome.
This however is from a grown man's point of view; having watched it in a cinema full of little people who throughly enjoyed it from the gasps and cheers and laughs, one can definitley say that this is the best Pixar kids film the studio has made for some time. But the joy of Pixar's greatest hits is that you can watch them whatever age and find something in them for you. Although the film's visuals are certainly captivating, there is very little else for grown ups here.
7/10
Tuesday, 21 August 2012
New Classics
Muse and Ellie Goulding have previewed new material recently. Muse, always one note away from extravagance, seem to have steeped over that note and turned it into a symphony. Goulding has embraced electronica more than even in her re-release of her debut album, Bright Lights.
Goulding's new single, "Anything Could Happen" starts with a brace of high vocal noises on loop before launching into a march-type rejoicing that life is always surprising, no doubt influenced by her personal life which she has admitted freely in several interviews is a very definite factor in her new album, due for release in October. Watch this blog for a review of it later in the year.
Muse's new song, "Madness", ironically starts similarly to Goulding's with avocal track on loop. Their last song too hit the public ears,the Olympics-infused "Survival" was brilliant in its epicness and almost absurdly good, suiting the occasion very well indeed. In "Madness", Muse become the band that's the hybrid child of Queen and Radiohead, something they've threatened to do for a while. It is loud, mad in places, with a real sense that the band are going in an entirely new direction.
Goulding's new single, "Anything Could Happen" starts with a brace of high vocal noises on loop before launching into a march-type rejoicing that life is always surprising, no doubt influenced by her personal life which she has admitted freely in several interviews is a very definite factor in her new album, due for release in October. Watch this blog for a review of it later in the year.
Muse's new song, "Madness", ironically starts similarly to Goulding's with avocal track on loop. Their last song too hit the public ears,the Olympics-infused "Survival" was brilliant in its epicness and almost absurdly good, suiting the occasion very well indeed. In "Madness", Muse become the band that's the hybrid child of Queen and Radiohead, something they've threatened to do for a while. It is loud, mad in places, with a real sense that the band are going in an entirely new direction.
Saturday, 18 August 2012
Olympic Legacy - The Victims
Two long lasting events start again today: the first is the kick off of the new Premier League Football season; the second is the start of the new season of The X Factor.
Fascinatingly, the two events are linked not just by their start date but, one feels, the lack of enthusiasm for them. This is not just the seeming minority of us who have always looked upon the turgid display of uncharismatic ego boosting in this most hyper-inflated of talent shows with a sense of weary dread. The same goes for The X Factor, by the way.
No, there is a significant lack of momentum leading up to these two events. The responsible culprit for this is, obviously, the fact that we have spent a whole fortnight celebrating and relishing the sight of sportsmen, athletes, real heroes, real celebrities, who put their time and energy into everything, absolutely everything, to achieve their goals.
This writer does not believe for one second that the contestants of The X Factor have gone through the same journey. On a rare occasion, maybe, but even the most talented of winners - Leona Lewis as an example -- have seemingly faded into the distance. The Premier League footballers, paid far too much for ninety minutes of unremarkable showmanship, may have a stronger legacy in history, but that legacy is now in crisis thanks to London 2012.
If people wish to watch any of these shows -and sadly, hypocritically, this writer will be keeping his eyes on the Premier League and the progress of Arsenal Football Club, despite all his moaning - then by all means let them. But let's watch them with that sense of cynicism, that overall feeling of in the moment and then push it to the farthest reaches of our mind. It's boring. It's boorish. But Bolt, Ennis, the sports that are overlooked by people, the sports like volleyball that have had no funding in this country for the past two years; keep celebrating them. And if not, it's Saturday night. Go to the movies or the theatre. Help your starved mind with some real drama. Not pap.
Fascinatingly, the two events are linked not just by their start date but, one feels, the lack of enthusiasm for them. This is not just the seeming minority of us who have always looked upon the turgid display of uncharismatic ego boosting in this most hyper-inflated of talent shows with a sense of weary dread. The same goes for The X Factor, by the way.
No, there is a significant lack of momentum leading up to these two events. The responsible culprit for this is, obviously, the fact that we have spent a whole fortnight celebrating and relishing the sight of sportsmen, athletes, real heroes, real celebrities, who put their time and energy into everything, absolutely everything, to achieve their goals.
This writer does not believe for one second that the contestants of The X Factor have gone through the same journey. On a rare occasion, maybe, but even the most talented of winners - Leona Lewis as an example -- have seemingly faded into the distance. The Premier League footballers, paid far too much for ninety minutes of unremarkable showmanship, may have a stronger legacy in history, but that legacy is now in crisis thanks to London 2012.
If people wish to watch any of these shows -and sadly, hypocritically, this writer will be keeping his eyes on the Premier League and the progress of Arsenal Football Club, despite all his moaning - then by all means let them. But let's watch them with that sense of cynicism, that overall feeling of in the moment and then push it to the farthest reaches of our mind. It's boring. It's boorish. But Bolt, Ennis, the sports that are overlooked by people, the sports like volleyball that have had no funding in this country for the past two years; keep celebrating them. And if not, it's Saturday night. Go to the movies or the theatre. Help your starved mind with some real drama. Not pap.
Wednesday, 15 August 2012
Olympic Legacy
It's fair to say that the the Opening and Closing Ceremonies of the London 2012 Olympic Games were nothing short of a triumph. Although the latter was hampered slightly by occasional miming and bizarre choices of artists (why not have David Gilmour play "Wish You Were Here" instead of the drab Ed Sheeran?), from start to finish this country proved that we can put on a party and a great event too.
Perhaps the biggest legacy was on a cultural level. With events still taking place, the Cultural Festival has been as diverse as culture can be. And now the best news from the festival seems to be that the Culture Secretary, Jeremy Hunt, has issued an investigation over whether it would be feasible to hold this festival on a biennial basis.
This is a rare right step from Mr Hunt, who seems to have become the fall boy for a lot of the coalition's problems. If the Olympics have proved anything about the legacy of Great Britain, it's not just to do with the excellent sports results from the likes of the rowers, the cyclists, Jessica Ennis and Mo Farah. It's our arts and culture too which make us a part of who we are; and we shouldn't have to wait for the opportunity of a generation, the biggest sporting event to be staged, to show the rest of the world what we can do with the pen, the brush and the stage. And although there are plenty of opportunities to do this anyway (Edinburgh at the moment an obvious and classic example) London should be given the chance to shine at every opportunity.
Perhaps the biggest legacy was on a cultural level. With events still taking place, the Cultural Festival has been as diverse as culture can be. And now the best news from the festival seems to be that the Culture Secretary, Jeremy Hunt, has issued an investigation over whether it would be feasible to hold this festival on a biennial basis.
This is a rare right step from Mr Hunt, who seems to have become the fall boy for a lot of the coalition's problems. If the Olympics have proved anything about the legacy of Great Britain, it's not just to do with the excellent sports results from the likes of the rowers, the cyclists, Jessica Ennis and Mo Farah. It's our arts and culture too which make us a part of who we are; and we shouldn't have to wait for the opportunity of a generation, the biggest sporting event to be staged, to show the rest of the world what we can do with the pen, the brush and the stage. And although there are plenty of opportunities to do this anyway (Edinburgh at the moment an obvious and classic example) London should be given the chance to shine at every opportunity.
Tuesday, 7 August 2012
Tell Me It's Not True...The End Of Blood Brothers
After 24 years, the musical Blood Brothers is closing on the West End, heading on that long trail known as tour, the trail that awaits every single successful musical and play. It's not alone in its fate; after 15 years Chicago will also be finishing its West End run, causing countless men to sob as it's one of the few shows they don't mind being dragged to, what with all the scantily clad ladies and all.
This is not unusual, nor is it a negative outcome of the recession. In fact, this is very much the continuing of a long story that started a decade or so ago when one of the most successful musicals ever, Cats, surprised everyone by closing its doors. It does have something to do with money in a sense - no doubt the shows that will take over from these two winners will be either transfers or revivals. It is however a more artistic approach that has been required over the last few years.
Nobody now should try and put on a brand new musical on the West End without any kind of pre-run anywhere else. It's both a wonderful and perhaps unhappy circumstance that the West End really has become the English Broadway.It just costs too much money. Back in the 1980s, when Cameron Mackintosh reigned supreme, his ploy was to start the shows in the West End before transferring them to Broadway. Now even the West End is too expensive.
Smaller theatres benefit hugely from this. We are seeing many more transfers from the likes of the National Theatre or the Chichester Festival Theatre; examples including the brilliant new production of Sweeney Todd; One Man, Two Guvnors (which has won critical acclaim on Broadway and a Tony for its star); War Horse and most recently Singin' In The Rain. These shows have triumphed in smaller theatres and thanks to word of mouth sold brilliantly in the West End after transfer. Now Spamalot, the Monty Python musical, is returning after a few years tour; ironically, this is exactly what happened with Blood Brothers when it returned in 1988, having not being entirely successful in its first run but becoming the power house it has been after a tour of two/three years.
Blood Brothers is a very good show with a storyline that could have been taken from Greek Tragedy; if you haven't seen it yet, go see it. Someone once described it as the musical for people who don't like musicals. I don't think this is necessarily true. It doesn't have the greatest of scores for one thing; there's a little too much repetition, though it's greatest moment is at the end with the showstopper of a number, "Tell Me It's Not True". It is in fact a play with songs. This is different to a musical, something I will elaborate further in a future post. The important thing is it's a GOOD show and you should see it if not already. Good luck to the tour and here's to whoever moves into the Phoenix.
This is not unusual, nor is it a negative outcome of the recession. In fact, this is very much the continuing of a long story that started a decade or so ago when one of the most successful musicals ever, Cats, surprised everyone by closing its doors. It does have something to do with money in a sense - no doubt the shows that will take over from these two winners will be either transfers or revivals. It is however a more artistic approach that has been required over the last few years.
Nobody now should try and put on a brand new musical on the West End without any kind of pre-run anywhere else. It's both a wonderful and perhaps unhappy circumstance that the West End really has become the English Broadway.It just costs too much money. Back in the 1980s, when Cameron Mackintosh reigned supreme, his ploy was to start the shows in the West End before transferring them to Broadway. Now even the West End is too expensive.
Smaller theatres benefit hugely from this. We are seeing many more transfers from the likes of the National Theatre or the Chichester Festival Theatre; examples including the brilliant new production of Sweeney Todd; One Man, Two Guvnors (which has won critical acclaim on Broadway and a Tony for its star); War Horse and most recently Singin' In The Rain. These shows have triumphed in smaller theatres and thanks to word of mouth sold brilliantly in the West End after transfer. Now Spamalot, the Monty Python musical, is returning after a few years tour; ironically, this is exactly what happened with Blood Brothers when it returned in 1988, having not being entirely successful in its first run but becoming the power house it has been after a tour of two/three years.
Blood Brothers is a very good show with a storyline that could have been taken from Greek Tragedy; if you haven't seen it yet, go see it. Someone once described it as the musical for people who don't like musicals. I don't think this is necessarily true. It doesn't have the greatest of scores for one thing; there's a little too much repetition, though it's greatest moment is at the end with the showstopper of a number, "Tell Me It's Not True". It is in fact a play with songs. This is different to a musical, something I will elaborate further in a future post. The important thing is it's a GOOD show and you should see it if not already. Good luck to the tour and here's to whoever moves into the Phoenix.
Friday, 3 August 2012
"The Dark Knight Rises"
To relaunch a well loved story and do it right is an immense task. To carry the story on and make an even better film in the progress is monumental. To finish that story and do it right is akin to climbing Mount Everest by hopping on one leg.
With The Dark Knight Trilogy, Christopher Nolan has done all this and more. He has cemented his place in the history books by creating a franchise of intelligent comic book films, adding them to his rostra of intellectual blockbusters. Most importantly, with The Dark Knight Rises, Nolan has once again made an excellent film to add to an extraordinary canon: Memento, Insomnia, Batman Begins, The Prestige, The Dark Knight, Inception. He is the rightful owner to the title of Greatest Film Maker of the moment; a modern day Scorcese with a traditionally epic view of films such as DeMille would have been proud of.
This is not to say that there aren't problems with the film; the script, though keeping you guessing throughout most of the plot, is let down but not ina traditional sense. More, it is the mythology of the Batman story that hinders it. Such was the problem with the introduction of Harvey Dent in The Dark Knight; knowing the story of this tragic chaaracter automatically overshadowed him with the spectre of Two Face. Yet Nolan used this to his advantage, making sure the audience weren't treated like idiots because of it, and making the excellent choice to give the Joker no back story whatsoever to counter-balance this. In The Dark Knight Rises, if you know the mythology, then a few characters appearance will be more obvious than others.
Despite this, once again the story is treated as realistically as if it was a modern-day thriller. Batman as a character is perhaps (at a stretch) one of the most believable comic book heroes; he has no super powers, he is spurred on by his own tragedy, his own darkness. The characters around him, particularly the villains, are influenced and inspired by this darkness; some for good - an aspiring, perhaps slightly niave police officer played by Joseph Gordon-Levitt is excellent support, and Gary Oldman is once again great as Comissioner Gordon.
The ones whose motives are less than desirable are also treated with great care and attention. Tom Hardy's Bane has come under a lot of scrutiny due to the mask the actor wears, but more of his dialogue can be heard clearly than previously reported. Besides, one COULD be cynical and suggest that this is another ploy by Nolan to get you to come and watch the film again just to try and catch every sentence, but that's probably going too far. Hardy gives an unusally restrained performance as this psychopath, his accent unclear as to where he exactly comes from, but a brutal, brooding force who is determined to reach his goal, whatever the cost.
For myself, however, there are three stand out performances; Anne Hathaway as Selina Kyle, who we KNOW is Catwoman yet is never defined as such, gives a sensual, streetwise kick to the character and should play this kind of character more often, not least because she looks stunning in the costume. Michael Caine as Alfred could be forgiven for simply turning up yet manages to bring quite a few tears to the eye as someone watching the closest person he has to a son potentially head to their grave.
But the film belongs to Batman, and that's thanks to Christian Bale. If he was overshadowed by Heath Ledger's excellent performance in The Dark Knight, here he takes the film back for the vigilante and rises victoriously. In fact, sadly one of the things the film really lacks is a performance like Ledger, such was the power there. Still, Bale growls and grimaces, contemplates and sacrifices. It takes a good forty minutes for Batman to actually appear - a brave decision by Nolan - and the film really examines what it means to fight for good in a corrupt world by mirroring Batman's fight with Bane's more villanous revolution.
The set pieces are stunning, in particular a memorable scene in a football stadium, and its refreshing that Nolan refuses to go down the 3D road. Hans Zimmer's score pounds away with rough, tribal chants and violence. When it comes to the ending, some would argue that Nolan perhaps goes too far. But the important thing to realise is that he has ended this franchise, he has ended this trilogy. The question now is, for Nolan, where the hell does he go from here?
9/10
With The Dark Knight Trilogy, Christopher Nolan has done all this and more. He has cemented his place in the history books by creating a franchise of intelligent comic book films, adding them to his rostra of intellectual blockbusters. Most importantly, with The Dark Knight Rises, Nolan has once again made an excellent film to add to an extraordinary canon: Memento, Insomnia, Batman Begins, The Prestige, The Dark Knight, Inception. He is the rightful owner to the title of Greatest Film Maker of the moment; a modern day Scorcese with a traditionally epic view of films such as DeMille would have been proud of.
This is not to say that there aren't problems with the film; the script, though keeping you guessing throughout most of the plot, is let down but not ina traditional sense. More, it is the mythology of the Batman story that hinders it. Such was the problem with the introduction of Harvey Dent in The Dark Knight; knowing the story of this tragic chaaracter automatically overshadowed him with the spectre of Two Face. Yet Nolan used this to his advantage, making sure the audience weren't treated like idiots because of it, and making the excellent choice to give the Joker no back story whatsoever to counter-balance this. In The Dark Knight Rises, if you know the mythology, then a few characters appearance will be more obvious than others.
Despite this, once again the story is treated as realistically as if it was a modern-day thriller. Batman as a character is perhaps (at a stretch) one of the most believable comic book heroes; he has no super powers, he is spurred on by his own tragedy, his own darkness. The characters around him, particularly the villains, are influenced and inspired by this darkness; some for good - an aspiring, perhaps slightly niave police officer played by Joseph Gordon-Levitt is excellent support, and Gary Oldman is once again great as Comissioner Gordon.
The ones whose motives are less than desirable are also treated with great care and attention. Tom Hardy's Bane has come under a lot of scrutiny due to the mask the actor wears, but more of his dialogue can be heard clearly than previously reported. Besides, one COULD be cynical and suggest that this is another ploy by Nolan to get you to come and watch the film again just to try and catch every sentence, but that's probably going too far. Hardy gives an unusally restrained performance as this psychopath, his accent unclear as to where he exactly comes from, but a brutal, brooding force who is determined to reach his goal, whatever the cost.
For myself, however, there are three stand out performances; Anne Hathaway as Selina Kyle, who we KNOW is Catwoman yet is never defined as such, gives a sensual, streetwise kick to the character and should play this kind of character more often, not least because she looks stunning in the costume. Michael Caine as Alfred could be forgiven for simply turning up yet manages to bring quite a few tears to the eye as someone watching the closest person he has to a son potentially head to their grave.
But the film belongs to Batman, and that's thanks to Christian Bale. If he was overshadowed by Heath Ledger's excellent performance in The Dark Knight, here he takes the film back for the vigilante and rises victoriously. In fact, sadly one of the things the film really lacks is a performance like Ledger, such was the power there. Still, Bale growls and grimaces, contemplates and sacrifices. It takes a good forty minutes for Batman to actually appear - a brave decision by Nolan - and the film really examines what it means to fight for good in a corrupt world by mirroring Batman's fight with Bane's more villanous revolution.
The set pieces are stunning, in particular a memorable scene in a football stadium, and its refreshing that Nolan refuses to go down the 3D road. Hans Zimmer's score pounds away with rough, tribal chants and violence. When it comes to the ending, some would argue that Nolan perhaps goes too far. But the important thing to realise is that he has ended this franchise, he has ended this trilogy. The question now is, for Nolan, where the hell does he go from here?
9/10
Saturday, 21 July 2012
50 Shades Of Band Wagon
As is such the way of the world, it would be wrong of this blog to not express it's views on the sudden upsurge in popularity of the "erotic fiction" that is the 50 Shades Trilogy.
These books have become so successful purely because of word of mouth and people jumping on the band wagon.It helps massively that you can get them fairly cheaply for your e-reader of Kindle, plus the fact that it is these devices themselves that make reading such fiction such a free experience. Gone are the days of Lady Chatterly's Lover where you were forced to bring your copy home in a brown paper bag and woe betide you for reading it anywhere than the privacy of your own home.
Ironically, just as happened with the Twilight franchise, which the original 50 Shades was a initially a piece of fan fiction of, the release and re-release of similar stories on the Kindle and ebook sites has been fast and furious. You only have to look at the top ten books in this section of Amazon, for example, to see the common theme or link. All light BDSM. All master and servant, whips and chains. Male domination over young, inexperienced, naive ladies. And all, for the most part, cheap and probably down right awful.
Twilight spawned a sudden interest in so-called Dark Romance, Teen Vampire fiction. It's effects have seeped through into the rest of mainstream culture slowly. Prime example: The Amazing Spider-Man's teen romance sub-plot between Peter Parker and Gwen Stacey is shaped the way it is due to the influence of Twilight's teen romance: intense, brooding, ever so slightly relatable to young adults. The same is and will become the case with 50 Shades. Already studio bosses are talking movies - no real surprise, given the speed in which other monumental successes like the Harry Potter series and Twilight were bought up. But who would go and watch it? It will, if successful, create in cinema a new mainstream soft-porn strand that was championed to an extent by films such as Basic Instinct, Indecent Proposal and the so-awful-its-hilarious Showgirls. That's all very well and good but if you really must watch or read something about sex, make it something with a little more credibility or intelligence. Shame is a perfect example, and it's perhaps no surprise that Michael Fassbender is one of the hotly tipped actors for the male lead in the film version of 50 Shades.
*****
In the completion (finally) of Desperate Housewives comes Surbagatory. Actually, this show seems to be in mourning for a number of American shows - Housewives, Scrubs - that when they were good, they were excellent. It takes swipes casually at other highs - The Stepford Wives influence is clearly visible, and the once-great-now-awful Glee too.
All in all, the pilot wasn't so bad; Jeremy Sisto is a nice laid back addition to the cast, though having seen him in tougher work like Six Feet Under does make you wonder whether the show will head someplace darker soon. I'd like it to very much; the obligatory lesson at the end of the episode - just because someone is made of plastic doesn't mean their heart is - sapped away slightly the general feeling of this might be something different. Let's see how this turns out: until the excellent Big Bang Theory returns to our screens this may be the next best comedy out there.
Ironically, just as happened with the Twilight franchise, which the original 50 Shades was a initially a piece of fan fiction of, the release and re-release of similar stories on the Kindle and ebook sites has been fast and furious. You only have to look at the top ten books in this section of Amazon, for example, to see the common theme or link. All light BDSM. All master and servant, whips and chains. Male domination over young, inexperienced, naive ladies. And all, for the most part, cheap and probably down right awful.
Twilight spawned a sudden interest in so-called Dark Romance, Teen Vampire fiction. It's effects have seeped through into the rest of mainstream culture slowly. Prime example: The Amazing Spider-Man's teen romance sub-plot between Peter Parker and Gwen Stacey is shaped the way it is due to the influence of Twilight's teen romance: intense, brooding, ever so slightly relatable to young adults. The same is and will become the case with 50 Shades. Already studio bosses are talking movies - no real surprise, given the speed in which other monumental successes like the Harry Potter series and Twilight were bought up. But who would go and watch it? It will, if successful, create in cinema a new mainstream soft-porn strand that was championed to an extent by films such as Basic Instinct, Indecent Proposal and the so-awful-its-hilarious Showgirls. That's all very well and good but if you really must watch or read something about sex, make it something with a little more credibility or intelligence. Shame is a perfect example, and it's perhaps no surprise that Michael Fassbender is one of the hotly tipped actors for the male lead in the film version of 50 Shades.
*****
In the completion (finally) of Desperate Housewives comes Surbagatory. Actually, this show seems to be in mourning for a number of American shows - Housewives, Scrubs - that when they were good, they were excellent. It takes swipes casually at other highs - The Stepford Wives influence is clearly visible, and the once-great-now-awful Glee too.
All in all, the pilot wasn't so bad; Jeremy Sisto is a nice laid back addition to the cast, though having seen him in tougher work like Six Feet Under does make you wonder whether the show will head someplace darker soon. I'd like it to very much; the obligatory lesson at the end of the episode - just because someone is made of plastic doesn't mean their heart is - sapped away slightly the general feeling of this might be something different. Let's see how this turns out: until the excellent Big Bang Theory returns to our screens this may be the next best comedy out there.
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