This is a sensational pitch black character piece that allies a powerful script with violent social satire; all glued together by an Oscar-worthy lead performance from the ever-excellent actor Jake Gyllenhaal.
It’s about monsters. The monster of ambition. The monster of obsession. The monster of humanity. The monster of the Media. The monster of a bloodthirsty public searching for the next violent clip to trend or share on Twitter or Facebook over their morning coffee. Gyllenthaal plays the main monster: Lou Bloom. He’s an anti-anti-anti-hero of our times. A personification of capitalist evil.
Dan Gilroy’s cutting script makes no attempt to make him likeable or even sympathetic. We first meet him stealing scrap metal and beating the crap out of a Security Guard. He then has the balls to try and get a job at the yard he’s selling stolen goods to. So why was I immediately enthralled by Lou Bloom? Well, he has ambition. He has drive. He has linguistic charisma. He has a thirst for success. A thirst for money. And a thirst for blood.
Lou Bloom is a vampire – a night creature creeping between the shadows and he finds the perfect vehicle for his nefarious wants. He discovers he can make money filming car wrecks and violent crimes on the streets of Los Angeles and sell them to a local News station. His TV handler Nina (Rene Russo) takes him under her wing but it’s not long before Bloom is taking flight and manipulating her to his own needs.
With the smooth patter and greasy complexion of a snake-oil salesmen Bloom extends his operation by taking on down-on-his-luck Rick (Riz Ahmed) and competes on the dark, mean streets of LA with veteran ‘crawler’ Joe Loder (Bill Paxton). Bloom will stop at nothing to achieve his expansion goals. The drama really cranks up as he races to record one gut-churning tragedy after another eventually manufacturing violence to his own gain. These guys are filming and selling death – with echoes of Michael Powell’s classic horror film Peeping Tom (1956) – and WE the voyeuristic public are buying it.
I enjoyed the fact that Bloom was a ghost; a shell of a man with little in the way of backstory and yet through his actions we absorb the horror of his character. I was drawn in so much by Gyllenthaal’s magnetic performance as well as a fine supporting cast. Incredibly this is a DEBUT film from respected Hollywood screenwriter Dan Gilroy. However, he directs with aplomb and the end shoot-out and car-chase was a memorable piece of filmmaking – full of tension – with a quite breath-taking pay-off.
I loved this film. It takes the idea of the News Media as not merely objective representatives of fact but rather sensationalist manipulators where murder has become a natural by-product of their lust for ratings. Films such as Gone Girl (2014) and Anchorman 2 (2013) have examined darkly and humorously the role of TV News in society recently but the stylish neo-noir Nightcrawler trumps them. Through Bloom the parasitic press and public are shown to both be vampires draining the life out of humanity. WE ARE ALL MONSTERS AT HEART!
PAUL FOOT’S HOVERCRAFT SYMPHONY IN GAMMON SHARP MINOR (7/11/2014) REVIEW
“I decided to have a go at stand-up comedy in a little bar. I did not have any jokes. Amazingly, it went well and I resolved on the spot to become a professional entertainer. 17 years later, I became an overnight success.”*****PAUL FOOT*****
Friday just gone began a busy time of watching comedy shows for me. It wasn’t planned that way but many of the funny people and shows I wanted to see happened to be on in the same period. First off was surreal jester Paul Foot, then on Sunday, Tottenham’s abject loss to Stoke in the Premiership provided much mirth. Not. Tonight, I am going to see the brilliant Stewart Lee; tomorrow, theatrical extravaganza Book of Mormon and finally, on Friday, bitter comic misanthrope Andrew Lawrence.
Paul Foot burst on the comedy scene many moons ago winning one of the BBC New Act Talent Thing Competitions and that. I recall there being someone called Peter Kay who finished second in the competition but not sure what happened to him? Then when I started doing a bit of stand-up comedy myself I ran my own night at the aptly named Comedy Pub near Leicester Square. It was a very small new materialish night and the wonderful Paul Foot headlined on a couple of occasions. I was a crap promoter really but had some fun nights and always wondered why Paul Foot wasn’t on television more as he genuinely has – what is known in the business – “funny bones.”
That was in say 2009 I think but more recently though he has appeared on a few panel shows such as Never Mind The Buzzcocks and Would I Lie To You plus the wonderful Alternative Comedy Experience. Further, his constant gigging and secret shows have allowed him to build up his own audience of fans; or as he calls them “connoisseurs”. Thus, I was pleased to see his latest show at the Bloomsbury Theatre and experience more of the hilarity I saw at the Comedy Pub but on a much bigger stage. Well, it actually had a stage; unlike the Comedy Pub.
Paul Foot is a marvellous, clown, eccentric, misfit who plays himself in almost every show he’s in and very funny he is too. From the moment his voice squawked from off-stage I was laughing; opening the show with a poetic chaos that breaks with the conventions of the traditionally slick club comedy night.
Humour comes from all directions: his surreal flights of fantasy; his low-to-high pitch Home Counties drawl; his silver-shoed, mullet-haired appearance; plus the way he prances around the stage resembles a dressage horse on hot coals or a featherless bird flapping, yet failing, to take off. All told Mr Foot is a verbal and physical joy to behold.
As he gambols around the Bloomsbury stage he surprises the front row with some break-the-ice “mounting” a fan’s chair; before unleashing some brilliantly silly observations, stories and what he calls “disturbances”. To those unfamiliar with Foot’s work it could seem like the mad ranting’s of a fool and in some ways it is but at its’ heart his comedy is very well designed and structurally sound.
Indeed, within the flights of fancy there are some excellent observations around religious chancers; landlady bed and breakfast etiquette; and the perils of platitudes which may leading to snake invasions. What I love most about Paul Foot is his absolute conviction and passion to the routines; in his mind these events are real and thus I believe him. Overall, I genuinely nearly pissed myself laughing during this show so do try and catch him if you can in your lifetime.
With Christopher Nolan’s Interstellar (2014) orbiting the cinemas this week I thought I’d look back at the film which he made in between breathing life into the Batman franchise. No doubt Nolan is an important genre filmmaker and as his budgets have got more grandiose then so have his ideas. I just love that he is interested in attempting to make intelligent blockbusters where ideas, character and theme lead the story rather than rely simply on action, explosions and special effects (no offence Michael Bay.)
Memento (2000) was a stunning and complex low-budget noir which dealt with obsession, murder and memory and Nolan continued these themes in superior cop thriller Insomnia (2002). Having delivered a cracking origins film in Batman Begins (2005) the director followed this up with a story about battling magicians based on Christopher Priest’s novel called The Prestige (2006). For me it confirmed him as a force-to-be-reckoned with director. Following on the themes and tropes established in his prior films, The Prestige is centred around two obsessives brilliantly portrayed by the always excellent Christian Bale as Alfred Borden and the never-been-better (until Prisoners (2013), Hugh Jackman, playing his bitter rival, Robert Angier. The story starts at the end with Borden facing the hangman for Angier’s murder. After which the narrative flashes back to a time when the pair were freshman trick-smiths learning the ropes from mentor Cutter (always solid Michael Caine). When the cockney and cocky Bordens’ actions accidentally lead to the death of Angiers’ wife (Piper Perabo) – during a particularly complex and dangerous trick – the two go their separate ways. This sets in motion a story full of bitter twists of active and reactive vengeance. Each protagonist becomes so obsessed outdoing the other – with the ultimate trick – they are prepared to sacrifice the ones they love in doing so.
The film is rich in plot, character and theme and investigates thoroughly the very human aspects of obsession and revenge. The double or doppleganger trope is also integral to the story as the writers Jonathan and Christopher Nolan literally dissect the characters’ souls. The gritty, dirty period of Victorian London is wonderfully evoked and the fascinating world of magicians and their mysterious secrets is expertly represented. At it’s heart the story begins by showing us the cons of the magicians and the lengths they will go to amaze and astound an audience. By the end though the film becomes something much different with a chilling and fantastic turn which you think you see but ultimately don’t see coming.
Brilliantly directed by Christopher Nolan The Prestige is inventive, intelligent and ingenious. His cast does not let the magical screenplay down with the gorgeous Scarlett Johannson and – albeit briefly – pretty Piper Perabo bringing some glamour to the gritty proceedings. Rebecca Hall is also on commanding form bringing a subtle pain to the role of Borden’s wife.
Overall, it’s a challenging big-budget tale in which you never quite know what is real or what is a con. It keeps you guessing to the end, leaving you with a jaw-dropping final act as the story moves from sleight-of-hand tricks to science fact and finally science fiction. Ultimately, the film successfully combines fantastical, existential, and scientific elements. The film gives us a kind of magic but asks whether it’s worth the damage it causes to lives? THAT, for me, is The Prestige’s greatest trick.
Set in the picturesque Bayou from the stable HBO,
Dead as night; black as a murder of crows,
Southern Gothic of the police procedural persuasion,
True Detective’s a compelling, gripping, televisual sensation,
Sacrificial kill of a woman begins the murky plots,
As past and present collides, grips and clots,
A gloopy broth ensues of which there’s little filler,
As Louisiana cops pursue a nefarious serial-killer,
True Detective dials many a pulp-fictional cliché,
Yet we’re always wrong-numbered by Harrelson and McConaughey, Portraying mis-matched partners both with darker sides,
Suffering addictions, obsessions and existential slides,
Writer Nic Pizzolatto delivers a corrupt vision of humanity,
Amidst the Cajun swamps we’re in David Fincher territory,
Standard cop stuff like the Chief screaming “you’re off the case!”,
Is deftly masked by Cary Fukunaga’s directorial style and pace,
McConaughey’s Rust Cohle is post-modern Sherlock,
He will never cease until the mystery is unlocked,
Allied with Harrelson’s Watson the two just won’t stop,
Title may say True Detective but it should be Existential Cop,
Meth-head rednecks, biker gangs, Southern whores all feature, Alongside pederasts, tattooed maniacs and crazy preachers,
All travelling together down a path undoubtedly well-worn,
Nonetheless it’s a delicious slice of murder porn.
Gillian Flynn, David Fincher, the cast and production team have carved out a superlative, rug-pulling, amoral, misanthropic and bloody suspense thriller which ghosts between several genres from romance to police procedural to thriller to Grand Guignol splatter film. Given the nature of the well-orchestrated and devious plot I will not be giving anything away other than it is essentially about a marriage in crisis and then some.
We begin in North Carthage, a picturesque town in Missouri as our anti-heroes Nick (Ben Affleck) and Amy Dunne (Rosamund Pike) are established. Flashbacks reveal a lustful romance but as money troubles affect them they are forced to leave New York and move back to Nick’s hometown. The story kicks off with a weary Nick bemoaning his lot to his supportive sister (excellent Caroline Coon) before he finds out Amy has gone missing. Then the fun really starts.
As the plot unfolds we are led a merry dance as to where sympathies lie as the story twists and turns allegiances from Nick to Amy and back again. Having lived through a couple of acrimonious relationship breakdowns myself I felt the pain of the characters trapped in a marriage where the spark has been dampened by familiarity, financial worries and narcissistic deficiencies. Although, given the size of the house they live in I didn’t feel too bad for these over-privileged sociopaths.
Ben Affleck is very effective as the trouble-plagued yet spoilt WASP, however, Rosamund Pike steals the acting honours with a sparkling star-turn. Throughout she demonstrates the many facets of an emotionally complex, intelligent and physically adept human. I sensed this was writer Gillian Flynn’s fantasy; acting out her devilish desires on page through this beautiful yet dangerous character. Pike’s Amy took me back to the age of fantastic ’40s femme fatales played with aplomb by: Barbara Stanwyk, Rita Hayworth, Ava Gardner et al.
David Fincher, with his wonderful pallet and great eye for a script, is carving himself out a terrific raft of movies which look into the dark recesses of the American dream. He dissects and delivers a scathing commentary on the flaws and weaknesses of the middle, upper and wealthy classes. He not only incorporates obsessive characters but also muddies waters between good and evil and hero and heroines as witnessed most recently in The Social Network (2010), Zodiac (2007) and The Girl with the Dragon Tattoo (2012). While Gone Girl could have been shaved of 10 minutes to make it punchier, for me, Fincher is a post-modern Hitchcock; making fine films about damned unlikeable characters but somehow pulling us into their tawdry lives.
There’s a fantastic episode of South Park from season 17 called ‘Informative Murder Porn’ which satirises the rise of scurrilous, scandal-mongering TV shows which “celebrate” salacious murders, crumbling marriages and missing people. Gone Girl is essentially a high-end version of such shows; the likes of which feature cleverly within the film’s plot. Indeed, the film also condemns the poisonous nature of such programmes which take joy in other’s misery.
Overall, Gone Girl is a masterful B-movie which is very gruelling to watch from an emotional perspective. Aside from the cops investigating (Kim Dickens and Patrick Fugit) Amy’s disappearance and Nick’s sister the majority of the characters are borderline sociopaths. Indeed, when one of the more likeable characters is the media-hungry-lawyer-snake-oil-salesmen-come-showman (Tyler Perry) then you know you’re dealing with an extremely opaque vision of humanity.
Here’s a written round-up of some of the stuff I’ve been watching, tele-viewing, cinema-going, generally experiencing, listening too, visiting in the last few weeks or so.
ALTERNATIVE COMEDY EXPERIENCE – COMEDY CENTRAL
Pedant-king and all-round comedy god Stewart Lee picks the acts and overlords the 2nd season of The Alternative Comedy Experience. It features many comedians arguably TOO off-mainstream, surreal, political or whimsical to be considered for a show such as Live At The Apollo; yet, there are mostly wonderful comedians on view.
I winged through the whole season pretty quick and my favourites included: Stephen Carlin, Bridget Christie, Michael Legge, Tony Law, Paul Foot, David O’Doherty to name but a few. Lee himself only appears in interview form but it’s a fine showcase for some of the more alternative comedy minds on the circuit.
DR WHO – CATCH-UPS
The Horror Channel – SKY CHANNEL 319 – often shows some questionably poor films but it also shows some classic Dr Who’s from yesteryear. I’ve watched a couple of the TOM BAKER stories — HORROR AT FANG ROCK and CITY OF DEATH – and maybe it’s nostalgia for my youth but I think he IS the perfect Doctor: manic, emotion, performance, eccentric, dark, yet funny too. And that booming voice has real authority. He just makes everything – however far fetched – seem so real believable. His delivery is Shakespearean.
Having watched all of Eccleston and Tennant’s episodes recently I’m now onto the youngest Doctor ever – Matt Smith! The stories are great and while his assistant Amy is bland yet lovely, I’m warming to Smith. He’s like an excitable Tigger on speed with a quirky energy and a hint of darkness. I want to see him really go dark the way Eccleston did at times but in the episode AMY’S CHOICE we got a hint of a darker side in the form of the Dream-Lord played by fine actor Toby Jones so I look forward to more of that element in future, past or present episodes. Also, I loved the VINCENT AND THE DOCTOR episode in which the Doctor meets Van Gogh; artistry, depression and a beastly blind being is hellbent on destruction in a very touching episode written by Richard Curtis.
DRAYTON MANOR THEME PARK
Me and my son Rhys (13) love going to theme parks. My motion sickness seems to be getting worse but I braved the 130 mile journey and drove to Drayton Manor near Tamworth in the hope of holding my breakfast down. It was an overcast but occasionally sunny day and thankfully off-peak so we avoided legions of people and massive queues for the rides. It was a fun day out and we went on most of the rides and visited the zoo they have there. It’s no Thorpe Park or Alton Towers but it’s still a great place to visit. While my stomach turned over a number of times I kept my lunch down so a winning day all-round.
THE EQUALIZER
Denzil Washington is probably the best movie actor around as he has a knack of turning average scripts into something very watchable and this is no different. I can see why he was attracted to the character of Robert McCall as he is a Robin Hood type who uses his special training to assist those in the neighbourhood and eventually turns his brutal killing abilities to something more global.
This is nowhere near as good as the Fuqua/Washington double-teamed Training Day (2001) for which the actor received the Oscar for Best Actor or the equally brutal Man On Fire (2004) which is something of an underrated classic in my view but while instantly forgettable it’s still unashamedly entertaining and had me gripped throughout the slightly overlong running time.
HER
Spike Jonze eccentric “love” story follows a similar path story-speaking to an episode of Big Bang Theory I saw where Raj fell in love with Siri his Iphone voice system. Of course, Jonze develops the theme of technological romance further over the running time with a beautiful, funny and at times very human dramedy. Indeed, while many people reach for the Internet to find “love” either through pornography or online dating the brilliantly named Theodore Twombly actually falls FOR his computer itself.
I loved everything about the film: the look, cast, design, direction, performances and above all else the cute and always surprising screenplay. Joaquin Phoenix is full of hangdog desperation at the break-up of his marriage and subsequent loneliness. Scarlett Johansson provides the alluring voice of the “Operating System” he reaches out for as their relationship takes some surprising turns. It’s a perfect “first world” piece of cinema which charmed me and almost melted my icy heart.
NATIONAL MOTORCYCLE MUSEUM
My son Rhys has expressed an interest in motorbikes recently and as we were in the Midlands I thought why not check this place out — in Solihull — on the way back to London. It’s a wonderful place if you love motorbikes with hundreds and hundreds of two-wheelers from the earliest days of industry to the modern age. I’m not a petrol-head myself but I was impressed by the array of different bikes on show and felt proud that the country I came from had produced so many beautiful machines and many which had served us during the wars and set many a world speed record. My son was disappointed there were no Harley Davidsons on show so I reminded him in was a “National” and not and “International” museum. Kids eh!?!
OLD BOY (2013)
Overall, it’s not bad entertainment but if you haven’t seen the original then do watch Park Chan Wook’s classic instead. While Josh Brolin in the lead is great Sharlto Copley’s ridiculous English accent ruins much of the tension in the latter part of the film.
It’s still a great story of a dislikeable guy imprisoned against his will and much of the power in the story derives from the mystery of not knowing why he is held captive. The first half of the OLDBOY (2013) remake directed by Spike Lee was pretty decent but the 2nd half seemed as if it was cut to pieces ensuring loss of dramatic impact during the sick twists at the end. It’s slick and a bit silly but the original remains an utter classic of World Cinema. WATCH THAT INSTEAD!
SPURS LATEST (up to 22/10/14)
After Spurs scrapped to a 1-1 derby draw with Arsenal in the Premier League I went to see them play Besiktas at White Hart Lane in the Europa League. Harry Kane put us a goal up but Besiktas did well and only some fine saves from Hugo Lloris kept them at bay. To be honest the Turkish team were the better side in the 2nd half. Indeed, they grabbed a penalty equalizer after a silly handball from Chiriches. Ba made is 1-1.
Spurs have since been defeated by Manchester City in a game which had 4 penalties – two of which were missed by Soldado and Aguero. The Argentinian did however, score the four goals which put us to the sword. The referee was a disgrace really with some dodgy decisions and while we played okay in patches we were outclassed really. I have low expectation of this season but can see glimpses of what the new manager is trying to achieve so we will see what the season brings us.
SLEAFORD MODS
I suffer from arrested development where music is concerned. I have very specific rock and roll roots on the whole and my favourite kind of music is what some might say is 80s/90s/00s “indie” rock. I do like a bit of rap, heavier rock, dance, electro stuff too though. I do listen to new music but I’m firmly entrenched in my preferred genre and only occasionally does a new band capture my imagination.
My new favourite musical thing is SLEAFORD MODS. A Nottingham-based duo who combine sparse keyboards, drum loops and angry, yet humourous, lyrics spat out from the mouth of Jason Williamson. He is an authentic Midland council estate voice (reminiscent of Mark E. Smith) who rants against media phoneys, social media and delivers poetic rhymes about everyday struggle. Before the Arctic Monkeys became hipster pricks I had great hopes for them. I doubt Sleaford Mods go the same way and become complete Camden cunts. Check out Divide and Exit – it’s a brisk-sweary-real-down-to-earth-shopping-trolley-in-a-canal-treat.
This pulpy, yet efficient remake of the 1980s ITV “classic” features Denzil Washington on decent form as a humble blue-collar worker with both a conscience and mysterious past. It’s a brutal and fun film which runs the gamut of film clichés featuring:
Russian gangsters called Sergei and Vladimir sporting more tattoos than skin.
Young tart-with-a-heart in distress.
The “hero-surveys-the-scene” POV shots before a fight as seen in Downey Jnr’s Sherlock Holmes.
Aerial and time-lapse shots of the city to a brooding guitar soundtrack.
Corrupt cops, politicians and Russian Oligarchs as nemeses.
Hero attempts to overcome the loss of a loved one by turning his back on his violent past.
Hero with insomnia reads Hemingway and drinks tea in the same café every night.
Hero with OCD turns out to be a shit-hot former CIA operative who decides he can’t change and kicks some gangster’s arse!
Despite such bog-standard features genre director Antoine Fuqua and Denzil Washington deliver a bone-crushing and tense thriller. It contains some cracking over-the-top violence notably in the final showdown where Denzil takes down the bad guys at the B & Q where he works.
Special mention though goes to Martin Csokas who gave his Russian villain a breathtaking menace which lit up the screen whenever he appeared. He was a highlight along with some very well-orchestrated action.
Denzil Washington is probably the best movie actor around as he has a knack of turning average scripts into something very watchable and this is no different. I can see why he was attracted to this character: a Robin Hood type who uses his special training to assist those in the neighbourhood and eventually turns his brutal killing abilities to something more global.
This is nowhere near as good as the Fuqua/Washington double-teamed Training Day (2001) for which the actor received the Oscar for Best Actor or the equally brutal Man On Fire (2004) which is something of an underrated classic in my view but while instantly forgettable it’s still unashamedly entertaining and had me gripped throughout the slightly overlong running time.
As cockney comedian Micky Flanagan might say I’ve been DOUBLE BUSY this week from a cultural point of view. So rather write a lengthy movie review I thought I’d treat my fan (you know who you are) to a quick rundown of all the fun stuff I’ve been up to, watched, listened to and experienced this week.
DOCTOR WHO
As a massive fan of the Scottish actor Peter Capaldi I really want to watch the new series of Doctor Who! However I am bound by my rules of not watching any episodes of long-running dramas or comedies out of linear order. Thus, I have had a massive catch-up in the last month from David Tennant’s Doctor onwards. Some brilliant episodes include The Idiot Lantern, Satan’s Pit, Gridlock, Blink and many more full of fantastical sci-fi ideas with Tennant performing miracles as everyone’s favourite Timelord. Ironically, Capaldi pops up in The Fires of Pompeii and I can’t wait for his tenure in the TARDIS once I’ve got through Matt Smith’s two seasons.
SIN CITY – A DAME TO KILL FOR (2014) – MOVIE REVIEW
Roberto Rodriguez and Frank Miller’s sequel to the mind-blowing violent-noir-comic-book-digital-backlot-splatterfest SIN CITY (2005) was eagerly anticipated by myself. Yeah, I’m a sucker for hard-boiled Chandleresque dialogue, femme fatales, knuckle-headed masculine losers and bone-crunching, bloody violence. Like the previous incarnation A DAME TO KILL FOR has some fantastic imagery and eye-popping brutality amidst the side-alleys, mean streets and smoky bars of Basin City.
Yet, overall I felt a strange sense of disappointment combined with negative deja vu while watching the film. The first film was so memorable any sequel had to be bigger and more explosive but while a fine watch it was not as good as the first one. . The cast are fantastic though notably the gorgeous Eva Green, Joseph Gordon-Levitt and Mickey Rourke as Marv – the maniac-with-a-heart. The stories never quite take flight as they did in the first film and I’ll be honest the perpetual voice-over kind of ground me down. Still, if you’re a fan of the original there is enough in there to satisfy Noir addicts everywhere.
WHIPSNADE ZOO
On Sunday me and the son and heir Rhys went to Whipsnade Zoo for the day. It’s a lovely place full of animals obviously with a wonderful walk round of about 3 miles. What I love about the place is the animals have loads of room to roam and it’s far more spacious than the claustrophobic London Zoo. It’s not too expensive either so recommended for all the family.
BAND OF BROTHERS (2001 – HBO)
I am deeply ashamed to admit that I only watched the first couple of these when it was first aired many moons ago. However, I have finally caught up again with this sensational WW2 drama this week. The mini-serial covers the harrowing exploits of Easy Company — of the US Airborne — and their various campaigns including: D-Day, Operation Market Garden and The Battle of the Bulge. It is high-end quality television par excellence with a massive cast and budget to boot! The horrors of war that Spielberg and his team presented so viscerally in Saving Private Ryan (1998) are also represented here with savage aplomb as we empathise with these gallant men fighting for freedom against the Germans in grisly and murderous conflict.
TOTTENHAM F.C. v AEL LIMASSOL (3-0 – WHITE HART LANE)
On Thursday evening I was at White Hart Lane to watch the mighty Spurs dominate possession and put three goals past their Cypriot rivals, and in the process, go through to the Europa League group stage. I hadn’t been to the football in a few years and enjoyed the experience very much. The White Hart Lane pitch looked stunning as Kane, Paulinho and Townsend (penalty) scored the goals that put Limassol to the sword.
At times it was like a training game really but I was impressed with Harry Kane upfront – despite his penalty miss – and Brazilian midfielder Paulinho. Plus, the philosophy Mauricio Pochettino seems to be promoting is a passing, possession game involving patience and interchangeability of the three behind the striker. So, despite the lack of quality of the opposition I was pleased with the result and now look forward to watching Spurs on ITV4 as they travel the 10,000 mile journey to Outer Mongolia in the Group Stages.
WITHOUT FAIL (a JACK REACHER NOVEL) by LEE CHILD
I finally finished reading a book that I started on holiday in July. It’s a Jack Reacher novel of which I understand there are many. It was a very well plotted and designed thriller which pits an off-the grid-ex-military-anti-heroic-hard-nut on various missions against bad people. In this case a mysterious assassin who wants to kill the Vice-President for some unknown reason. It’s a very long book of around 550 pages and I felt it could have been pruned here or there and while I didn’t really care too much about the Vice President, I empathised with his team of agents charged with guarding him. Reacher is a military expert and it’s his intelligence, steel and mettle which makes the story interesting. In my opinion the novel gets slightly bogged down in police/FBI/CIA procedure but it’s very well written with some excellent twists and as potboilers go it is worth a read. Reacher’s no Bond though; give me Ian Fleming’s lean, sinewy writing any day of the week.
KASABIAN – 48:13 – ALBUM REVIEW
I don’t listen to too much “new” music these days and have somewhat lost touch with the up and coming rock and roll bands of this millennium. However, one band whose albums I always look forward to are Leicester’s neo-wave-electro-rockers KASABIAN. Their new album is another triumph of rocking beats, hefty basslines, rich synths and nonsense urban-meets-Lewis-Carroll-style lyrics. Covering very similar ground to their last record VELOCIRAPTOR this is a great party album which will no doubt work very well in movie soundtracks and in the big arena’s Kasabian are now playing in. They don’t have much to say politically and could be argued to be style-over-substance but what a style they have! Serge Pizzorno knows how to write a cracking tune and he more than proves that once again with tracks like: Stevie, Eez-Eh, Bow, Bumblebee etc…
“Hence, once again, pastiche: in which stylistic innovation is no longer possible, all that is left is to imitate dead styles, to speak through the masks and with the voices of the styles… means that one of its essential messages is… the failure of the new, the imprisonment in the past.” Frederic Jameson – POSTMODERNISM & CONSUMER SOCIETY (1983)
I loved this film for so many reasons. It’s a nostalgic rush and push of music, action, fantastical creatures, space operatics, zinging one-liners, knowing humour, spectacular effects and in Chris Pratt — a new cinema star (lord) for the millennium is born. Let’s be honest there isn’t an original bone in its body but the fleshy pastiche and meaty cultural references Guardians of the Galaxy wears proudly on its sleeves take the audience on one hell of a journey.
Marxist and cultural theorist Frederic Jameson spoke of the rise of the “Nostalgia” film and postmodernist movies such as Star Wars (1977) and American Graffiti (1973) in his seminal essay aforementioned above. The Nostalgia film harks back and references the past drawing influences not from reality but rather cultural artefacts such as films, comics, radio, TV and music etc. Guardians of the Galaxy involves an orphaned hero — with mysterious father — who must do battle against an evil empire, save a “damsel” in distress, all the while accompanied by a motley crue of intergalactic misfits. Sound at all familiar? Yes, finally the kids of today have their Star Wars. They have a new hope, kind of; a pastiche of a pastiche of a pastiche based solely on the cultural fossils of yesteryear.
Watching this film on IMAX 3D at Wimbledon Odeon Screen 4 (my favourite cinema screen by the way) made me feel nostalgic in so many ways. It felt more like the comic books I read as a child than any film I’ve seen recently. Further, I felt a surge of history as the film opened taking me back to 1977 when my Dad took me to see Star Wars (1977). I recall the massive queues waiting to go see Lucas’ classic and the giddiness and excitement I felt as a youth rushed through me; even more so when the film started and my consciousness was treated to one impressive set-piece after another. I felt young again and all because of a movie!
In a major ironic twist I too felt nostalgic for my University days and my discovery of postmodern theorists such as Jameson, Baudrillard and Foucault while studying. While it served no purpose in the real world my academic life was a great time for me. The knowledge of postmodernism I gained enhanced further this funky fusion of comic-book anti-heroes blowing stuff up to a 70s soundtrack. Indeed, I was at peace with the world. A bomb could have hit the cinema and I would not have cared. It was cinematic heroin. I was happy.
Guardians is the 10th Marvel Universe movie to be produced and is based on a lesser known product from the uber-comic overlords’ oeuvre. Young Peter Quill is not having the best day. At the beginning he suffers the loss of his mother. As he runs away from the hospital he is then kidnapped by a gigantic spaceship which airlifts him to a life with the Ravagers; a group of space cowboys and outlaws – led by Michael Rooker’s Yondu. Flash forward some many years to a galaxy far, far far away and an older Quill (effortlessly charismatic Chris Pratt) is on the hunt for a mysterious orb in order to make a few intergalactic dollars. Quill proves himself a decent dancer and well as fighter as he uses hi-tech weapons to outfox his foes.
The opening action sequence is a sheer joy and essentially riffs on the opening of Raiders of The Lost Ark (1981) while using Blue Swede’s funky classic Hooked on a Feeling also used in Reservoir Dogs (1992). Let’s be honest it is all very silly but I am not watching this as a fortysomething man but rather a young boy living in the warmth of the past bathing in the nostalgia of recalling Star Wars, Raiders, Reservoir Dogs and MIXTAPES!! I used to do mixtapes and it was such fun before the devilish digital age took over. Anyway, the orb Quill has stolen turns out to be one of those END OF THE WORLD plot McGuffin thingy’s and a whole host of benign and nefarious characters are after it notably evil Titan Thanos (Josh Brolin), Kree mentalist Ronan (Lee Pace) and the Collector (Benicio Del Toro) etc.
So, Quill consequently finds himself pursued and caught and thrown in prison by the Nova Corps (basically humans with funny hair.) He then unwittingly becomes part of a bunch of misfits including: Rocket (Bradley Cooper) – a feisty raccoon and weapons expert; Groot (Vin Diesel) – a tree-like humanoid; Gamora (Zoe Saldana) – Thanos’s adopted assassin daughter; and finally Drax (Dave Bautista) – a giant blue alien muscle guy. Together these unusual suspects form an uneasy but at times hilarious alliance as they fight and argue and bicker and eventually accept each other and combine to overcome the villains before them.
If The Avengers (2012) was a remake of The Magnificent Seven (1964) then this is a remake of the Dirty Dozen (1967) (minus seven). Moreover, the film follows the successful Marvel template of superheroes (or in this case anti-heroes) saving a very Earth-like world from destruction from said poisoned destructive orb (see Tesseract). But what makes this Space-Western such fun is the oddball off-centre characters which director James Gunn and his fellow writers clearly gave a lot of time developing. While special effects reign over the production the likes of Quill, Rocket and Groot are given a humanity and humour which adds heart to story. Indeed the script is full of empathetic backstories and themes including: fatherless, motherless and adopted children, genocide, slaves, nature v. technology, medical experimentation, grief, tyranny of dictatorship; all of which add some depth to the otherwise fluffy frivolity of the script.
Gunn was an interesting choice of director as he had written some mildly successful screenplays and directed two low-budget movies: the hilarious horror Slither (2006) and anti-super-hero oddity Super (2010). But he marshals the army of cast and crew with a great sense of timing and while Guardians is generic in structure, the delight is in the incredible visuals and action, character detail and witty dialogue splashed throughout. The tone almost tipped over into farce in a dance off scene near the end and Del Toro is disappointing underused as The Collector. Plus Zoe Saldana’s character Gamora is gutsy and kick-ass until she turns to type and is saved by Quill. Although I forgave this stereotype because the scene was so memorably rendered and realised in a kind of space version of Jean Vigo’s poetic classic L’Atalante (1934).
The film finishes with a lovely post-credit kick in the nuts with an appearance of another comic-book-anti-hero. Marvel once again has delivered the goods and their standard template will continue to be a success if they choose off-centre directors such as Gunn, Whedon and the Russo Brothers. These are young (ish) guns like Lucas and Spielberg who while they wear their cultural influences proudly on their sleeves, jackets and underwear they paradoxically retain some originality amidst the pastiche and intertextuality. Thus, Frederic Jameson’s theories seem even more valid today. He himself argued that postmodernist culture was linked to the rise of late capitalism from the 1960s onwards and as the Marvel money-making monopoly marches on who can disagree with him.
DAWN OF THE PLANET OF THE APESFILM REVIEW BY PAUL LAIGHT
**SPOILERS AHOY**
Film great. Humans crap.
In my last review I compared going to the cinema like going to a restaurant. For this review I am going to use another tenuous analogy and say going to the cinema is my equivalent of going to Church. The director/writer/filmmakers are in my eyes GOD! The actors are the Priests spreading the word while the popcorn is the body of Christ with Tango or Coca-Cola as the blood. Not that I drink fizzy drinks or sugary any more as I am currently winning an ongoing dispute between my will power and several unhealthy food addictions.
Anyway, what I’m saying is the Cinema is my holy sanctuary — it means THAT much to me. So if you want to use your phone (texting or going online) or talk about something on your phone such as the latest photo of your own arsehole then I will strike down upon thee with furious vengeance! Well I will ask you to shut up or get out!
In the war between humans’ and apes I was already on the Apes’ side following the excellent blockbuster Rise of the Planet of the Apes (2011) and even more so after witnessing its’ superlative sequel. Indeed, with the insane ongoing wars, environmental issues, pollution, fracking, plane crashes, arms dealing, dodgy press, corrupt governments, genocide and other disasters such as selfish phone wankers talking at the cinema perhaps it’s time for a change on Earth; a clean slate maybe? Maybe the apes and other animals deserve a chance of owning this planet and giving peace a chance; something humanity seems incapable of sustaining.
If you didn’t know the Planet of the Apes franchise originated from Pierre Boulle’s wonderfully conceived 1963 novel La Planete des singes and spawned a plethora of films, merchandise, TV shows, comics, novelisations, comic books, posters and even an animated series. In the late 60s and 70s they didn’t just milk the cash cow they drained the blood and sold off its’ organs and body parts to an ever hungry audience thirsty for another instalment.
Irrespective of the sloping quality of the various guises it took the intelligence raised in the original source and gave us some serious action and brain-food encompassing themes and historical events such as: Darwinism; dystopic and apocalyptic future visions; civil and social unrest; slavery; man’s inhumanity to animals; medical experimentation; the Vietnam and Cold war; civilisation versus savagery; anthropology; The Frankenstein myth; space and time travel; and many other socio-political and science fictional motifs. It’s a conceptual and cultural phenomenon. And Dawn of the Planet is a wonderful addition to the series.
Dawn of the Planet of the Apes begins a few years AFTER Caesar led the apes’ escape from captivity depicted so entertainingly in Rise of the Planet of the Apes. He, his wife and children are now living in reasonable harmony in a huge commune of orang-u-tan, gorillas and chimpanzees. As suggested at the end of the first movie humans have succumbed to a virus which has wiped them off the planet leaving only those with vascular immunity still alive. These are lead by family man Malcolm (Jason Clarke) and Gary Oldman’s Dreyfus; a man — who like many others — has lost his family to the virus and subsequent societal breakdown. The dramatic meat of the story begins to cook when the apes are disturbed by a party of humans looking for a new energy source via a Dam in the forest.
The film is a real slow-burner as it establishes the rivalry between the apes and humans as they initially form an uneasy truce before outright war eventually begins. Indeed the first hour or so is very much given to establishing character dynamics with Caesar’s (phenomenal Andy Serkis) leadership of the apes questioned by the scarred Koba (brilliant Toby Kebbell). This too is reflected in the more peaceful Malcolm seeking to avoid war and co-exist with the apes as opposed to Dreyfus who sees them as nothing more than savage beasts. Thus the four main protagonists are very rounded and keenly drawn although one criticism of the film is the lack of a powerful female character and one may say, Oldman aside, the humans are a little bland overall. An accusation I cannot say about the apes who are rendered incredibly by the massive special effect team at WETA.
By allowing the slow build up characters, spiked by some in-fighting in each of the camps, the tension rises and anticipation of the battle rises to fever pitch. It is Koba who precipitates the war as he is driven by his anger at being experimented on by humans’ years before. While Caesar leads with majesty and quiet authority, Koba is driven by revenge, pain and hate and this passion drives him to attack the humans with full ape force. What follows is one of the most memorable set-pieces I have seen at the cinema this year with apes smashing down the human compound with violent abandon. The image of a dual-gunned Koba rampaging on horseback as fire burns behind him is a cinematic moment which will stay in my memory for sometime.
Matt Reeves is an excellent genre filmmaker and he maintains the great standard set by Rupert Wyatt from Rise of the Planet of the Apes. Reeves, the writers, cast and his battalion of special effects people have produced an intelligent blockbuster which keeps the drama burning throughout culminating in a stupendous battle sequence at the end. The film is a portent telling us once again that humans will reap suffering if they continue to tamper with nature in the name of progress. It also reflects the importance of family, acceptance and tolerance of others in order find peace; war and in particular gorilla warfare (sorry) is not the way forward. There’s one soppy and jarring bit of script coincidence where Caesar goes back to the house he grew up in but that was not enough to ruin another excellent film inspired by Boulle’s literary classic. Those still haunted by Tim Burton’s atrocious 2001 effort will be very grateful for this entry in the franchise. Altogether now: Hail Caesar! Hail Caesar!
The Cinema Fix presents 