Elvis & Nixon
Spacey is also excellent as Tricky. But, ultimately this says little about either man. Or the times. Or our times. And, isn’t funny enough to just be a ceraaaazy story you just won’t believe actually happened.
Diverting enough, though.
Penguin Cafe – Barbican (2 July 2016)
Love, love, love, love, love….
I believe this body of work will continue to grow in stature. It should be regarded shoulder-to-shoulder with Britten in the pantheon of British 20th century composers.
The Bookhouse Boys – The Moth Club (8 July 2016)
Never heard these guys before. Their’s is a sub-Devotchka, mariachi-lite kinda rock. It has some really great moments. Most of which when the singer-bloke isn’t singing. The audience of their fans are so excited that they’re playing again for the first time in years that they can’t keep their traps shut. necessitating a steady push closer to the stage to drown them out. Seems the Moth Club pa is not up to this task.
The Taming of the Shrew – Shakespeare’s Globe (9 July 2016)
Second visit. Groundling, where I belong. Again, questions of adaptation are foremost in my mind. In discussion with one of my theatrical chums, he summed up with the question of should this venue be a museum or a challenging theatre space. I must admit, I kinda lean towards the former. When you can go see the bard on motorbikes in a condemned chemical plant and weekend, it’d be nice to have somewhere that you could get a solid, traditional, take guaranteed.
Director Caroline Byrne, does not agree. Setting her version ‘on the eve’ of the Easter uprising, gives it a Peaky Blinders (actually, more O’Casey – but I’s trying to be relevant) aesthetic. Although, she does also manage to be redolent of Beckett (at his Marxist best) and The Quiet Man. (I don’t know enough about Joyce, but I’m sure he’s in there too.) In the Q&A that followed it was explained that following the rising, there was a declaration of equality of all Irish men and woman. (Something the members of the cast found still debatable.) So, the setting is theoretically the last days of the old patriarchy.
Soliloquy’s are delivered as laments. There’s some huge knock-about business. (In the Q&A one pompous ass asks if it was the director’s intention to drown out the text with such business.) But, ultimately, the strength of this production lies in how it handles the problems we should have with the text in this day and age. Instead of being beaten in to starry-eyed adoration as the text, Katherina finishes this version broken and abused. Giving her final speech from the perspective of goods and chattels, rendering the declaration of her husband as lord, life, keeper, head and sovereign a hollow bitter victory. It’s really nicely handled.
Pretty damn good production. I’m still not sure it’s what I want from the Globe.
Either I’m getting old or this isn’t as painfully cute and smug as it really does appear to be. Great performances and a good few laughs. I enjoyed.
Although, will somebody think of the children!!
The Neon Bible
Latest NWR (as he appears to be known these days) movie is your usual tale of the vacuity of the modelling world and how it’s what’s on the inside that really matters.
I’m really not certain about it. Not sure if the style does win out over its lack of substance. However, it does have Keanu in it. And, we like him
Macbeth – Shakespeare’s Globe (19 July 2016)
Even the presence of the ever fragrant Tara Fitzgerald cannot save this blustering, shouty, grab-bag of ideas production. Meh.
Stalking the Boogeyman – Southwark Playhouse (21 July 2016)
Check me out and my regular theatre going!
Stalking the Boogeyman is an adaptation of a This American Life story, apparently. Which makes perfect sense. It has all the hallmarks of a one-acter from them. This is a good studio-theatre production. Intense and quite moving.
DOA – New Cross Inn (23 July 2016)
How many songs about World War III should your band have? Answer: n + 1, where n is the number you already have.
Great show. Awesome crowd. Cool night all in. AND, they finished with Full Metal Jack-off.
Yeah. Alright. Made me laugh quite a bit. Not as bad as could be feared, but not as astounding as could be hoped. Annoyingly, all the good Kate McKinnon bits were in the trailer.
Tempting Failure Day#5 – Hackney Showroom (25 July 2016)
Art happening type stuff. And of course, you just had to be there…
Oblivians – The Dome, Tufnell Park (27 July 2016)
Seems wrong to complain about the sound for a band as garagey. But, the kick-drum is stupid. And, I’m sure it’s not intentional. Despite that, this is an object lesson in what real elemental rock should be like. It’s pigging awsome.
Drummer Jack Oblivian gets a shot on the guitar for a good 15 minutes or so. Seems he’s a better player than the other two. So, it all starts to get a bit too swampy-blues; a bit too musical. Then he goes back where he belongs and it’s back to the primitive all the way.
Odd. Funny. Greek. Yup, think that covers it
Shilpa Ray – The Social (29 July 2013)
And, she’s good. What she’s doing now isn’t 100 miles from the stuff BTD were doing (in fact I recognise some tunes, so definitely doing stuff from previous bands). Of course, now seems like it could be the time for that (ie, the time of Calvi, Barnett, Olsen et al). It’s good. But, not amazing. Everything has that quality of being very nearly something else you just can’t put your finger on. It’s good. I’d see her again. It just doesn’t blow my socks off. Or even live up to the few scraps from previous ‘bands’ (some of which turns up tonight) I’ve listened to previously.
White Heath – George Tavern (30 July 2013)
Still looking a little uncomfortable in this new line-up. Still blummin’ majestic at points. Still convinced they’re going to be massive (in some way)
Robert Forster – Islington Assembly Rooms (1 June 2016)
Full band set this time. Some really brilliant stuff in there. When he encores Cattle and Cane, there isn’t a dry eye in the house
Aussie adaptation of Ibsen. The usual powerful men and their fragile egos shafting everything up for the women.
Rather dreamily put together. Maybe losing that as it hurtles towards the inevitable melodrama at the end. But it kept me with it all the way
Despite some of the most hilarious relapsing-drunk acting for some time
Blindness/Deux Furiesses – The Lexington (5 June 2016)
Album launch from the band whose name translates as 2 Angry Birds*. And, they own it. Best sound I’ve experienced in this venue. Best performance I’ve seen of these songs. Exemplary.
This will be Blindness‘ last ever gig. A lot of people seem sad about this. I can’t work out why.
Woolf/Teenage Caveman – DIY Space for London (10 JUne 2016)
Another day another album launch. The inclusion of Trash Kit on this bill is what sealed it for me. So, of course, someone changes the bill and I get there just as they finish.
Which means I get to see Teenage Caveman, who invariably are the band I miss due to their place on the bill. Slightly jaggy post-Evol punk. Will be intending to make the effort to catch them next time.
Album only on vinyl, so didn’t bother with it.
The Nice Guys
Richard Herring: Happy, Now? – Leicester Square Theatre (12 JUne 2016)
Seriously, how big must be the trucks that deliver the money to Lawrence and Fassbender’s gaffs? It certainly can’t be incriminating photos.
A View From Islington North – The Arts Theatre (15 June 2016)
A portmanteau play. 5 political satires from, well, the usual suspects really. None of them at the top of their game. This was half price offer. And, I’m genuinely thinking even then it was too dear.
Mark Ravenhill’s unsurprisingly sweary opening piece is about the best on offer here. Despite not really fulfilling the promise and having to crowbar some uncomfortable half-baked themes int it to get a conclusion, it makes you think this is going to be at worst an evening of interesting ideas.
The Supersuckers – O2 Islington Academy (17 June 2016)
Back on the road after Eddie Spaghetti‘s cancer. It’s a country set. I’m guessing because his voice isn’t back to full strength. But, it’s good to see him and know he’ll be back fully rocking next time. (Although, I am not sure about that new guitarist.)
Warcraft: The Beginning
Better than it has any right to be, really. More fun than the X-men film
The Secret Life of Pets
More fun than either of them. Another smashing kids movie. With the added bonus of a new Minions short beforehand.
When Marnie Was Here
Last ever Ghibli movie (boo!). It’s based on a book of the type the BBC used to put on all the time for kids and we were forced to watch because there were only three channels. (Yes! 3!! One more than two, and still less than 4!! You lot don’t know your born.) Except, it’s dead good. Hope it’s not really their last
Tale of Tales
Not really anything it should be. Neither dreamy or disturbing enough. But, glad I saw it.
Shows that Vincent Cassell has an excellent sense of comic timing, though.
Rick Redbeard – Awake Unto
More upbeat and poppier second offering. Just more upbeat. Damn fine, though
*I am so getting my arse kicked
Hmmmm. Maybe I need to rethink my blog ‘format’ again. Not sure this is working
Captain America: Civil War
Tee-hee. Thrillingly silly.
Grant McLennan Tribute Night – Bush Hall (6 May 2016)
10th anniversary since McLennan’s untimely death. A bunch of new and old indie luminaries (including most of Teenage Fanclub) get together to pay tribute. Compered by Stewart Lee – who shared a very touching tale of his meeting with the man himself. An excellent night.
Reginald D Hunter/Jarlath Regan – Amersham Arms (9 May 2016)
I’ve seen Regan here before. He did a good solid 20 minutes. There was some really nice material in there. He’s somehow managed to pad this to an hour for the Fringe. Which means it’s nowhere near as tight. Still there’s plenty time to go, I suppose.
Would that we could say the same for Reginald D Hunter. This is not for Edinburgh, but for his 2017 tour. “Because my last tour sucked.” There are moments of total hilarity. But, also some real clunking moments that would suggest that the accusations of misogyny might not be so unfair. But, remember, it’s trying out material. It’s not all gonna fall great. And, he is a terribly likable presence.
Some audience involvement goes terribly wrong and the whole thing falls apart. I find myself thinking of Sadowitz, but not in a good way.
Laura Cortese and the Dance Cards – Green Note Cafe (11 May 2016)
I first saw Laura Cortese playing bass for Uncle Earl. She got to do one of her own songs, which led to us picking up her album. Afterwards, I tried to catch her whenever she was passing through. This usually meant trawling out to weird bars and antique shops in the furthest corners of Scotland. This is my fist chance to see her in London, and the first with new backing band The Dance cards.
It’s all-round lovely. I’m very fond of this venue. And, filling it with lots of strings and old-timey music is just my bag (man).
Our Kind of Traitor
Seems this was shot by quite a famous cinematographer, which explains some of the interesting visual flourishes it has. It’s also got a Bond-like jet-setting sweep to it. Of course, as the recent The Night Manager showed us, all the best bits of John Le Carré take place sat at desks in anonymous rooms.
Basically, punk band become witnesses to a murder in a dodgy club. Cue siege in the titular chamber, with neo-nazis on the other side of the door. It’s gruesome and gruelling. My nails may never grow back. And, probably the best film I will see this year. Amazing.
I really must seek out his first film.
A Midsummer Night’s Dream – Shakespeare’s Globe
Shamefully, this is my first visit to the Globe. It’s a whopping whole £5 for the groundlings tickets (where I belong), but I’ve failed to come see anything yet. First year down there was a production of this, but I waited too long and failed to get tickets. (Disclosure: I didn’t actually get these ones either.) And, if I’m honest, it needed to be something this undemanding to actually tempt me to try the standing about for three hours involved in a visit.
Now, I’m all for dodgy adaptations of The Bard. I’ve sat through heroin-addicted Scottish Plays and post-apocalyptic Othellos and thoroughly enjoyed them. In their best incarnations they will tell you something new and relevant about the text; or just make you marvel at the ingenuity no budget can bring to the table.
So, getting a heads-up on them changing the gender of one of the Lovers in the play did not daunt me. Helena to Helenus. You see what that does? Yeah, quite clever. (But, never fully exploited.) The Bollywood setting? Sounds ace. Recasting the rude mechanicals as a women’s guild? “Rita Quince”? I like it. Ignoring the text and writing your own jokes? What? Changing all localities to London once particularly is there’s a cheap laugh to be had? Erm… Crowbarring Bowie’s Space Oddity in when there’s no reason, justification, or need for a tune, but just because. No. No. No!
It’s a thoroughly enjoyable romp through the play. It’s a damn good play. I enjoyed my trip to Bankside (as they kept reminding us). I will return. But, I was uneasy with the excessive lapses from the text afterwards. Since then, I’ve got downright angry at the laziness and near contempt for the audience the director seems to have in this production.
SPL2: A Time For Consequences
Or, that’s what the cinema told me it was called. The titles tell me it’s Kill Zone 2. I’ve seen neither SPL1 nor Kill Zone 1. I don’t really think it matters. This is a brilliantly flashy blend of martial arts and mawkish sentimentality. Being a chinese move, of course, all venality is ascribed to Thailand.
September Girls/The Black Tambourines – O2 Academy Islington (19 May 2016)
I’m sure I’ve seen The Black Tambourines before and they blew. So, I try to hang back in the pub and avoid them. As I result, I – of course – arrive bang on time to catch them taking to the stage. If I have seen them before, and they did indeed blow, they’ve been practising a lot to make up for it.
They come on and fire into a nosebleed speed take on math rock. It’s complex and rousing. As their set goes on they do that falling back on the popular stuff. Which means the poppier end of things. In their case, Televisiony garage punk. Which in itself would be good enough. Just, it pales slightly to the opening half. They go on the list
September Girls may suffer slightly from the flight. So to speak.
When I saw Dum Dum Girls, there was something about their glam-goth schtick that didn’t sit comfortably with them. September Girls seem to have adopted a similar mantle, and it doesn’t seem to fit them any better. And, it’s a strange discomfit that seems to extend to the material. Don’t get me wrong, they are good. There’s some cracking tunes in here. But, they never seem to fully inhabit the material.
Mishka Shubaly – The Slaughtered Lamb (22 May 2016)
Like many people, I first became aware of Mishka Shubaly thought Doug Stanhope‘s championing of him. Since then I’ve enjoyed his books and grown to love to his songwriting. Playing so many comedy clubs shows in the extended between-song anecdotes. Which are charming and self-depreciating. But, when you’ve got songs like Gideon’s Bible, you maybe don’t have so much to apoligise for the life you’ve led.
Falstaff – Wilton’s Music Hall (23 May 2016)
There seem to be at least two corking tunes in this. Which, in my experience of opera is good odds.
This falls into the budget-based production decisions category (see Midsummer’s above). And, mostly works quite nicely. Of course, it’s got an opera singer’s sense of the bawdy and lascivious about it. And, from your hi-art perch you need to be careful when setting a piece on Benefit Street (they are shaky at some points, but just about keep their balance).
Could definitely have done without the ‘contemporary’ translation. Again, back to the Globe, this material has lasted it should be good enough on its own.
Kinky Friedman – Nell’s Jazz & Blues Club (24 May 2016)
I love the Kinkster’s raconteur status. I love his (not as) politically incorrect (as people think) songs. But, I love the melancholy of Sold American more.
Everybody Wants Some!!
I have a strange relationship with Richard Linklater‘s movies. They are very much hit/miss for me. Among the latter is the lauded Dazed & Confused in which a bunch of people I couldn’t care less about did nothing. This kinda-sequel is pretty much the same. With the added bonus of the bunch happen to be lary jocks (ure to Brighton for this gig. Big Joanie are as ace as ever. Complex and urgent.
Rhode Island‘s Downtown Boys are a furious ball of political sax-skronking energy. I immediately check to see if there’s an official London date on this tour. There is!
I went into this expecting a typical liberal hollywood savaging of the financial crises and the media. I didn’t get it. Instead, it’s a well paced (90 minutes folks!) and brilliantly acted vaguely preposterous ‘thriller’. Thoroughly enjoyable is little of substance.
Nice to see Jack O’Connell more than holding his own next to serious movie stars.
Love and Friendship
Downtown Boys/Trash Kit – The Victoria (31 May 2016)
First day back at work after a holiday weekend. No-one wants to go to a sweaty room of hipsters. But, the gig on Saturday was really good.
Trash Kit are also awesome. Primal, funky, jazzy, punk as fuck. They look like they’re having the best time on stage. Which is always a good thing.
Downtown Boys are still great. Angry, rocking and completely bouncy.
Both album’s bought. When I bitched about never finding new music, but kept saying I knew it was out there – and probably easier to find than ever, christ I was right. As usual.
Shit Love – Whipper
Completely ashamed of my lack of new music listening in April. May kicked off in fine form with this hummable cacophony from Melbourne.
This is pay-what-you-can download from outta Denver, Colorado. The instrumentation and arrangements are pretty smart. But, sadly, I just don’t get on with something. I think it’s his voice, as I began thinking “this is more like it” as we hit the slightly less mannered closer Jesus.
A 3-way split EP featuring 2 songs each by 3 aging indie pop bands from Motherwell.
Not familiar with GUMS! One of the songs is good enough to warrant further investigation. The other, starts well but doesn’t live up to it’s promise. Which I guess is over 50%, so a pass.
The Just Joans treading water. Which, admittedly, is still better than most folks’ trying hard.
The two Hector Collectors tracks serve as a reminder of all the promise they always showed. And, the infuriating lack of focus.
Batman Vs Superman
Well, I thought it was better than a lot of people have made out. I mean, it’s complete rubbish. But, the fact there’s less jokes than the execrable Age of Ultron is no reason to think it any worse.
Looking forward to them let Batfleck do a film alone.
Vodun – The Lexington (7 April 2016)
Vodun are pretty much your oh-so-millennial set up of drummer and bluesy metal guitar. What makes them interesting is the fact they are a three piece. Fronted by a proper black soul diva, instead of some reedy Plant-a-like.
Emblazoned in day-glo body paint, the can at times make a seriously impressive racket. Of course, at times, it descends to lumpen metal tropes. But the other bits are enough to outweigh those.
This is the debut album launch show. I’m genuinely excited to watch this band grow and mature. Unless someone throws money at them
Darren Hayman/Ralegh Long/Deerful – Shackewell Arms (8 April 2016)
Deerful have/has been pleasing me greatly with her laptempi pop ditties of late. TBH it’s the presence on this bill that’s had me venture out when I could really have done with not bothering.
Despite public transport conspiring to make me miss half the set, it doesn’t disappoint.
I’ve seen Ralegh Long perform a song once before. He struck me as the worst tedious type of singersongwriter. But hey, it was one song. I’ll give him a second chance.
He didn’t deserve it.
There’s a lot to like about Jeff Nichols‘ new movie. There’s also a lot to kinda ponder “did they really do that?” “why was all that in the trailer?” “was it any good?” about
I think it was. In fact I’m sure it was. Yes, it was…
The Heads – The Lexington (14 April 2016)
Somewhere about the Headlong Dive record, they cut back on the tedious hippy workout wank. I much preferred the droning driving thunderous garage band version. So, I’m always a little wary that they’ll revert to type. Go “back to their roots” or somesuch other twaddle. The support (whose name escapes me) was one of the guitarists and the roady with an electric bow fiddle improvising for a chunk of time. It’s interminably awful. And fills me with dread for the main attraction.
No need for such fears. They brought the chundering grooving RAWK!! In full throttle, they are something wondrous to behold. I wish they’d get out and do this more often. (Because, christ knows when anyone’ll next be warming up for an ATP event.)
The Jungle Book
Well, who would have thought it? This is really blummin’ good.
The Man Who Knew Infinity
In this country we can fart out top-quality true-story period-drama. So why is this so bad? A waste of the talents of all involved.
Future of the Left – Electric Ballroom (21 April 2016)
You’ll still get blank looks from people that claim to love McLusky at mention of FotL. Which is there loss, but also a shame. Over the past decade this band have become one of the most interesting and challenging rock groups out there. They also completely kick-ass. So, all you retro johnny-come-lately types, get on board with this lot before they’re gone too and you start claiming to have always loved them.
Helen Love – The Lexington (24 April 2016)
Does you heart go boom? Yes, yes, and again yes.
Eye In The Sky
At it’s heart, Eye In The Sky, really rather distastefully manipulates it’s viewers’ perception. Is it really necessary to make the muslim girl at the heart of the movie’s moral dilemma the child of a liberal family that encourage her learning and playing? Does this make here more of one of the good-ones that we should care about more than one dragged up in drudgery and oppression? Just how cynical can you be about your audience?
Of course, I’m assuming that audience is the same one that when you tested the movie insisted on the pointlessly tagged on denouement?
All of which is a shame, because the rest of it’s rather good. It just seems to have hedged it’s bets enough to not be the dark, dark satire that’s really at it’s heart. Which is a shame, because we would’ve been looking at a new Strangelove.
Louder Than Bombs
Violent Femmes – We Can Do Anything
New album. Played this to death
Is it one of their greats? No. Is it better than yours? Fuck, yeah!
AND new Coens!!!!!!!. I expect to not awake in the morning.
It’s like they came up with the device of being able to do all the scenes they ever dreamt of but couldn’t find a place for by throwing them into a great bug hollywood dressing up box and film-within-a-film premise. It’s all over the shop. But, ultimately such a joyous celebration of a golden age of movies. Still grinning.
The Others Below
No-budget brit c-movie. Manages to be quite creepy and darkly funny. Althought I wouldn’t put money on the latter being deliberate.
10 Cloverfield Lane
Some-budget US b-movie. Who doesn’t like John Goodman at his most sinisterly avuncular best? An object lesson in economic story telling and vision. Great fun.
So disappointing. Looks amazing. Fantastic performances. And, it tries.
Suspect when it was called unfilmable, they should’ve listened. Seems really long, yet really rushed. Maybe a six part series would’ve worked better.
I think I liked this. Despite it’s best efforts to the contrary
Pere Ubu – The Dome (24 March 2016)
Contrary to expectation, a rather mirthful gig. If a little long.
Momus – Cafe Oto (25 March 2016)
Right up with expectation, an enormously mirthful gig. With those moments. Always essential.
Yes, it is French
They Might Be Giants – Electric Ballroom (8 February 2016)
Epic career-spanning set, performed with their usual vigour, humour and charm.
Bridget Christie/Sara Pascoe – The Amersham Arms (8 February 2016)
I’ve never seen Pascoe live. Having heard her interviewed at length, I always been a little underwhelmed by the panel show appearances. But, then, they shouldn’t be used as a measure of anything. Her live show is wicked smart and deftly charming. She goes on the catch-a-full-show list.
I have a lot of thoughts about the current attitude to ‘rape jokes’. And, sensibly, I keep most of these to myself. Thankfully Christie seems to have decided that he new material is going to take it on head first. It’s everything you want; hilarious, thought-provoking and, at turns, uncomfortable. Really looking forward to where this goes.
Ultimately, a really, really good TV movie. Bryan Cranston is superb. In this, like. Not just in general.
Mighty Mighty – 100 Club (19 February 2016)
More indie-schmindie nostalgia for me. Yet another unsightly bunch of men of an age that should-know-better shambling on stage and raking over material over 30 years old.
Every note of it made me feel 16 again. Like what a good pop tune should.
Terminal Cheesecake – The Lexington (20 February 2016)
Really enjoyed this. Yet, found myself focussing on just how fantastica powerhouse the drummer was. Which is never a good sign.
More Oscar® botherers. Also televisual. Unlike Trumbo, this was a movie aspiring to being an HBO mini-series, not vice versa.
Really wish I’d had the time to write the meditation on Ryan REynolds I wanted to write after seeing Mississippi Grind. Then I could be all smug. Seriously, ask anyone I went to the pub with in the last part of 2015.
Finally got round to watching what I had been told was The Wire of live-actioned Marvel. A bold claim. TBH, one that only Vincent D’Onofrio‘s near-Shakespearean take on a cartoon villain comes anywhere near fulfilling. Which, in itself, made the journey worthwhile.
I realise everyone’s probably finished the second season by now. I’ll get round to it. But, I’m not certain it’ll be able to keep that up without him.
Bat-Bike – Getting Back
Attempt to get to more new music. Random pick from blogs. Turns out they are local to me. This is great. Squinty psychedelics. Garage aesthetic. Gonna catch them live asap.
The Love Triangle – Clever Clever
Random Facebook recommend. Great stuff. The kind of fuzzalong powerpunk pop tunes that sound like they’re a dawdle to throw together. If they were, surely more people would be doing it?
Towards the end of last year I spent or so putting some comments into incomplete blog postings. I evidently don’t have either the time or the inclination to keep this up. Which is annoying as it exists to keep my hand in with written communication. Or articulating the mess that goes on in this mind. Lets say it’s time. I’m definitely spending less time in the office doing this. So, let’s a different format. See if I can keep my hand in.
New year’s day. Denver, Colorado. We can’t get in to the full 70mm roadshow, so we’re seeing this in council format.
There’s a ludicrously extended talky bit at the start of this where not only does Tarantino‘s supposed snappy dialogue is nowhere to be seen. There is a streak of misogyny that I’m not cool with, though.
Then the eight actually get together and it becomes an outrageous slapstick bloodfest. I am going to return to this in the full experience. So, more detail then.
Itchy-O Marching Band – The 3 Kings Tavern (1 January 2016)
Someone finally listened to my bitching and put some other gigs on while I was in Colorado.
There was a support band. I can’t remember their name. They weren’t bad.
How to describe Ithcy-O? The mariachi band who soundtrack Tim Hunkin‘s gorgonazola fueled night-sweats? Yeah, I think that’ll do it.
It’s part cabaret, part installation. There’s dancers, tesla coils, smoke cannons, lights on everything. But, mostly, there’s the battalion of drummers and musicians. When they get going they are a thumping hypnotic On-U groove. Problem is they spend so long getting going. I understand what an introduction is, and how they can be used. But, if you had a car that took forever to get started every time, you’d scrap it.
Her’s is a fascinating story.
The cast are marvellous. Alicia Vikander stealing another film. Not to say that Eddie Redmayne is anything other that damn fine, and rather beguiling, in the title role. (And, all films could do with Ben Wishaw popping up. If only so I can shout Pingu! when he does.)
It’s truly fucken woeful, though.
Talking of full of woe…
A lot has been made of the authenticity of this movie. The dedication to filming by natural light. Which is truly stunning at points. Of course, only serving to really emphasise the very obvious cg bits.
Apparently the actors were a bit cold and miserable. Diddums. It’s not as raw or grueling as you’d hope. There’s a point, where Leo‘s in the roots of a tree. Hiding from the French, or the natives, or Tom Hardy, or some wildlife, or fire, or snow, or wind, or an iceberg. Whatever. I looked at the screen and realised this film could’ve had Tom Hanks or Cruise in the main roll and not really have made a bit of a difference. Particularly to my relatively thumbs-up enjoyment of it.
Here’s a hint: Next time you’re looking to lose a bit of flab, or 20 minutes running time (as some people call it), start with the dream sequences.
Soom T – Hoxton Bar & Kitchen (20 January 2016)
I first became aware of MC Soom T providing vocals for the astounding Send Them Kids To War by the otherwise pedestrian Burns Unit. Since then, every now and again I’ve caught mention of her (huge in France, apparently) and been interested. So, free gig. No-brainer.
It’s quite good. I keep thinking about how I’m told she’s huge in France. Which might explain the just-too-slick edge to tonight. I find myself questioning how much of what I’m watching is what I’m hearing. But, it’s filed under “warrants ore investigation”.
David O Russell is one of those directors, like Paul Thomas Anderson, who – to my mind – I do not like. However, it transpires that of the very few films I’ve seen by him I’ve rather enjoyed them. So, I don’t know what it was about the deeply oblique trailers for this that made me begin to really want to see it. And, why, when I found out it was the biography of the woman that invented the miracle mop, I just wanted to see it all the more.
Another fantastic cast, at peak game. But, what O’Russell does so well with them is make them believable. OK, I realise that’s kind of the point of directors and actors. Let me try and expand. While this is a dysfunctional family, the heart, the humanity, the reality are all there. There’s a domestic atmosphere that just rings true throughout. It’s at the heart of the film and is what makes it work. For example Virginia Madsen‘s bed-ridden soap-obsessed mother (although not the matriarch) would be a shrill grotesque in the hands of, say, a Wes Anderson. Here she has dimensions and we are pleased with her arc.
Here’s a hint: Next time you’re looking to lose a bit of flab, or 20 minutes running time (as some people call it), start with the dream sequences.
Unlike Lenny Abrahamson who I think I’ve loved all his films, but had only seen the two.
Blah-blah cast etc…
Adam McKay, director of this, is also currently co-host of a podcast called Surprisingly Awesome. Each week it takes an apparently dull subject, e.g. concrete, and kicks some interesting into it. This movie does the same with [one facet of] the 2008 crash. It’s not awesome, or particularity surprising. It is pretty damn entertaining though. (If no Margin Call.)
Forget the “who would’ve thought there was life in the Rocky franchise” question*. Who would’ve thought there was something you’d never seen before in a boxing movie? Like most current ‘re-boot’ movies, Ryan Coogler is happy to throw in those nods and references to give the audience that familiarity. (Although, to be fair, the Rocky movies may have invented this. He needs to do the run, he need to chase a chicken.) But, he also takes current filming techniques and gives us something we’ve never seen before in the tiredest old series of a seriously tired genre. There is a fight earlier on in this which appears to be filmed in one shot. Our POV is right in the heart of the action with the fists, blood and sweat flying. It strikes me as revolutionary as we’re told Raging Bull was back in the day.
* Although, by god there is. And it is a corker.