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.
Thursday, 29 November 2012
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
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