Tag: review

Still Corners – Dead Blue

Album, Music, Reviews September 20, 2016

Originally published and still available on The Girls Are (17/09/16).

still-corners-dead-blue

Some believe in fate, others don’t. Fate suggests faith, and for those that don’t believe, perhaps serendipity would be better. From the moment they met some seven years ago, Still Corners have existed in a serendipitous cocoon, for their every decision seems to be a fortuitous twist of possibility.

Their well documented conception began in 2009 when Greg Hughes and Tessa Murray met by chance on a train platform on a commute to London Bridge where, when their train failed to stop at their destination, they bonded over a mutual love of books and music. She was now going to be late for choir whilst he, somewhat conveniently, had a position for a vocalist that needed filling. It was her turn on a double A-side that got the band signed, and since then they have been on a steady incline with their blend of electronica and dreamy pop.

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NOTS – Cosmetic

Album, Music, Reviews September 20, 2016

Originally published and still available on The Girls Are (04/09/16).

Turmoil: a sense of unrest, disturbance, confusion. Two of these factors can apply to NOTS, though it’s safe to say that ‘confusion’ is certainly not one of them; there is no confusion here, just intent, attitude, and a shit-tonne of noise.

Memphis, Tennessee is not a place one normally associates with a bristling punk scene, but it proved the ideal place for the foursome to nurture their sound over the years, initially playing in multiple bands with NOTS themselves seeing members come and go via a near constant revolve of their door. Charlotte Watson, for example, shifted from the drums to wield bass only to find herself with sticks back in her hands once again shortly after, and – from an audience perspective, good! – for she certainly sounds at home there. The band could not claim to be the same were it not for her pummelling attack on their second album Cosmetic; it is, after all, the linchpin in their sound.

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FRANK

Film & TV, Nostalgia Review, Uncategorized July 31, 2016

Originally published and still available on Post-Modern Sleaze (29/07/16).

There is a moment, at about 12 minutes in, when Don (Scoot McNairy) looks into Domhnall Gleeson‘s eyes and states, “Look, Jon, you’re just gonna have to go with this”, and it’s true, he does. We all do. For FRANK – Lenny Abrahamson‘s ode to near mythical British musician and comedian, Chris Sievey, and his alias, Frank Sidebottom – is a film whose story you are better off accepting then attempting to deconstruct, later.

Penned by Jon Ronson, it is the semi-autobiographical tale of how – aged 20 and the entertainments officer for the Polytechnic of Central London’s student union – he answered a phone call that went a bit like:

Man: “So Frank’s playing tonight and our keyboard player can’t make it and so we’re going to have to cancel unless you know any keyboard players,”

Jon: “I play keyboards,”

Man: “Well you’re in!”

Jon: “But I don’t know any of your songs,”

Man: “Wait a minute… Can you play C, F and G?” [1]

If you have seen the film, you should be privy on this sounding familiar, for this pivotal bit of discourse spurs the start of a more fictional string of events. Here we meet the Soronprfbs, the cinematic equivalent to The Freshies. They are a bunch who take themselves and their art quite seriously; there’s Don (McNairy) the manager (of sorts), and Clara (Maggie Gyllenhaal) who takes severe umbrage at the prospect of inexperienced newbie Jon (Gleeson) joining the troupe on a permanent basis. Guitarist Baroque (Francois Civil) and drummer Nana (Carla Azar) only converse in French.

Oh, and there’s Frank (Michael Fassbender) of course, the singular oddity that – somehow – is the glue that holds the Soronprfbs together. Whilst the film is carried by Gleeson’s naivety (his character is insufferably – yet relatably -#starryeyed), Frank is the real focal point; he persists in wearing a papier maché head 24/7 and none of his band members have seen him without. What would be a cumbersome grievance to many a lesser actor only serves to enhance Fassbender’s skill, for despite only showing his face for approximately ten minutes in the entire film, he manages to convey a full gamut of emotions ranging from ecstatic to frustrated by only using his voice and body language, yet it is in his character’s complex portrayal of mental health that he truly shines.

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X-MEN: Apocalypse

Film & TV, Latest Reviews July 26, 2016

Originally published and still available on Post-Modern Sleaze (29/05/16).

The team take on the original mutant in this overstuffed and overblown third instalment to the prequel series. ★★☆☆☆

By the time Jean Grey declares that “The third one is always the worst” about half way through X-MEN: Apocalypse, it is the final confirmation that what you are watching is, for all intents and purposes, exactly what you didn’t want to see.

Carrying on with the tradition of recent years, X-MEN Apocalypse begins one decade on from 2014’s Days Of Future Past. This is the 1980’s, and it feels it; aesthetically a little tacky or – if you prefer – style over substance. Apocalypse tries to be the full-throttle summer blockbuster that you so fondly recall from your childhood – which is fine, if executed correctly, and as unfortunate as it is to state, there is much about this film that falls short of the high bar set by its recent predecessors in the franchise.

One has to wonder what director Bryan Singer was thinking when he chose Apocalypse as the main antagonist following Days Of Future Past. The conflict in the latter film was largely devoid of a full-scale Big Bad assault. It was an internal affair, with the mutants uniting in the future timeline to rectify their failings in the past, ultimately to stop Mystique (Jennifer Lawrence) from assassinating President Nixon (this was the 70s, guys) and adding fuel to the fire of Dr. Bolivar Trask’s (Peter Dinklage) anti-mutant defence programme: The Sentinels.

This was an intelligent plot and more complex than your average superhero film. The same cannot be said here, so much so that the world and characters in Apocalypse may as well exist in an entirely alternate universe to that of First Class (2011) and Days Of Future Past. This may as well apply to the director too, for despite being at the helm of both Days Of Future Past and Apocalypse, at no point does it feel like Bryan Singer is responsible for both. He commits considerable gaffes to his previous work in the franchise such as abandoning interesting plot threads (read: Mystique posing as William Stryker and fishing Wolverine out of the river) that were left hanging from the previous film completely.

Continue reading on Post-Modern Sleaze.

Watch the Throne: Game Of Thrones – “The Winds Of Winter” (Season 6 Episode 10)

Film & TV, Latest Reviews, Watch The Throne July 25, 2016

Originally published on Post-Modern Sleaze and still available in full (14/07/16).

“Wow!” is the first this that sprang to mind after watching the final episode of season 6. The second was “It was perfect.” It was paid into fan speculation and theory, surprised us and even underwhelmed us. The narratives of all the main players in this series were rounded up neatly (in this super-long episode!) as we feel the chill of the winds of winter.

We open at Kingslanding, and everyone is tense on the morning of the trials of Cersei and Loras Tyrell. Remember, previously, that King Tommen had abolished the right to a trial-by-combat under the instruction of the High Sparrow. This is a trial by the Gods, and we all know how fair that is. Loras (Finn Jones) goes first, overlooked by a court packed with people including Kevan Lannister, his father – Mace Tyrell – and his sister, Margaery (Natalie Dormer). He doesn’t hold out for long, confessing to sins such as homosexuality and laying with traitor Renly Baratheon. He swears to serve the Seven, denouncing his titles and right to sire children, a fact the High Sparrow (Jonathan Pryce) is quick to solidify by having the Seven Pointed Star carved into his forehead.

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THE REVENANT

Film & TV, Latest Reviews June 27, 2016

Originally published and still available on Post-Modern Sleaze (20/06/16).

Leonardo DiCaprio embarks on a quest for survival through harsh terrain in this artfully vengeful Oscar-winning masterpiece. ★★★★★

When a film begins to trailer a good two months prior to its release date, the viewer is left to assume one of two things; The First: that said film has a really big budget to recoup or – Second: that this film is being plugged, shamelessly, for Oscar season. Occasionally, both are true and, even less often, they actually turn out to be worth the hype.

From the first viewing of the tense, adrenaline fuelled trailer, it was apparent that The Revenant was one such film (it cost $135 million), and as seems to be perquisite these days, we are treated to approximately 90% of the plot in the promo alone. Native American attacks, bear mailings and live burials are no spoiler. Set in hostile US territory circa 1823 and based on real life events, The Revenant follows the tale of intrepid explorer Hugh Glass (Leonardo DiCaprio) and the events following his being severely injured during the aforementioned bear attack. The remaining members of the pelt-hunting crew drag him along for as far as they dare before Captain Andrew Henry (Domhnall Gleeson) and co push onwards for help, leaving Glass with his son Hawk (Forrest Goodluck), naive youth Jim Bridger (Will Poulter) and poacher John Fitzgerald (Tom Hardy), whose outlook is as harsh and unrelenting as the terrain.

We all know what happens next, thanks to that over-revealing trailer; Fitzgerald thinks it kinder to snuff Glass and be gone, much to the distress of Hawk, who Fitzgerald murders whilst Glass looks on and buries him in a shallow grave. It’s quick, shocking and tense, and it is the start of our intrepid chase across the wilderness. For a film that is nigh on two and a half hours long, director Alejandro G. Iñárritu – he of Birdman (2014) fame, for which he won multiple Academy Awards in 2015 – creates a pace and ambience that drives the inhabitants of this world onwards in a quest to escape the peril and solitude. It is a testament to DiCaprio’s earnest performance as Glass that, despite being the sole entity onscreen for the majority of the film, he conveys more emotion via his eyes and body language than many an actor struggles to do with their voice. He (and the rest of the cast and crew, for that matter) is certainly put through the ringer; clambering in and out of frozen rivers, sleeping in animal carcasses, chowing down on raw bison liver (DiCaprio is vegetarian) and the constant threat of hypothermia were no doubt contributory factors that saw the actor finally being awarded an Oscar for Best Actor.

Continue reading at Post-Modern Sleaze.

Watch The Throne: Game Of Thrones – “Battle Of The Bastards” (Season 6 Episode 9)

Film & TV, Latest Reviews, Watch The Throne June 27, 2016

Originally published and still available on Post-Modern Sleaze (21/06/16).

BRR! BRR! You know the drill: spoiler time once again, and a couple of biggies this episode. Some bigger than Drogon.

Going against this season’s tradition of starting every episode up t’North, we find ourselves in Meereen which, at the end of the last episode, was being firebombed by the Master’s fleet of ships. Understandably, Daenerys (Emilia Clarke) is not impressed; sure it’s been a while since she was spirited away, but it was barely any time in the grand scheme of things. It even served her well, as she acquired an army of Dothraki (read: every tribe) in the process. Tyrion (Peter Dinklage) actually looks sheepish as he answers to his queen on the how’s and why’s of the city being bombarded. Together with Grey Worm (Jacob Anderson) and Missandei (Nathalie Emmanuel), the pair state their claims: that the Masters broke their agreement with Tyrion and, in attacking Meereen, they are being treacherous. Daenerys frees Rhaegal and Viserion from their prison – the pair are noticeably smaller than Drogon – and together the three destroy the Master’s army (all, somehow, without burning their fleet of ships. Convenient, right?).

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Watch The Throne: Game Of Thrones – “No-One” (Season 6 Episode 8)

Film & TV, Latest Reviews, Watch The Throne June 27, 2016

Originally published and still available on Post-Modern Sleaze (15/06/16).

Spoiler-bound, but no fear! This was a (relatively) quiet episode.

This week is Arya’s week, which I’m rather glad about. Her entire story has been on the back burner since last season, when she arrived in Braavos and opted to spend her days being bashed with sticks. So far this season, she has learnt some valuable lessons, such as not victimising others for personal gain, humility and perseverance. She definitely missed the memo on obedience, but this is Arya Stark. We have always loved the rebel in her.

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Watch The Throne: Game Of Thrones – “The Broken Man” (Season 6 Episode 7)

Film & TV, Latest Reviews, Watch The Throne June 27, 2016

Originally published and still available on Post-Modern Sleaze (10/06/16).

Spoiler spoiler everywhere, be wise or you’ll be in for a scare!

What’s that coming over the hill, chop-chop-chopping wood as he goes? It’s not… can it be… The Hound!? It’s a bold first shot for this week’s episode (can you believe that we’re on week seven already!? Where is the time going?), but depending on how much of a social media denizen you are, you may or may not have already seen some compromising theories pertaining to such over the peat week or two. I’ll link the Cleganebowl theory HERE should you be as much of a speculative and nosy and self-spoiling obsessive as I.

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Watch The Throne: Game Of Thrones – ‘Blood Of My Blood’ (Season 6 Episode 6)

Film & TV, Latest Reviews, Watch The Throne June 7, 2016

Originally published and still available on Post-Modern Sleaze (06/06/16).

Spoilers if you are lagging behind: beware. Or if you’ve given up on a spoiler-free existence, come right on through!

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