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HEARING STORIES: SOME THOUGHTS AND REVIEWS ON AUDIO-BOOKS

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HEARING STORIES: SOME THOUGHTS AND REVIEWS ON AUDIO-BOOKS

Six months ago I was reading a physical book of Joseph Heller’s Catch 22 and I was just not feeling it. Not the actual book as it is a classic novel of our time but the actual activity of reading itself. I just did not want to read anymore. Of course, I can do it but my mind just didn’t have the desire or energy. What did this mean?

Had I been dumbed down and rendered attention deficient by virtue of the constant viewing of films, TV and the barrage of internet viewing. Perhaps my brain had been become punch-drunk and distorted my mind, like an over-the-hill boxer who’d just had one too many fights. It was confusing. I’ve always loved reading and did not want to stop.

So, I thought why not try out the Audio-book route?  What’s the worst that could happen?  I could LISTEN to someone reading the book to me and experience the literature from an aural perspective. I have to be honest – I’m glad I did! Because I have been listening to a number of audio-book productions and they have been very rewarding from all manner of dramatic, artistic, comical and emotional directions. Moreover, I listen to these books while walking and at the gym so my “reading” has become a very pleasing mobile pursuit.

Anyhow, here are some reviews of the books I have been listening to over the past months. If you also listen to audiobooks please feel free to suggest any good “reads” or narrations.

AUDIBLE

BACK STORY – DAVID MITCHELL (narrated by David Mitchell)

Comedian, actor, panel-show humourist and writer David Mitchell takes us on a literal walk of London landmarks and streets, while also wandering down his own personal memory lanes and avenues. Pedantic, neurotic, angry and insightful in equal measures this is an entertaining and intelligent journey full of hilarious rants and stories relating to Mitchell’s life; one which is blighted, not by personal tragedy, but rather a very painful bad back. His narration too is very funny and listening to him speak is like having your very own personal version of the brilliant comedy show Peep Show in your head.  I especially, from a creative point-of-view, enjoyed his analysis of comedy past, present and the actualities of writing sketches, jokes and performing too.

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CATCH 22 – JOSEPH HELLER (narrated by Trevor White)

The novel which began my whole diversification into the audiobook territories is a startling anti-war character drama full of tragedy and black comedy, highlighting the folly of humanity during conflict. I was both laughing out loud and crying inside as Heller’s seminal work crashes us into the heart of madness during World War II. Featuring any number of crazed pilots either being killed or trying not to be killed while flying over Italy, this novel expertly takes you up and down and up and down. Heller does this with a meticulously acute writing style and via characters such as the wonderfully named: Yossarian, Milo Minderbinder, Doc Daneeka, Snowden, Nately, Nurse Cramer, Captain Aardvark, Colonel Cathcart and many more lunatics. This is a sprawling insane war-set epic which satirizes and laments the folly and destructive behaviour of mankind, and is all the more relevant today because we still can’t fucking learn to stop killing each other over ridiculous things like money, land, God and love.

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DO ANDROIDS DREAM OF ELECTRIC SHEEP – PHILIP K. DICK (narrated by Scott Brick)

Dick’s classic science-fiction novel is better known now as Blade Runner and the film versions are incredibly stylish and powerful genre works. Yet, Scott Brick’s narration of Dick’s source novel is absolutely perfect in its rendition, creating a haunting pathos beyond that featured in the film. The story covers one day in the life of Rick Deckard – an “Andy” or android bounty hunter who must track down a series of superior robots of the Nexus Six variety. The original Blade Runner (1982) film did well to distil and simplify the narrative but it only touched the sides where the complex themes are concerned. The novel is far more involved with subtext relating to: simulations; animal husbandry; Artificial Intelligence; Virtual-reality religious fervour; and the existential pain or humans and robots, being explored within the rotting dystopic, Earth setting.

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GAME OF THRONES – GEORGE R.R. MARTIN (narrated by Roy Dotrice)

George R. R. Martin’s North-versus-South-Westerosian fantasy epic has provided hours of entertainment via HBO’s massive hit TV adaptation. The original source novel is a literary monster of a book with an over 33 hours running time, so kudos to the talented, yet ageing actor, Roy Dotrice for staying alive during the recording and finding the energy to narrate it. If you don’t know the Game of Thrones TV show, it has become an iconic narrative of Starks versus Lannister’s versus Targaryen’s versus zombies versus dragons and all manner of: lords, ladies, monsters, whores, hordes, henchmen, sorcerers, warriors, Kings, Queens and peasant scum; all fighting and spitting hate at each other for a baying public’s bloodthirsty satisfaction.

The book, of which Game of Thrones is based, is an intricately plotted, brilliantly characterised and action-packed joy. Not for the faint-hearted it is explicit from a violence and erotic perspective and Martin’s writing is believable unbelievability of the highest order. While it may be fantastic in regard to many of the concepts it is grounded in a raw and human reality as the flawed characters conflict with each other in all manner of familial jousting, hearty battling and political chicanery. The book has all the greatest qualities of the television show and much more besides and well worth the many hours it took me to “read”.

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HOW NOT TO BE A BOY – ROBERT WEBB (narrated by Robert Webb)

The other half of the Mitchell and Webb double-act, Robert, narrates his own story with an adept sarcasm, intelligence and over-riding sense of grief throughout. As a big fan of Peepshow, his brilliance as an actor is playing unlikeable-selfish-man-boys with devilish charisma. He’s obviously very funny too and his anecdotes and memories of growing up in a Lincolnshire town and overcoming family heartache before joining the so-called Cambridge academic elite are very honest and personable. I would have liked a bit more detail about his creative process but reading between the lines I felt that it all came very naturally and unpretentiously to Webb. Overall, this is a terrific listen, full of funny and tragic moments; plus given I’m the same age as Webb, his references to televisual, pop, film and comedy culture were immediately recognisable to me, only adding to the book’s enjoyment.

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I, PARTRIDGE: WE NEED TO TALK ABOUT ALAN – ALAN PARTRIDGE (read by Alan Partridge)

Steve Coogan’s genius comedy creation Alan Partridge has been part of my life since the 1990s when I first saw him on the brilliant satire show The Day Today. There he presented the sports and would subsequently go on to a kind of greatness as a chat show host on Knowing Me, Knowing You and starring in one of the best sitcoms of all time, I’m Alan Partridge. It is a testament to the acting ability, quality of writing and sheer stamina of Coogan that he continues to mine comedy gold from the hills of Partridge, as it were. Coogan narrates (in the glorious character of Partridge) a fictional autobiography from actual cradle to career grave. It also hilariously covers how he bounced back from the precipice of a chocolate-driven-frenzied-nervous-breakdown-suicide-attempt in Dundee. I have never laughed so much as six hours of comedic gold entered my brain and left me in stitches throughout. This is one of the funniest things I have had the pleasure to listen too; full of bitter rants, vengeful asides, over-elaborate similes and a litany of what I can only call Partridgeisms! Is that a word: well it is now!

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Cinema, New Releases, Reviews

MOVIE REVIEW – THOR: RAGNAROK (2017)

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MOVIE REVIEW – THOR: RAGNAROK (2017)

**CONTAINS MINIMAL SPOILERS**

The Marvel Franchise bus shows no sign of slowing down and the number of Superhero passengers and routes its taking increases every year. Indeed, I’m wondering which driver (i.e. director) will be the first to get a puncture and crash their respective bus, because even though we are well past saturation point the successful formulae is still sweetly cruising along without the threat of breaking down. Even slightly lesser known heroes such as Dr Strange (2016), Guardians of the Galaxy (2014) and Ant-Man (2015) have all made loads of money, and corny vehicular metaphors aside, surely it is only a matter of time before Marvel’s monopoly on Superhero movie success flails. However, Thor: Ragnarok (2017) is most certainly NOT the film that causes the decline.

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The crafty Marvel bosses have kept their products fresh by often changing directors because where DC failed artistically, in my view, was they allowed the hyperbolic effects-driven blockbuster style of Zach Snyder — until the impressive Wonder Woman (2017) that is — to dominate their bombastic releases. Marvel Studios, on the other hand have given reign to arguably more quirky, indie-flavoured filmmakers such as: Joss Whedon, James Gunn and now Taika Waititi to drive their movies forward. Thus, along with the standard heroes-versus-villains-end-of-the-world storylines, massive battle set-pieces and fantastical worlds and characters on show, such directors add an element of humour and characterization to proceedings.

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Humour, more than anything, is what Waititi brings to Thor: Ragnarok. This is essentially the first all-out Marvel comedy pitched an octave funnier than Guardians of the Galaxy on the comedic scale; as punchline after punchline reigns down with the power of Thor’s lightning bolts. The opening scene is a case in point where Chris Hemsworth’s sly comic timing is utilised to great impact when facing the demonic Sutur. Hanging upside down and chained, Thor’s momentum swings him around and away as the fiery devil delivers his monologue, only for Thor to ask him to wait until he comes back round again. While covering the exposition in a very funny way the gag also satirizes the clichéd villains’ plot while serving as a wonderful taster for the events to come.

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The witty screenplay and lightning pace covers up the familiarity of the story as once again Asgard comes under attack from a hellish force, this time in the guise of the beautiful evil of Hela (Thor’s older sister) portrayed with tremendous gusto by the ultra-talented Cate Blanchett. Usually seen in more serious dramatic roles Blanchett excels as Hela, and arguably is a touch underused until the incredible battle scene at the end. Anthony Hopkins and Tom Hiddleston once again reprise their roles as Odin and Loki respectively; Loki, as usual, getting some great moments to show his dupliticity and mischief. Both Hopkins and Hiddleston take great pleasure to also parody their characters compared to the pitch black seriousness of Thor: The Dark World (2013).

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Waititi, the writers and production crew deserve much credit for not only delivering some familiar faces and worlds to the film but also some new ones to freshen it up. I must admit I wish the trailer hadn’t spoilt the appearance halfway through of the “Big Guy” because if I had not known that I would have been amazed at such a twist. Nonetheless, the Hulk does appear and via Mark Ruffalo’s neurotically bemused turn as Bruce Banner we get, amidst all the gladiatorial mayhem, a cracking buddy story too. Moreover, Tessa Thompson as a hard-drinking-hard-fighting “Scrapper 142” (with a hidden past) is another sterling addition to the ensemble and the visuals which derive from her backstory via flashback are the some of the most impressive I have seen all year.  Jeff Goldblum as a wacky but dangerous Space Dictator and the hilarious Taika Waititi as a wise-cracking Kronan (a rock-looking dude!?) almost steal the show too.

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As he showed with Eagle versus Shark (2007), What We Do In the Shadows (2013) and the exceptionally funny and touching, The Hunt for the Wilderpeople (2016), Waititi is a very talented filmmaker and he has brought his love of eccentric characterization and comedic ability to great effect within the Marvel Universe. Thor: Ragnarok is a riotous mix of stunning visuals, booming rock music, huge battles, family wars, smashing punchlines and hilarious performances. Arguably the comedy sidelines the drama and tonally the film is uneven in places and compared to the magical and hallucinatory world of Dr Strange it is not as satisfying in terms of the whole world and vision created. Nonetheless, as comic book adaptations go it is one of the most entertaining Marvel sequels to date.

(Mark: 9 out of 11)

Comedy, Reviews, Television

8 EPISODES WHY HBO’s ‘CURB YOUR ENTHUSIASM’  IS “PRETTY GOOD!”

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8 EPISODES WHY CURB YOUR ENTHUSIASM  IS “PRETTY GOOD!”

There’s absolutely no reason why a situation comedy about an aging, wealthy, neurotic and narcissistic Hollywood writer should be one of the most consistently funny comedy shows of the last twenty years. There’s no real substance or depth in Curb Your Enthusiasm; in fact not much really happens of great value as it occurs very much in a bubble. Moreover, in anti-hero Larry David you more often than not find his behaviour abhorrent as he goes about upsetting friends, family members, celebrities, colleagues and strangers on a daily basis.

David, who plays an extreme version of himself (one hopes), revels in pedantry, un-PC behaviour, poor decisions, risky statements and strict adherence to the social etiquette and unwritten rules of life that make him a right royal pain in the backside. Yet, incredibly, because the writing, situations and storylines are so clever the whole show works a treat. To celebrate the recent release of the 9th season of HBO’s classic comedy Curb Your Enthusiasm, I have chosen one episode from each season to praise. It’s a difficult choice to pick my favourites but I think you’d agree these episodes are pretty, pretty good!

**CONTAINS MASSIVE SPOILERS**

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SEASON 1 – EPISODE 4 – THE BRACELET (2000)

I was going to choose Beloved Aunt because of the monumentally unfortunate typo which involved Larry upsetting Cheryl and his in-laws. In an obituary for a recent departure the words “Beloved Aunt” became “Beloved C*nt” and Larry gets the blame. However, The Bracelet is a classic for me as it involves Larry going head-to-head with comedian Richard Lewis for the said jewellery item. The slapstick and race-against-the-clock narrative are hilarious as is their meeting with an ungrateful blind person they help. The road to hell is indeed paved with good intentions!

SEASON 2 – EPISODE 7 – THE DOLL (2001)

One of the delights of the show is when Larry, having made some terrible social faux pas is ripped apart by one of the supporting cast. Arguably, his most fierce nemesis is his agent’s wife Susie; portrayed with vicious, black-eyed venom by Susie Essman. The narrative thrust of Season 2 involved Larry trying to get another Network show commissioned, but when he erroneously trims the hair (god knows why) of a child’s doll he become embroiled in a head-swapping comedy of nightmarish errors. When Susie catches him and Jeff using her daughter’s doll’s head, all hell breaks loose and Larry gets a volley of joyously ripe abuse!

SEASON 3 – EPISODE 8 – KRAZEY-EYEZ KILLA (2002)

Larry’s experiences with members of the black community range from: embarrassing misunderstandings, accidental racism, satirizing lazy stereotypes and finally some very offensive situations. Some of it is hilariously funny while more often than not it can be very painful to watch. However, Larry David is a brave writer as he doesn’t shy away from subjects which could be deemed politically incorrect. More often than not though he himself is the butt of the joke!  Season 3 had a wonderful arc of Larry getting involved with a Restaurant and the final episode had some glorious profanity. However, his run in with Wanda Sykes’ cheating rapper boyfriend Krazey-Eyez and Larry telling Martin Scorsese he “does too many takes” on set is just comedy gold!

SEASON 4 – EPISODE 6 – THE CAR POOL LANE (2004)

Season 4 benefits from one of the strongest narrative arcs of the whole series. Larry has been chosen by Mel Brooks to star in the Broadway show The Producers and includes the brilliant Ben Stiller and David Schwimmer. The Car Pool Lane finds Larry attempting to get into an upper-class-W.A.S.P-y country club and cajole Marty Funkhouser into giving up his dead father’s seat at a Dodger’s game. The comedy sparks really fly when in an attempt to get to the game he hires a prostitute to allow him to use said car-pool lane and beat the traffic. The dovetailing call-backs of his Dad’s glaucoma, trying to get off Jury service, Funkhouser’s dead Dad and country club narrative strands makes this one of the funniest episodes ever and features an effervescent performance from Kym Whitley as Monena the hooker!

SEASON 5 – EPISODE 7 – THE SEDER (2005)

What I love about Larry David’s writing – or retro-scripting to coin a phrase – is he is unafraid to ask intriguing moral or immoral questions within the comedy subtext. In the episode The Seder, he poses the idea that a sex offender, while having served his sentence, could possibly actually be a “nice” guy. Thus, Larry literally befriends a bald, Jewish sex offender (a brilliant Rob Corddry) much to the horror of his family, neighbours and friends. As thanks for an awesome golfing tip he even goes so far as to invite him to a Passover meal where all kinds of social embarrassment ensues.

SEASON 6 – EP. 3 – THE IDA FUNKHOUSER ROADSIDE MEMORIAL (2007)

After the steady mixed-bag comedic narratives of Season 5 – Larry’s potential adoption and Richard Lewis’ dying kidney – Season 6 introduced a new set of hilarious characters and situations. When Larry’s wife Cheryl (Cheryl Hines) “adopts” a homeless family, whose lives were wrecked by a hurricane, the comedy bar is raised to a whole new level. The season has some classic episodes but my favourite is The Ida Funkhouser Roadside Memorial. Despite Larry’s nebbish irritations quite often I am on his side when it comes to petty grievances. In this episode he deals with: unnecessary condolences and sample abusers, but stealing flowers off a roadside memorial is a totally out of order, So, Larry definitely deserves the stream of ire that comes his way when he commits this gob-smacking social “crime.”

SEASON 7 – EPISODE 7 – THE BLACK SWAN (2009)

Season 7 is most notable because Larry, having split up with Cheryl, is now dating Loretta Black (Vivica Fox). In order to get Cheryl back he orchestrates a Seinfeld reunion with all the gang (Jerry, Julia Louis-Dreyfus, Jason Alexander and Michael Richards), as a means to offer Cheryl a part. Firstly, though he has to dump Loretta, who sadly is now suffering from cancer. I mean Curb Your Enthusiasm must be admired for the lengths it goes to get laughs and how he “dumps” Loretta is something else. One of the funniest episodes is the Black Swan which occurs on the golf course. Suspected (he did it!) of killing the course owner’s treasured swan, there’s a scene where Larry’s customary “staring” motif is used against HIM!!  The ending of this episode involving his Mother’s gravestone is also one of the great payoffs too!

SEASON 8 – EPISODE 3 – PALESTINIAN CHICKEN (2011)

I am not easily shocked by anything but I must say that this is one of the most controversial episodes of comedy I have seen.  I was sat agog through many of the scenes in this one. I mean I’m not an expert when it comes to the Israeli and Palestinian conflict but I am aware of the geographical and religious issues which have occurred throughout the years. What Larry David does with his comedy is to skewer the significance of the conflict and satirize it within a consumer food war. Having began eating the chicken at a Palestinian restaurant Larry becomes attracted and begins a sexual relationship with one of the Arab customers. She is a sexual dynamo to him and her dirty talk is pure filth and anti-Semitic! As Larry puts his penis first and at the end is caught between rampant sex and his loyalty to his “people”! Again, another classic ending to a brilliant episode.

Cinema, Film Festivals, Reviews

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017) – LONDON FILM FESTIVAL REVIEW 2017

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THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017)

“There’s no question that a great script is absolutely essential, maybe the essential thing for a movie to succeed.” – Sydney Pollack

Directors are often held up by critics and audience alike as the God’s of film; controlling and pointing and designing and envisioning and corralling their mass creative power to thrust upon the cinema screen. Of course, with many directors or auteurs, the lofty praise is deserved but hey, did they create that vision or story or character arc in a vacuum? No, they had blueprint on a page first. They had a screenplay written by themselves or a determined writer or writing team sitting in a windowless office smoking a thousand cigarettes while slaving to get words on a page in some semblance of a coherent filmic fashion. It seems obvious to say but a great screenplay is the (skeleton) key for any great film; it’s the bones with which to hang the meat and muscle and later the clothes of any movie.  Without powerful bones a film will not stand strong. It will fall.

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Screenwriter (and director) Martin McDonagh has, in Three Billboards Outside Ebbing, Missouri constructed one of, if not the most, formidable screenplays of the year.  As a playwright he won many awards for his works and his film, In Bruges (2008), was a deceptively simple story of two hitmen on the run which, with rich thematic power, became a darkly hilarious existential comedy-drama. His follow-up Seven Psychopaths (2012) was a heady mix of criminals versus writers in a meta-fictional Hollywood-based narrative; which while brilliantly written and performed arguably lacked the punch of In Bruges. Now, with Three Billboards Outside Ebbing, Missouri, McDonagh has delivered his best film to date; a highly emotional human drama which contains some of incredible characterization, dialogue and zinging one-liners which bounce off the page and crackle on the screen.

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Eschewing a more traditional structure the script’s inciting event – the murder of a young girl called Angela Hayes (Kathryn Newton) – has already occurred and therefore we are thrust immediately into the grief of main protagonist Mildred Hayes, portrayed with an iron veneer by the remarkable Frances McDormand. Her study of a grieving Mother, who is no longer prepared to sit by and wait for her daughter’s killers to be found, is awe-inspiring. Firing a rocket into the patriarchal-dominated police department ran by Chief Bill Willoughby (Woody Harrelson) she sets in motion a series of unforgettably tragic, violent and blackly comedic scenes.  In using the three billboards to question Willoughby’s investigation she utilises physical media as a larger form of the ‘Scarlet Letter’; an old fashioned “name and shame” device. Because Mildred, is refreshingly traditional and old-fashioned and in rural, small-town America the Internet just won’t hack it for her. She is about direct, in-your-face and ballsy action.

As a study of grief this is similar in feel to the majestic Manchester-by-the-Sea (2016) and no doubt, like Kenneth Lonergan, McDonagh will be picking up many awards for his nuanced screenplay. He imbues each of the characters with a flawed, yet rounded humanity. He takes risks by making his main protagonist, despite her loss, kind of unlikeable. Yet we are always with Mildred because she is righteous and swimming against the tide of authority and masculine dominance. Plus, she surprises us with her actions and language and violence. Below the tough exterior though there is also a vulnerability which makes us love her too and empathise fully with her loss.

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McDonagh and his filmmaking team have also put together a phenomenal ensemble cast including: Woody Harrelson, Peter Dinklage, John Hawkes, and Abbie Cornish etc. Sam Rockwell is especially memorable as the immature, inept and thuggish mother’s boy, Jason Dixon. His scenes with both Frances McDormand and his on-screen Mother, played with deadpan gusto by Sandy Martin, crack with complex emotion and humour. Collectively they portray imperfect characters whose lives have not just been dealt a bum hand but their situation is exacerbated by poor decisions based on emotion and frustration with life and the world. Ultimately, this is an excellent cinematic experience funny, shocking and moving; only possible because of the expert script from a great writer.

(Mark: 10 out of 11 – and the script goes up to 11!)

Cinema, Film Festivals, Reviews

BRAWL IN CELL BLOCK 99 (2017) – LONDON FILM FESTIVAL 2017 REVIEW

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BRAWL IN CELL BLOCK 99 (2017) – REVIEW

“Through me you go into a city of weeping; through me you go into eternal pain; through me you go amongst the lost people.”
― Dante Alighieri, The Inferno

**CONTAINS MINIMAL SPOILERS**

The concept of Katabasis is a descent of some kind, such as moving downhill, or a military retreat, or in this context, a violent journey into the underworld. The term has multiple related meanings in poetry, psychology and Greek Mythology. Heroes such as: Orpheus, Odysseus and Lazarus went down into the depths of Hades to locate lost loved ones, collect information and battle their demons. Conversely, writer-director S. Craig Waller has produced something akin to Sam Peckinpah reinventing the story of Orpheus. But instead of employing beautiful music to crush the enemy, Waller’s anti-hero Bradley Thomas, uses his fists, head, body, bats, bars, guns, and hulking power to defeat his foes.

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The story opens with a stunning shot from behind of Vince Vaughn’s bald, bulking head emblazoned with a startling crucifix tattoo. As a means of establishing character and showing us the world we’re in it is emphatic, visceral and deviously economic. You know immediately not to mess with Bradley Thomas as he is a coiled spring of masculine power, yet he also has a strong moral compass. Finding himself out-of-work and in difficult financial times, Thomas takes up drug courier work to support his pregnant wife portrayed by Jennifer Carpenter. All is going smoothly until a deal with a Mexican drug cartel goes awry and, from when Thomas enters prison, all manner of sickening and brutal hell breaks loose.

The film is shot on a low budget but the style is impressive. The cinematographer, Benji Bakshi, along with the director Waller, are brave in their choices; utilising natural light, drained colours, shadows and darkness. Often Thomas’ is lit by a slit or shaft or box of light as his character finds himself trapped in corridors and cells as well as his own life choices. Much will also be made of the ultra-violence which includes some impressive bone-crunching Foley sound work. But, the hyper-real violence, while reminiscent of the cartoon horror gore of early Peter Jackson and Sam Raimi’s Evil Dead series, is paradoxically not exploitative. This is because it is contextualised within the brutal crime setting and driven by Thomas’ powerful desire to save the people he loves.

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The screenplay, also written by Waller, is full of witty one-liners and deadpan repartee between hard-bitten, desperate criminals and jailers who look as though they have been transported right out of hard-pipe thrillers such as: John Carpenter’s Assault on Precinct 13 (1976), Sam Peckinpah’s Bring Me the Head of Alfredo Garcia (1974) and Don Siegel’s crime gem Charley Varrick (1973).  While over two hours long the plot moves pretty quickly, yet Waller takes his time deliberately building character, suspense and tension before busting out into spectacular violence. Having previously directed the stunning B-movie Western Bone Tomahawk (2015), S. Craig Waller is certainly making a name for himself as an independent film director of some note.

Waller finds a compelling cinematic partner-in-crime in Vince Vaughn too. Vaughn, who burst on the scene with a hilarious performance in brilliant indie-hit Swingers (1996), could be argued to have not lived up to his full acting potential. While he has performed in some excellent movies his CV is also peppered with unfunny comedies, soporific romances and bland family films. Don’t get me wrong, we have to pay the mortgage but there’s always been a nagging sense Vaughn was not utilising his meaty acting ability. Having said that in Hacksaw Ridge (2016) and now Brawl in Cell Block 99, he proves himself to be a character actor of some force. Indeed, his natural comedic timing, muscular frame and searing intensity are all utilised here to mesmeric impact in a career-best performance.

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Katabasis, as aforementioned, is about descent; but the archetypal hero will usually return triumphant in victory. Brawl in Cell Block 99 offers an alternative vision of moral redemption though within Bradley Thomas’ avenging-angel-versus-the-devil narrative. As such, Brawl in Cell Block 99 joins a list of recent lower-budgeted-independent-minded movies such as: Cold in July (2014), Green Room (2015), Out of the Furnace (2013) and Hell or High Water (2016), which rip into the dark underbelly of United States’ industrial and criminal landscape leaving us in no doubt to the destructive nature of the American dream.

(Mark: 9 out of 11)

Articles, Ten Things

10 THINGS I HATE ABOUT YOU – #6 MODERN LIFE

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10 THINGS I HATE ABOUT YOU – #6 – MODERN LIFE

I recently wrote a little personal review on stuff I love about life which can be found here. BUT then I thought ah, why not continue my Ten Things I Hate About. . . series which to date includes reasons why I hate: Zach Snyder’s Man Of Steel, the Cinema, Found Footage films, Politics and Movie Hair!? Therefore, I thought why not write about things in LIFE I hate too!

Here I’m just saying that this is for fun and not a cry for help, as my life is pretty good I have a job, a roof-over-my-head, good family and I have my health. Compared to those in war-torn countries and those hit by horrific tsunamis and hurricanes I CANNOT COMPLAIN!!  Still, there’s no harm in having a little bit of a moan now and then. So, here are ten things that really get on my nerves most days whilst living and breathing on Earth.

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#1 – ONLINE HATERS OR TROLLS!

Why are people so over-the-top with their reactions online I ask myself? Maybe they are channelling their life disappointments or existential anger by way of dissociative behaviour. Criticizing things is one thing but venturing into petty online spite could be a way of distancing themselves from the pain of life or just a means to attack others in an offensive way. Moreover, sport, politics, novels, schools, pop videos and even cakes give rise to the most ridiculous hate-filled crap online. Even worse is that many people are cowards and use anonymity too. Why can’t we all just get along?

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#2 – GU: GLASS POTS

This is a bit of a niche pet-hate! But I once shared a flat with a very decent person but they kept, every day, purchasing GU Pot desserts. They would eat them, clean the glass pots and place them in the cupboard. Soon we were infested with GU Pots!  I thought maybe he was to recycle them at the glass bank but he left the tenancy and I was the one who had to get rid of these damned pesky pots. I’d given up smoking so couldn’t even use them as an ashtray!

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#3 – PEOPLE WHO DON’T INDICATE WHEN DRIVING

Come on drivers please let me know which way you’re going?!?  It’s the lever on the steering wheel; just flick it and THEN I KNOW!!  Also, if you’re changing lanes don’t just lurch left or right without warning you bastards!!  Please use the indicator!!  I’m a bit anal when it comes to this but just have a bit of decency please?  Oh, and while you’re at it stop driving so close to my back bumper! THAT’S HOW CRASHES OCCUR YOU MUPPETS!

#4 – ADULTS ON SCOOTERS

What is it with this most recent of irritating phenomena!? If it isn’t bad enough pedestrians having to battle regular traffic and hate-filled cyclists failing to stop at red lights while riding on pavements; we now have morons over the age of 18 riding kid’s scooters too. It may get you from A to Z in an environmentally safe fashion but you are dangerous and look like a dick! Just stop it please!


#5 – PEOPLE WHO SAY, “YOU KNOW WHAT I’M LIKE!

I do this all the time and it is bloody annoying. For example, I am very pedantic and annoy people with this – especially my wife. But when I do it I often utter the above words: “Well, you know what I’m like – it’s what I’m like!” No, it doesn’t work as a catchall defence mechanism so must be rejected. You wouldn’t get jury’s in court finding you innocent of murder because it’s “what I’m like!” Just don’t do it to start off with!

#6 – PROFESSIONAL CRITICS

Everyone’s a critic!  Everyone has an opinion or a view and the Internet has caused a mass proliferation and gaping spew of words and views and brain-thoughts in extremis. I am just part of that continued global globule of opinionated ephemera which litters the clouds or servers or wherever the hell it is online. However, I do it for fun and to stop me thinking about death. If you earn a living as a critic then you are Satan! Would I do it for a living, well, yes I would but I’d rather create than dictate. I’d rather be the failed artist trying than the trying failed artist.


#7 – WHITE MIDDLE-CLASS KIDS WHO TRY AND RAP!!

Again, it’s a freedom of choice to dress to behave the way you choose, however, the absorption of urban culture by middle-class white kids to me is very grating. I’m not saying don’t appreciate the music, style and fashion styles but dreadlocks, urban-speak and bad rapping should not be tolerated. Most annoying is appropriating other people’s look or behaviour when much has been borne out from a certain social standing. But most of all it’s the terrible rapping. Look at this c**t from M. Night Shymalan’s The Visit (2015)!


#8 – OVER-INFLATED PRICES PAID FOR ART!

Picture the scene: a starving child in Africa passively stares at a camera while a fly irritates their big sad eyes, and they do not know when their next meal is coming from. Meanwhile, in a New York auction house a painting by Cezanne or Gauguin or Picasso is selling for over $200 million dollars! What the f**k is wrong with the world?!  I’m not saying these paintings aren’t great art it’s just that there is NO WAY that amount of money should be paid for a painting when there is starvation, disease, and poverty in the world. It’s just an indictment of the sickness of humanity that we place such value on what effectively amounts to canvas and paint placed in a particular manner by some dead guy. It’s utter madness!!

painting

#9 – PEOPLE WHO DON’T LET YOU GET OFF THE TRAIN FIRST!

Honestly, it’s bad enough being crammed like sardines in a space not fit for cattle going to market. However, when you try and get off a stacked tube and the passengers on the platform block your way then you can seriously lose your cool. There should be a bigger space and line to allow more room to get off. I mean: what’s the hurry though?  We’re just too much in a hurry I guess to have some empathy and feelings for others’. Damned shame!

#10 – TALKING AT THE MOVIES!

I mean why are you talking during a movie?  There’s a FILM on!!  People who chat during the film SHOULD BE banned forever! In fact a law should be introduced that there’s NO talking from the trailers onwards.  If you do you are forcibly removed from the screening room.  I go to the cinema to escape reality; YOU or YOUR MATE’S voice-words are reality so SHUT THE HELL UP!  If you want to have a conversation piss-off to a pub or a shop or a busy road and PLAY IN THE TRAFFIC. Anywhere but the cinema!

Netflix, Reviews, Television

SCREENWASH – SUMMER 2017 – TV DRAMA REVIEWS including: THE NIGHT OF, HANDMAID’S TALE, FARGO (S3) etc.

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SCREENWASH – SUMMER 2017 – TV DRAMA REVIEW ROUND-UP

I’ve been watching some excellent dramas over the last few months so here’s a few bitesize reviews with the usual marks out of eleven!

BROADCHURCH (2017) – SEASON 3 – ITV

Chris Chibnall’s compelling investigative-crime-coastal-set drama continues as Police Officers Hardy (David Tennant) and Miller (Olivia Coleman) get to grips with a horrific sexual attack. The chemistry between the two leads is, as usual, the glue that holds the show together as does the suspenseful narrative. It’s a very well-crafted human drama too with many well-rounded characters driving the story. The excellent supporting cast including: Jodie Whittaker, Andrew Buchan, Lenny Henry, Julie Hesmondhalgh etc. make this another very watchable drama. (Mark: 8.5 out of 11)

BROADCHURCH

FARGO (2017) – SEASON 3 – MGM / FX

Noah Hawley continues to emulate the Coen Brothers’ oeuvre with pitch perfect expertise. This story of stoic cops, dumb criminals, ultra-violence and random acts of fate amidst the snowy landscapes of Minnesota is highly recommended. Ewan McGregor brilliantly plays TWO warring brothers whose feud escalates out of control while corporate crime also gets a poke as McGregor’s Emmet Stussy car-lot business gets swooped on by shysters. Slyly satirising the police procedural drama with off-centre plot twists and dark humour, David Thewlis’s scumbag businessman and Mary Elizabeth Winstead crafty femme fatale steal the show in ten brilliant-could’ve-watched-it-all-day-violent-but-hilarious episodes. (Mark: 9 out of 11)

GENIUS (2017) – SEASON 1 – NATIONAL GEOGRAPHIC

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This beautifully shot and well-written educational drama is based on Walter Isaacson’s book Einstein: His Life and Universe (2007). It examines Einstein’s early life as a struggling clerk and events which saw him become one of the most famous scientists. Johnny Flynn portrays young Einstein with a fine energy while Geoffrey Rush excels as the mad-haired genius we have come to recognise. I’m definitely not a science buff, however there was much to be engrossed by in Einstein’s story, not least his dysfunctional family and marital issues. Both informative and enlightening in regard to science and history it’s fascinating throughout. (Mark: 7.5 out of 11)

THE HANDMAID’S TALE (2017) – SEASON 1 – HULU / C4

Based on Margaret Attwood’s novel, it is set in a dystopian (is there any other kind) near future where the United States has now become split following a societal breakdown and coup. Having moved to more religious-based dictatorial rule, women on the main are now barren and unable to have children; there are however a select few who can still get pregnant. Rather than herald these individuals they are herded up and given to the ruling elite as brood slaves. Elisabeth Moss is mesmerizing as the lead “Handmaid” Offred/June who must survive oppression following her husband and daughter’s apparent death. This hard-hitting drama is definitely one of the best I have seen during 2017. It moves slowly and is very bleak but, like Children of Men (2006), it contains suggestions of hope, light, rebellion and solidarity in a grim, patriarchal world which crushes life and colour. Impressively directed, acted and shot it had me transfixed and disturbed and I very much look forward to a 2nd season. (Mark: 9.5 out of 11)

HOMELAND (2014) – SEASON 4 – SHOWTIME / C4

Claire Danes deserves so much praise for her role as Carrie Mathison. She owns the screen with her single-handed determination to fight against both bi-polar and “enemies” of the USA. Set in Kabul this season eschews the more romantic intensity of the previous seasons for some thrilling spy twists. Rupert Friend excels too as the burnt out CIA Operative as the story moves more toward 24esque territory. It’s sad that the political landscape gives rise to shows such as this but it remains compelling if slightly generic viewing compared to the other seasons. (Mark: 8 out of 11)

HOMELAND

IRON FIST (2017) – SEASON 1 – MARVEL / NETFLIX

Danny Rand (Finn Jones) – previously believed dead – comes back to claim his family business and takes on both corporate and mystical villains in this contemporary superhero drama. Jones is okay and David Wenham is excellent as one of the bad guys but I really struggled with this. I enjoyed Daredevil and Jessica Jones and thought Luke Cage, while a bit slow, had some excellent moments. Iron Fist, however, had a thin repetitive narrative and the fight scenes, characters and dialogue lacked the fizz of Marvel’s best TV work. (Mark: 6 out of 11)

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THE NIGHT OF… (2016) – HBO/SKY

A shy young student Naz portrayed by Riz Ahmed makes several poor life decisions and finds himself in jail for the murder of a young woman. Ambulance-chasing-psoriasis-suffering lawyer John Stone (John Turturro) takes his case as all the evidence points to his guilt.  Created by Richard Price and Steve Zaillian and starring Riz Ahmed, John Turturro, Michael Kenneth Williams and Bill Camp this exquisite noir-crime drama carries the confidence and style of the very best cinematic offerings.  Moreover, the rich characterisation and performances raise it well above the usual police/lawyer procedural dramas on television. Award winning drama of the highest quality with a superlative cast. (Mark: 9 out of 11)

Articles, Comedy, music, Reviews

2017 EDINBURGH FRINGE FESTIVAL – CULTURAL ROUND-UP

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2017 EDINBURGH FRINGE FESTIVAL – CULTURAL ROUND-UP

You may or may not know this but the comedy you see on television via the sitcoms, panel shows, live performances etc. plus the Netflix or Amazon specials which are streamed online are just the tip of the iceberg in regard to stand-up, sketch and narrative comedy shows. Because, underneath is a huge population of individuals writing, rehearsing, directing, editing and performing their works live across the clubs, theatres, pubs, basements and attics of the world.

These unsung creative heroes and the occasional lunatic are, on the whole, slogging their guts out following a dream to hit the big time in their chosen stage craft. Either that or they simply revel in performing and delivering their stories, jokes or narratives to the public live. It’s a cathartic experience to release their heart and soul to the world in comedic, theatrical or musical form and most of these people should be saluted for their creativity.

One of the best places to find these purveyors of dance, comedy, performance, mime, acting, music and sometimes science is at the annual Edinburgh Fringe Festival. This year I went, with my wife, on holiday there for a week to check out some shows and sites and lovely restaurants and pubs!  Here’s a uncritical round-up of some of the things we caught up with. Amazing fun it was too!

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LODGINGS

Like many cities Edinburgh has many great places to spend the night including hotels and other bed and breakfast digs. Many of the acts performing at the Fringe have budgets so will use rented accommodation, hostels, vehicles and ditches too to sleep in. My wife likes some comfort when we stay places whereas I have been happy in the past with the gutter; well, a cheap B & B. So she chose Millers 64 on Pilrig Street and what a lovely place it was too. Run by Louise and Shona Clelland, we experienced some of the best hospitality we have ever had so they are highly recommended. Check out their website here.

MILLERS64

FOOD

Scotland and the North in general has been the focus of stereotypical gags at the expense of unhealthy living including: bad diet, alcoholism and drug abuse. I guess characters such as Rab C. Nesbitt and novels/films like Trainspotting only serve to strengthen such ideas. Of course, if you search it out you will find junk food and drink in any place the world over but I actually ate pretty healthily during my week in Scotland.

Of the places we visited I can definitely recommend La Favorita pizza place on Leith Walk. Moreover, the tasting menu at the Gardiners Cottage was beautifully presented and I very much enjoyed the Indian cuisine at Mother India. There are also hundreds of pubs, cafes and burger restaurants all over Edinburgh.

I enjoyed watching Tottenham Hotspur FC defeat Newcastle FC in the Kilted Pig on the Sunday but my favourite pub was probably The Pear Tree House on West Nicolson Street. It had great beer, food, a massive garden and a constant stream of lively entertainment and music.

Having said that the greatest epicurean treat I had was on my birthday at The Kitchin. The food was absolutely exquisite and what made it all the more amazing was my wife treated me to the meal just for getting a year older. I imagine it was very expensive but the whole experience was fantastic as we also visited the kitchen and met the aptly named owner/chef Tom Kitchin.

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MUSIC

As I only had a week and there is SO much going on at the Edinburgh Fringe Festival I did not see any theatrical presentations, which, if I’d been there for another week would certainly have been on my cultural agenda. Similarly with musical performances I chose the more comedic acts over others but enjoyed an excellent set by jazz guitarist Graeme Mearns despite this. However, the real humdinger of a show I could not miss was the one by gothic chanteuse Camille O’Sullivan. She is a dark storm of a performer who hails from Ireland and sings haunting and very dramatic versions of tunes written by Leonard Cohen, David Bowie, Arcade Fire and Nick Cave. In the elegant tent where I saw her show I was bewitched by the spine-tingling performance borne of fire, shadow, light and ice.

camille

COMEDY

I love comedy. It is a noble craft which on occasions can be propelled to the heights of art and was to the fore of my cultural menu in Edinburgh. In fact, on Monday 14th August I watched SEVEN shows beginning at 11am with the last one finished at 10.30pm.  It was a brilliant day and encapsulated all that is great about the Fringe Festival.  This is NOT a review of the comedians I saw during the week as all the shows I witnessed were BRILLIANT! I don’t believe in comedy competitions or star ratings as comedy is too subjective for that. But rather, it’s a round-up of and a shout out to a very talented bunch of individuals I saw; and there were thousands I missed too but there was just not enough time alas.

Musical comedy is something I have been really getting into and the alternative genius Robert White presented an exhilarating off-kiltered-joke-a-second-Gershwin-inspired operetta of his life in a show called Instru-mental. Equally energetic was the wonderful Pippa Evans in Joy Division; while the very talented Harriet Braine delivered some excellent cover songs which also educated us about the history of Art!

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I also saw some excellent club and storytelling comedians such as: free-wheeling Russell Hicks; Irish mirth-maker Rory O’Hanlon; Cheetah Adam Greene; intelligent Scot Stephen Carlin; conspiracy theorist Don Biswas; witty and frantic Nathan Cassidy; the brilliant comedy-swap laughs of Sketch Thieves; the crafty humour of Ben Clover; plus the ferocious, clever and frantic comedy of Fringe stalwart Richard Herring.

Of the shows that arguably had longevity in terms of their narratives then Darius Davies’ Road to Wrestlemania was really funny. It’s a fast-paced narrative of how, when a naïve teenager, he tried to become a World Wrestling star.  Successfully employing multi-media, costumes and music to tell the story it made me laugh (and almost cry) throughout. I also really enjoyed Dominic Holland’s very funny and touching Eclipsed. Holland, who has been a very successful author and comedian found his career eclipsed by his son Tom Holland who last year became the new Spiderman!  It’s a brilliant story about success and family togetherness amidst some excellent comedic observations of everyday life.

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Of all the comedians I saw I was transfixed by the mercurial delivery and off-centre ideas of Tommy Tiernan. A comedy veteran and Grandmaster of the comedic dark arts, he flits around the stage nimbly while his rich Irish brogue delivers a stream of jokes, observations, non-sequiturs and the occasional barmy rant. He covers many subjects such as: life, death, religion, sex, family, immigrants, football, age and so on. An hour in his company is not enough as I could have listened to him for hours.

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OVERALL

So, that was my first Edinburgh Fringe Festival. The whole experience was fantastic to me as I was around the things I love such as comedy, music, food and booze for an intensely concentrated week of pure culture. If you’re like me and hanging around watching shows and feeding off the energy of a cultural oasis then I highly recommend it. I would say a week is definitely not enough for what’s on offer in bonnie Scotland during the month of August!

Comedy, Netflix, Reviews

NETFLIX STAND-UP COMEDY SPECIAL REVIEWS!

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NETFLIX STAND-UP COMEDY SPECIAL REVIEWS

My latest themed viewing was to look at some of the comedy specials on Netflix. Having said that given there are so many comedy specials on Netflix the word “special”, if I’m honest, has kind of been rendered redundant. Nonetheless, there is an abundance of brilliant stand-up to choose from and here are just a few you can see.

Comedy is probably the most subjective of cultural crafts or art to review as what one person may find hilarious another will just not! So, I have not given marks for these wonderful performers as they are all very funny and I won’t rehash any gags but more examine their respective personas, style and themes.

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CRISTELA ALONZO – LOWER CLASSY (2017)

I hadn’t heard of this comedian before but she presented a breezy and very energetic set from the solid working class Latino persona. The gag-rate was extremely high as she covered subjects as: growing up in a poor family; religion; parents; losing weight and gym etiquette. It’s conventional but Alonzo is so likeable you cannot help but smile.

CRISTELA

BILL BURR – WALK YOUR WAY OUT (2017)

One of my favourite US comedians delivers another decent set of jokes and observations about the stupidity of people and life. With his aggressive persona he spits out barbs at: fast food, people on diets, American politicians and the dumbness of everyone. Arguably not as cutting as his prior specials like I’m Sorry You Feel This Way (2014), it’s still quality misanthropy from a brilliant comic.

HANNIBAL BURESS – COMEDY CAMISADO (2017)

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I saw Hannibal Buress’ cameo in the Spiderman: Homecoming (2017) film but wasn’t too familiar with his stand-up. However, he impressed me with his grouchy confidence and routines about kids, zipper etiquette and the now obligatory US comedian bit about Bill Cosby.

JIMMY CARR – FUNNY BUSINESS (2016)

Jimmy Carr is the Rolls Royce of one-liner comedians. He has a sharp style and delivers near-the-knuckle gags-a-second.  He breaks up the rat-a-tat style by inviting the audience to heckle him and brings them down with fantastic put-downs. If you prefer your stand-up to be quick and slick and politically incorrect then go for him.

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DAVE CHAPPELLE – AGE OF SPIN (2017) / DEEP IN THE HEART OF TEXAS (2017)

These are two brilliant shows from uber-comedian Dave Chappelle who, having had a long break from performing stand-up comedy, came back to the form with these Netflix Specials. Age of Spin is the more complex as he discusses celebrity culture, media and controversy with routines about OJ Simpson and Bill Cosby. Deep in the Heart of Texas is the more conventional of the two but contains wonderful jokes and storytelling about his family, kids, relationships and the perils of being a famous comedian who gets sex-tape blackmailed.

BRIDGET CHRISTIE – STAND-UP FOR HER (2017)

I’d seen Bridget Christie on the Alternative Comedy Experience and was very impressed. Her writing is especially well-crafted as she expertly examines gender politics from a confident liberal perspective. Her delivery is exasperated yet very sharp, as the patriarchal world is quite rightly ridiculed for the pompous ass that it is. She is intelligent funny and also very silly despite the depth of many of her points.

Comic Bridget Christie

LOUIS CK – (2017)

Louis CK is a grandmaster at misanthropic, shocking and angry comedy which pulls no punches in his exasperation of modern day living. His most recent show is arguably less grumpy than others I have seen but his coverage of topics such as: abortion, religion, sexuality, drugs and family etc. are expertly written and delivered in his usual inquisitive yet twisted way.

STEWART LEE – 41st BEST COMEDIAN EVER (2008)

I watched this special from over a decade ago as a sort of comedy control experiment as it is probably one of my favourite shows ever. Self-anointed-metro-lib-elite comedian Lee conjures up jokes referencing: his mother’s quilts, insects, Carphone Warehouse, racism and 1970s old-school comedian Tom O’Connor; all while analysing his own place in the life and the comedy world in general. Lee is just a brilliant writer who fashions humour both in his writing and desperation of life itself.

NORM MACDONALD – HITLER’S DOG, GOSSIP AND TRICKERY (2017)

Canadian comedian Norm Macdonald is an absolute comedy legend and recommended for those who enjoy deadpan, off-centre and laconic humour. His routines look at everyday life but he has such a skewed perspective of the world his writing echoes in your mind way after the laughs have passed. I was especially taken with his view on “accidental” revenge suicides, the unfailing loyalty of dogs and the joy we once had when taking photos.

KATHERINE RYAN – IN TROUBLE (2017)

Canada boasts many fine comedians who cross the Atlantic and perform in the UK. The sassy and sometimes shocking Ryan is just one of those excellent performers. She is smart, elegant and sarcastic in her barbs on celebrity culture, relationships and family and friends. She holds court and chats with the audience in a breezy, uncomplicated and funny show.

REGGIE WATTS – SPATIAL (2016)

Watts is a somewhat bizarre performer who eschews traditional jokes and observations for a jazz-like-impro style; which is difficult to get into on-screen if I am honest. However, he is a brilliant musician and has a fantastic soulful voice which all combine amidst the strange bleeps, beats and stoner-like non-sequiturs to impressive effect.

REGGIE
Cinema, New Releases, Reviews

Edgar Wright’s irrepressible ‘BABY DRIVER’ (2017): MOVIE REVIEW

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BABY DRIVER (2017) – MOVIE REVIEW

DIRECTOR: Edgar Wright 

WRITER: Edgar Wright

CAST: Ansel Elgort, Jamie Foxx, Eiza Gonzales, John Hamm, Lily James, Kevin Spacey, John Bernthal.

**CONTAINS MINIMAL SPOILERS**

If there is a better and more precisely directed genre film in the last few years than Baby Driver (2017) then I have not seen it. Edgar Wright should take several bows for turning a familiar B-movie-heist-plot with nods to The Getaway (1972), Drive (2011), The Driver (1978), True Romance (1994) and many, many more into an exhilarating, high-octane, funny and dizzying heist thriller.

Edgar-Wright

The story concerns Baby (Ansel Elgort) who is in deep trouble with crime boss Doc (Kevin Spacey) and being the superlative driver that he is works off his debt by assisting with meticulously planned bank jobs. Baby is out of place amidst the rogue gallery of career criminals which feature great character actors such as: John Hamm, Jamie Foxx, Eiza Gonzales and the bruising masculinity of John Bernthal. Baby is a laconic and sensitive soul who lives in his own world, cares for his elderly foster father, has a dry sense of humour; and just loves listening to music!

Not only is Baby Driver a passionate paean to the heist movie but it also serves as a personal playlist for all of Edgar Wright’s musical delights. We get some incredible rock tracks supporting the action notably those by: The Damned, John Spencer Blues Explosion, T-Rex, Queen and many more. In fact, way back in 2003, Wright produced a prototype of Baby Driver for a promo video for the band Mint Royale featuring the comedians and actors: Michael Smiley, Julian Barratt, Nick Frost and Noel Fielding. You can watch it here:

Ansel Elgort was brilliant in the lead and his performance was so fresh and naïve and likeable that you could not help but root for his character despite Baby’s criminal activity. His driving is awesome though and the stunts and manoeuvres that Wright has designed had my heart in my mouth throughout. At times the camera moves and quick cutting become so breath-taking the dips in action are a welcome relief. Conversely, the character work from Lily James as Baby’s romantic interest Debora is very cute; while Hamm, and Foxx especially, bring an impressive unhinged alpha-male brutality to proceedings.

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In the non-robbery-less-musical-quieter family, heist-planning and romantic moments Edgar Wright’s script is so full of punchlines, witty retorts and character detail that you cannot fail to enjoy them too. As such I had a lot of fun with this film and Wright proves once again that while thinking and planning  every shot and cut and move and punchline he is able to energise the most simplest of B-movie crime narratives. One could argue that the characterisations of supporting characters, such as Gonzales and Spacey could have been filled in a tad but the fuel-injected pace covers such cracks brilliantly.

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My only real criticism is minor. It is that there’s mild repetition in the car action and there’s an antagonist switch and slight plot-hole during the finale which jarred momentarily. However, Edgar Wright certainly deserves a very big gig soon because he directs the hell out of the movie.  His arsenal of: long takes, quick cuts, swooping camera moves, canted frames, Steadicam, camera holds, frame switches, pans, scans, tilts, low-angles, metronomic editing, point-of-view and god’s eye view shots are all a joy to behold.

Overall, it’s a story we’ve seen done many times before but as with Spaced (1999), Shaun of the Dead (2004), Hot Fuzz (2007) and World’s End (2013), Wright brings such a balletic rhythm, musical verve and kinetic drive to the movie it becomes simply irrepressible. I hope he gets a James Bond film or something similar to showcase his enormous filmmaking skills because while I really enjoyed Ant-Man (2015) you have to wonder how good his version of that material would have been.

(Mark: 9 out of 11)