james debate
james debate

Tuesday, 24 July 2018

Directed by Sam Mendes
Written by Adapted by Ben Power from the Stefano Massini book
Starring Simon Russell Beale, Adam Godley, Ben Miles
Theatre National

lehman brothers trilogy massini power national theatre simon russell beale adam godley ben miles

When you tell someone that you are going to see a play about the founders of the eponymous Lehman Brothers, one of history's most prominent financial services firms and a central player in the market turmoil of 2008, most people form a certain picture in their mind of what they expect that play to be. Something dry, heady and inaccessible for mainstream audiences, perhaps, like reading the Financial Times. That the original adaptation of Stefano Massini's book stands at some five hours long only serves to further put off all but those with a deep burning interest in finance and business.

Those people would be missing out, because The Lehman Trilogy is an energetic marvel of biographical theatre that enthusiastically traces the 150 year history of modern finance, and in doing so provides a deeply relevant parable on capitalism and ambition. A key reason for this success is the new adaptation by Ben Power, whose script expertly strikes the balance between entertainment and education, embracing the tenuous excitement of runaway capitalism without ever feeling too preachy as to its dangers.

At its essence a family drama charting the journey from the initial dream of American opportunity to the inevitable and catastrophic downfall. There's a naked ambition that runs through each successive generation which seeks to build on what came before, not so much out of greed as a dynastic pressure driving them to stay one step ahead, lest the entire family legacy come crashing down. It's a drive that transforms a small weaving operation into a global financial powerhouse, which ultimately grows so bloated that it ends up imploding in on itself. It's a sprawling generational tale with a lot of historical context behind it, and yet it never feels overbearing or drawn out. Much of this is thanks to the smart decision to scale back the production, with Powers' script shortened to a relatively lean three and a half hours, and a formerly vast cast of players reduced to just three performers.

And what performers they are. Legendary stage actor Simon Russell Beale is joined by Ben Miles of Coupling and The Crown, and Adam Godley, a renowned Olivier and Tony nominated stage actor who will be recognisable to most casual viewers for roles in films like Love ActuallyTheory of Everything and Elizabeth. The three performers turn in an acting masterclass of the highest calibre, transforming into a variety of characters. Beale displays a breadth we have never seen before, playing in one scene a prodigious young child, in another a flirty divorcee, and in other a doddering old rabbi. But it's Godley who impresses most of all. His are the best line-readings, his characters steal every scene. One set-piece in particular was so impressive it caused a rare mid-scene eruption of applause from the audience. This is some of the finest acting I've seen in a long time.

It's not a perfect production. The final act feels rushed, particularly when it came time to discuss the recent financial crisis. That the script would brush over an event of such relevance in a slapdash fashion after taking us through 150 years of history in painstaking detail seems strangely jarring. In addition while the script's attempt at humour lands effectively for the most part, an over-reliance on repetition can occasionally go too far and get quite grating for the audience.

But these are fairly minor issues that do little to detract from what is overall a riotous and memorable evening. The Lehman Trilogy is essential theatre that I have no hesitation in recommending. For director Sam Mendes this represents another notch of accomplishment since his return to the stage, and one which manages to even exceed his other highly acclaimed recent works. I dare say this may be the play to see in 2018.

Saturday, 21 July 2018

Head Chef Nuno Mendes
Style Experimental
Location Redchurch Street, Shoreditch, London
Telephone Secret

new london restaurant maos chiltern firehouse nuno mendes viajante michelin

What happens when London’s hottest chef decides to open an intimate supper club? Something quite special as it turns out.

Nuno Mendes has been the toast of the London foodie scene for a number of years now, first becoming known for the Michelin starred Viajante, before striking gold with the Chiltern Firehouse. More recently he has opened Portuguese tapas place Taberna do Mercado in Spitalfields.

While the runaway success of the Firehouse has no doubt proven to be a nice little bread-winner, its safe and unvarying menu was always going to be a restless fit for a chef best known for his experimental style. So to complement, or perhaps as a respite from, his day job, Nuno Mendes decided to get the band back together and reopen Viajante, albeit in a more central location. After his crowdfunding campaign failed to raise the required capital, Nuno and his team ultimately decided to try something a bit more small scale. The result is the bizarre and wonderful social experiment that is Mãos.

Everything about the experience is surreal. There lies a cloak of secrecy over the whole event. The website is practically empty, with no menu, pictures or even contact details, just a reservation submission form. The address isn’t even provided until the day of the reservation (although it can be found on Google maps). You arrive at this unmarked, non-descript door in Shoredtich and buzz up, praying that you’re at the right place, only to be greeted by a beaming Nuno Mendes. From the moment you arrive, it’s clear that this is going to be something quite unique.

Mãos typically holds its one and only seating at 7pm, however during the summer months the team is experimenting with a Saturday matinee which commences earlier at 3pm, and ends with a post-meal drink on the roof terrace. Deciding to make the most of this heatwave, we opt for the matinee, and as it turns out we are the first group of patrons to do so.

The establishment itself is suitably idiosyncratic. Just three rooms (excluding roof terrace): a kitchen, a wine room, and a small dining room with a single communal table (Mãos takes in just 14 guests each day). Walls of exposed plaster, furniture of rustic wood, and crockery that looks (and as it turns out, was) sculpted by hand within these very walls. This quirky, unmarked building turns out to be a collection of artist studios and workshops, one of the tenants of which is the producer of many of the decorations and utensils of Mãos.

Guests are quickly ushered into the kitchen. Nuno and his kitchen team mill about like bees preparing snacks and apertifs, while staff and patrons alike hang around sharing a drink and getting to know one another. This is the first key thing to know about Mãos: it really is less of a restaurant and more of a supper club. It’s a little awkward at first, but trust me it does all come together. By the end of the evening you will know the staff and other diners quite well, thanks in large part to the incredible staff who do a great job of welcoming you in and making you feel like an old friend. This is the ethos of Mãos. You don’t feel like a customer being served at a restaurant, rather that you have been invited into someone’s home for a dinner party. It permeates every aspect of the evening. Guests are not required to spend the entire meal seated at the table and indeed are encouraged to get up and explore the venue, and take the meal in another room if they so please. Conversations with the staff are casual and frank, happy to talk about the business itself and the new ideas they're trying out.

It’s clear that everyone in the room adores food, foodie culture, talking about food. The staff relish in the secrecy, delight in surprising and entertaining. As such I would be loathe to spoil too much about the dinner itself, but suffice it to say the food is quite outstanding. Particular highlights from the evening that I will mention include the grilled short rib wrapped in a wasabi leaf and covered with yeast paste, the smoked wagyu beef with sweet peas and chive flowers, and Nuno's twist on a chawanmushi, which ultimately tasted like a chicken broth pudding. The dessert of roasted cherry stone ice cream also needs a mention. It's clear throughout the meal that even though the recipes are all quite creative and unique, they utilise a lot of familiar, homely flavours, adding to the whole home-cooked vibe. There are also vegetarian alternatives for those who so require. Of course it bears noting that the menu at this point is very much in flux, and so it is entirely likely that you might be served something completely different.

And so the evening unfolds over 4+ hours, a precession of bite-sized dishes (about 20 in total) that never overwhelms due to the expert pacing and diminutive portions. There is no wine-pairing per se, though an abundant selection is available both by bottle and glass. There is also a pleasing variety of non-alcoholic beverages - I myself spent much of the evening drinking a sweet potato and Sichuan pepper iced tea which was both tasty and refreshing. The group of diners is a diverse bunch: a young girl with her mother, a pair of young pharmaceutical executives, a 40-something couple and small business owner, and a solo food-lover among them. Everyone gets very much into the spirit of the occasion, eats, drinks, laughs.

At the end of the meal, the staff take us up to the roof-terrace by way of an artist's studio - amusingly, the stairway up to said terrace is itself an artist's creation, a bizarre hanging sculpture of copper, with guests provided slippers so that they do no fall on the way up. Once up top, Nuno brings up a plate of fresh almond cakes. There's never any sense of urgency or a rush for guests to leave. We continue to hang out another hour or so, chatting and having a few drinks of their special dessert wine. Even after we leave, several other guests remain.

Dining at Mãos is not cheap, but it's a remarkable and unique experience. There's nowhere else where you can have such an exquisite meal in such a relaxed and homely setting, not to mention the thrill of just hanging out with one of London's most prominent chefs. It's intoxicating, and in spite of the steep price I guarantee you'll want to go back before long. In fact as it turns out, a whopping 6 out of the 14 diners in our group were repeat visitors. I think that says it all.

Saturday, 19 May 2018

Welcome to another end of year retrospective on a great season of Premier League football. Here at The Ephemeric I'd like to use this moment to take stock of the season gone by and bestow a few carefully considered accolades.

Manchester City champions 2018
This season has been the story of an indomitable Manchester City team, proving once and for all that there is nothing Pep Guardiola can't accomplish when he has unlimited funds at his disposal (except apparently winning the Champions League with a team that doesn't include Lionel Messi). Still there can be no doubt that this City side is up there with the very best the Premier League has seen, the likes of Fergie's treble winning Manchester United, Wenger's invincible Arsenal, and Mourinho's record-breaking Chelsea. The experienced David Silva looks better than ever, while Sergio Aguero is still a goalscoring force with which to be reckoned. But the real highlight for City is the youthful talents of Raheem Sterling, Kevin De Bruyne, and Leroy Sane, the three of whom could well dominate the Premier League for years to come.

Elsewhere among the league's top contenders we saw a Manchester United side much improved under Jose Mourinho, and the continued consistency of Pochettino's excellent Tottenham team. Perhaps most exciting has been Jurgen Klopp's swashbuckling Liverpool, bolstered in particular by the astonishing form of attackers Mo Salah and Roberto Firmino. Any of those three sides could easily mount a title challenge next year, and we expect a good open race.

Bringing up the rear of the top six are Chelsea who, as predicted, paid the price for a poor summer of preparations, and an increasingly irrelevant and predictable Arsenal. Even the "shock" departure of Arsene Wenger was, in the end, not so shocking, as The Ephemeric's prediction of this outcome back in August can attest. It's particularly grim viewing for Chelsea fans who saw three of the four teams above them being led by ex Chelsea youngsters. Serious questions need to be asked of the longterm strategy of a club that did not have the vision to hang on to a front three of Salah, De Bruyne and Lukaku.

Even outside the top clubs this was a season filled with fascinating drama. Sean Dyche has delivered an incredible result for Burnley, who began the season as most pundits' favourites for relegation (a view The Ephemeric did not share), but ended the season qualifying for Europe. This was also a season that saw the stock of Rafa Benitez and Roy Hodgson rise considerably, the latter of whom in particular must be due great credit for managing to turn around Crystal Palace's season.

But someone had to go down, and this year that burden falls to Swansea and Stoke sides that went into the season with glaring vulnerabilities and duly struggled, and somewhat more surprisingly to Tony Pulis' West Brom, who performed well under expectations.

Now without further ado it is time to move on to the Ephemeric end of season awards, followed by our carefully selected Premier League team of the year.

The Ephemeric Premier League Awards 2017:

Winners: Manchester City- Not just a comfortable win, but an intimidating one. No other team was even close to City this year, and unlike the last few Champions Chelsea, Leicester and Chelsea again, there is no hint of an impending downturn. City as a club appears to have the resources and the consistency of vision their rivals lack, and they have to be considered favourites again next season.

Relegated: Swansea, Stoke, West Brom - Swansea and Stoke entered the season with serious questions about their ability to survive the season, but West Brom in particular have had a disappointing season. Bouncing back next year will be no easy task.

Player of the Year: Mohamed Salah (Liverpool) - It's been an astounding season for Mo Salah that is (perhaps slightly prematurely) seeing him compared to Messi and Cristiano Ronaldo as one of the world's best. Whatever the case, if he can maintain this form it will make Liverpool a force to be reckoned with for years to come.

U-21 Player of the Year: Trent Alexander-Arnold (Liverpool) - A mainstay of this impressive Liverpool side through more unintended circumstance than intention, Trent Alexander-Arnold has nevertheless taken his opportunity and finds himself rightly praised as one of the season's standout youngsters and a place in the World Cup.

Best Goalkeeper: Davide de Gea (Manchester United) - The best part of the Man U team this season has once again been de Gea. In a team with few standout individuals, de Gea has to be seen as a key reason for the consistency that has seen them rise to second in the league.

Manager of the Year: Sean Dyche (Burnley) - A tough call. Pep's City team have been formidable, but taking a relegation-tipped side to European qualification is simply a more impressive accomplishment. Dyche's team this year have been remarkable to watch and fully deserve their success.

Top Scorer: Mohamed Salah (Liverpool) (32) - Salah has used his pace to devastating effect this season. A goal tally in excess of 30 is remarkable for any player, let alone one who previously hadn't really be thought of as a stiker.

Most Assists: Kevin De Bruyne (Manchester City) (16) - Another top class season for City's great creative force. Even more incredible when you consider that the league's top four assist-makers this season are all City players.

Overachievers: Burnley - A great accomplishment that no one saw coming. Many had tipped Burnley for relegation (The Ephemeric was one of the few outlets to disagree with this view at the start of the season), and now they find themselves in the Europa League next season.

Underachievers: Arsenal - Another unremarkable and trophiless season for a club that hasn't shown any noticeable improvement in a number of years. The lack of progress is especially damning given the vast sums spent by the club on players (some £400 million over the last 5 years). Maybe a new direction under a new manager will do them some good.

Best signing of the season: Mohamed Salah (Liverpool) - As above.

Worst signing of the season: Tiemoue Bakayoko (Chelsea) - A bit harsh perhaps, but it has been a very poor first season for a player who cost a good £40 million to sign. It's a folly made all the more embarrassing when one considers the talent who made way to accommodate this signing: the experienced Nemanja Matic who has been excellent for Manchester United, and Academy product Ruben Loftus Cheek, who has been one of the revelations of the season on loan at Crystal Palace, and rightly earned a place in the England World Cup squad.

The Ephemeric Premier League Team of the Season 2017:

english epl bpl premier league best team xi of the season 2018

So there we have it, another season of Premier League football gone by. We'll see you again next season!

Saturday, 12 May 2018

Created by Ryan Murphy, Scott Alexander, Larry Karaszewski
Network FX
Starring Darren Criss, Edgar Ramirez, Ricky Martin, Penelope Cruz
Genre True crime
Running Time Varies

american crime story horror glee OJ simpson assassination gianni versace best show 2018

In its first season, American Crime Story tackled what is arguably the most famous criminal trial of all time, the People v. O.J. Simpson. As the first major dramatic depiction of one of the defining events of modern times, that first season generated a great deal of interest, and went on to garner widespread critical acclaim and a litany of awards. Now the question must be: how do you top the trial of the century?

For newcomers, American Crime Story is the brainchild of Ryan Murphy, creator of Glee and American Horror Story. Much like the latter, ACS is an anthology series, with each season focusing on a completely separate true-crime story, with a different cast and production crew.

The great success of those earlier series has established Murphy as genuine TV royalty, but it's fair to say he is not to everyone's taste. Murphy is known for a very specific style, one that is generally camp and flashy. Whether it’s the high-school musical antics of Glee, or the teen-slasher pastiche of American Horror story and Scream Queens, his shows can often feel like something of a guilty pleasure. It’s a style he brought with him to the first season of ACS, capturing the absurd circus and cartoon characters of the O.J. Simpson trial with typically ostentatious aplomb. But for the show’s sophomore season, ACS is going for a new, darker tone, one that is quite different to any of Murphy’s previous work.

Despite the name on the title-card, season 2 is the story of serial killer Andrew Cunanan and his violent rampage that lasted three months, culminating in the murder of fashion icon Gianni Versace. Unlike O.J., the story here is not the trial or the larger than life personas that turned a crime into a pop culture sensation. This season is about the killer and his story. It’s about unravelling the sequence of events that would lead an intelligent, charismatic, and otherwise unassuming kid to perpetrate such horrific acts. Anyone expecting something light and fluffy like the first season may be disappointed. What follows is a far more serious and considered exploration of events.

The new tone of the second season is apparent from the start with its stunningly shot opening sequence. Cameras pan across a sumptuous Miami sunset, where an obviously pained Cunanan howls at the sea, scars all over his legs, and a gun in his backpack. This contrasts with Versace’s luxuriant lifestyle, taking breakfast by the pool of his mansion, more Venetian palace than Floridian boardwalk. The two move wordlessly through their respective preparations against a backing of Adagio in G minor until coming together in a cruel symphony of violent fate.

Immediately the production quality stands out. This is a visually striking show with great attention to detail and cinematography that can often be jaw-dropping. The direction is as stylistically bold as one would expect from a Ryan Murphy show, and uses music and other sensory inputs to great effect (a particularly terrifying scene featuring Phil Collins' Easy Lover stands out). It's clear that a great deal of artistry has gone into the crafting of these episodes.

From this introduction the season works backwards, each episode revealing a little more of the events that led to the previous episode. I can imagine that such non-linear storytelling can be off-putting for some, but in this case it works brilliantly. Each episode really feels like peeling another layer from an onion, constantly challenging any preconceived notions you may have formed about Cunanan. One’s first impression might be of an unstoppable Patrick Bateman-esque psychopath, but you’ll soon come to see Cunanan as a jilted lover, an outcast, and a desperate fantasist.

As with the first season there’s a clear focus on the social pressures surrounding the tragedy. In OJ, it was about the racial tensions and how that played into the course of events. In Versace, it’s the stigma regarding homosexuality. ACS never tries to excuse or justify Cunanan’s actions, but by the time you get to the final episode you will at least understand how someone could pushed to the point of breaking. Indeed you might find the Andrew Cunanan story is one of sadness more than revulsion.

And all of this is held together by the career-making performance of Darren Criss. To be brutally honest, I would never have had him pegged for such a good actor, but in Versace he delivers a performance that has blown the critics away. Simultaneously charming and terrifying, monstrous and strangely sympathetic. It is no hyperbole to say that it's one of the best depictions of a serial killer in recent memory, and Criss will almost certainly find himself a frontrunner for this year's awards season.

The second season of ACS is quite remarkable. A more serious and mature affair than what one might expect following the debut season, with a bold narrative structure that explores the mind of a serial killer better than most TV series ever have. It may not have the name brand recognition of OJ Simpson, but marks a step up from the first season in nearly every way.

Sunday, 22 April 2018

Created by Seth MacFarlane
Network Fox
Starring Seth MacFarlane, Adrianne Palicki, Scott Grimes, Halston Sage
Genre Science Fiction
Running Time 43 minutes

orville fox seth macfarlane family guy great better than star trek discovery

As my readers will recall, we have already discussed The Orville here on The Ephemeric, awarding it our prized Debbie Award for best new TV show of 2017. Yet despite our obvious enjoyment of the series, due to scheduling issues we were not able to submit a full review at the time. With the news percolating across the Internet that a second season has begun filming, and following our recent review of Star Trek's mixed bag of a new series, the time feels right to revisit.

To get to the point: this is the series you should be watching. If you are a fan of classic Star Trek, you'll appreciate this show. If you are a fan of science fiction which has more to say about the world in which we live than "he with the biggest laser gun wins", you'll appreciate this show. I'm as shocked as anyone about this one. Ordinarily I find myself broadly agreeing with the critical consensus, and Fox's The Orville, a passion project of comedian Seth Macfarlane, has been critically panned almost universally. Yet despite the critical response, The Orville has been widely acclaimed by viewers (particularly Star Trek fans who feel jilted by the new series) and is among the highest rated TV shows of the last fall. I'm sorry, but in this case I am with the latter camp. The critics are just plain wrong.

Forbes' Erik Kain put it best. The Orville was billed as akin to a TV version of cult classic Galaxy Quest, essentially a spoof of the old Star Trek series. Subsequently critics have obsessed about forcing the show into neat boxes as either too silly for a drama, or too serious for a comedy. Such arguments miss the point entirely. The Orville does not aspire to be a "comedy Star Trek" at all, it is in actual fact a near spot-on homage. People forget just how light the older Star Trek shows often were, and The Orville nails the tone of its forbears. But most importantly the stories are just as rich and relevant as ever.

The Orville, as with Star Trek, is an example of allegorical science fiction. Each episode imparts its own social commentary, and most are very astute. But The Orville offers more than mere nostalgia, and most excels when it attempts to combine the soul of classic Trek with the modern flourish of the Netflix age. One episode in particular, commenting on the group-think and mob mentality of social media, almost feels more like an episode of Black Mirror than Star Trek.

These are episodes of high quality too, particularly for a debut season. We like to look back at old seasons of Star Trek and pick out the best episodes, imagining that the entire series was that good. In reality, even the best seasons of Star Trek were 25 episodes, at least 40% of which was largely filler. This season is ten episodes, and none of it feels wasted (except maybe the first episode).

It's not perfect by any means. Not all the jokes land, and sometimes Seth's more low-brow style of Family Guy humour can creep into the script (although to be perfectly honest, not as often as you would think). Some of the plot-direction can be a bit wonky, particularly in early episodes, and occasionally the quality of the production shows cracks - for example certain alien characters' prosthetic makeup changing during the show because the crew couldn't decide what to do with it. These are all minor issues, and once the season builds momentum, the quality becomes much more consistent.

Ultimately, The Orville is a show that feels very timely for the age in which we live. It brings back a style of episodic storytelling that is very much out of fashion on TV today, and presents us with well thought out commentaries which riff on everything from politics to identity and pop culture. If you were a fan of The Next Generation or Voyager, this is a no-brainer. Even if you weren't, this is just high quality, sincere sci-fi. A strong debut.

Saturday, 31 March 2018

Donald Trump has been President for a little more than one year, and regardless of your political persuasion you would have to concede that it's been an eventful year. From Russia to infighting and porn star hush-money, this regime has been a constant swirl of scandal and melodrama. Pundits are falling over themselves to put out their first-year retrospectives, many of which read more like an Oliver Stone script than reality.

While The Ephemeric could devote an entire series of blog posts to scrutinising the scarcely believable happenings of the past twelve months, I have decided that sometimes images do speak louder than words. So rather than make you sit through an essay of analysis and opinion, The Ephemeric is documenting a year of President Trump in pictures, running through the most striking and iconic images that encapsulate the nation that we have become. We will let the images speak for themselves with only light captioning, so that you can form your own opinion on Trump's America.

trump inauguration small crowd obama spicer

Low attendance at Trump's inauguration (right) compared to Obama's eight years earlier (left). Trump's Press Secretary Sean Spicer would then inexplicably claim that Trump had "the largest audience ever to witness an inauguration, period".

trump travel ban crying child
A mother consoles her child as Trump's travel ban takes effect and leaves thousands unable to return home.

trump travel ban lawyers all night pro-bono free help assistance airports
Lawyers pull all-night shifts at the airport providing pro-bono assistance to stranded families.

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FBI Director James Comey (back, centre) claims he was attempting to blend in with the curtains in order to avoid Trump following his demand for a "loyalty pledge".

trump sycophant cabinet meeting
In his first Cabinet meeting, Trump has his ministers go around the table heaping fawning praise upon him. Actual quotes include "We thank you for the blessing that you've given us to serve your agenda".

trump drives a big truck
"I love trucks".

white supremacist terrorists charlottesville trump
Radical white supremacist extremists march on Charlottesville chanting "Jews will not replace us". Trump would later praise them as "very fine people".

white supremacist terrorists charlottesville trump
A white supremacist drives his car into a group of peaceful protesters, killing Heather Heyer. Trump condemned "both sides" for the terror attack.

betsy devos students protest turn back
Students rise and turn their backs to Education Secretary Betsy DeVos in protest. DeVos is a longtime Republican donor with no experience in education. She would later praise the concept of black-only schools.

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Trump on a diplomatic mission to the Saudi royal family.

trump russian spymaster in oval office comey firing
The day after Trump fires FBI Director James Comey, in his own words to stop "The Russia thing" he invites Russian Foreign Minister Lavrov and Ambassador Kislyak, known as the "Spymaster" for a closed-doors meeting in the Oval Office. Only Russian state media are allowed entry.

jeff sessions attorney general russia questioning investigation perjury
A visibly flustered Jeff Sessions becomes the first sitting Attorney General to be questioned in a criminal investigation.

trump campaign chief paul manafort indicted conspiracy russia
Trump campaign chief Paul Manafort (left) attends hearing after being indicted for "Conspiracy against the United States".

melania trump creepy white house christmas decorations
Melania Trump brings the first year to a close by personally designing the White House Christmas decorations.

Thursday, 8 March 2018

Genre Synth-pop
Label Columbia
Producers MGMT, Patrick Wimberly, Dave Fridmann

mgmt little dark age time to pretend kids electric feel

The story of MGMT is always an interesting one to tell. The band was thrust into overnight superstardom by their debut album Oracular Spectacular, and in particular by two iconic singles, Time to Pretend and Kids. Yet MGMT has never seemed comfortable with the weight of success.

By all accounts, the two band members Andrew VanWyngarden and Ben Goldwasser despise those hit singles and the superficial, casual fans they brought with them, to the point where they allegedly refuse to play them at their live shows, and mock the audience for wanting to hear them. There’s a line between retaining artistic integrity and selling out commercially, this seems way over that line. And so followed two albums filled with lyrics on the burden of expectation, the dilemma between artistic purpose and commercial success, and general ruminations about the death of creativity. Musically the albums became increasingly inaccessible and abstract, an apparently deliberate move away from the radio-friendly hits for which they had achieved unwelcome fame. Critical response has been mixed. Suffice it to say, the band seemed to be facing something of a crisis of direction.

Now before I make the band seem like pretentious so-and-so's, it is worth noting that they do put their money where their mouth is. Upon suing the French political party UMP for unauthorised use of Kids, citing in particular the party’s artist-antagonistic anti-piracy legislation, MGMT deemed to donate all the proceeds to artists’ rights organizations. MGMT does genuinely seem to be a band that cares about the sanctity of the creative process above all else, for better or worse.

However, five years on from their previous album, MGMT have returned with Little Dark Age, and it seems they have turned a corner. Little Dark Age marks a hard swing back towards more traditional pop; catchy hooks, classically structured melodies, and more varied lyrical subjects. But it would do a disservice to simply suggest that the album is a concerted move towards the mainstream appeal of their successful debut, it’s much better than that. In fact, this is the best album MGMT have yet produced. Oracular Spectacular was known for two excellent songs, but in all honesty is otherwise mostly forgettable. By contrast, Little Dark Age is excellent from start to finish.

The band describe this album as a reaction to the increasingly dark social and political state of the world, with particular reference to the election of Donald Trump. In their own words, “We were more inspired to write pop music after evil took over the world”. The music of Little Dark age strikes a more crowd-pleasing tone to bring a bit of “light” back into the world, but is appropriately permeated throughout by a delicious contrast of chaos and discord.

The album strikes this careful tone right from the start with opening track She Works Out Too Much, a twisted carnival of discordant notes and driving hooks through the dystopian world of modern dating. It’s simultaneously manic and emotionally draining. It’s MGMT at their barmy best.

The key song, however, is title track Little Dark Age. An excellent pop song which harkens back to their original hit Time to Pretend with it’s synth-laden soundscape, and adds a bit of a gothic twist that wouldn’t sound out of place on a Robert Smith album.

Other highlights include the irony-tinged When You Die, and nostalgic throwback Me and Michael. TSLAMP sees MGMT channel classic Pet Shop Boys, while One Thing Left to Try is a dizzying electro-odyssey in the style of Chvrches.

But perhaps the best of the bunch is wistful closer Hand itOver, a gorgeous slow-dancer of a track that puts a psychedelic turn on the kind of 60s pop of which the Beach Boys might have been proud.

Little Dark age is triumphant success then, and an early frontrunner for album of the year. It’s edgy and caustic enough to please MGMT fans, whilst still being packed with catchy and memorable tunes. While its singles are unlikely to achieve the kind of iconic status that Kids and Time to Pretend enjoy, in our view this is the most complete, most mature album the band has put together, and musically the best.

Must Listen :
Little Dark Age
Hand it Over
When You Die
One Thing Left to Try

Sunday, 4 March 2018

oscars 86th academy awards 2014

This Sunday, Hollywood's famous Dolby Theatre will once again play host to the biggest day on the cinema calendar, the Oscars. People all over the world will tune in for that most tragically popular of pastimes, celebrity watching, followed by four hours of the film industry's traditionally self-congratulatory exercise in PR.

This year in particular a dour mood hangs over the industry in the wake of the litany of #metoo scandals. That being said, this year it's #metoo, last year it was #blacklivesmatter. If nothing else, this ceremony serves as a reminder of how much rich old white men care about social issues for one night a year.

In Jimmy Kimmel they have chosen well for host. Clever and charismatic under ordinary circumstances, but his recent turn as a spokesman for serious issues of our time makes him an especially appropriate pick in the current climate. Don't expect him to shy away from the tough statements.

Regardless, this evening is still mostly about the films. So for you, our loyal readers, please find below predictions for the big night. You may not have seen the big films this year, or be familiar with the latest hype tearing through tinseltown; if so consider the following a crib sheet for what lies ahead this weekend, and perhaps even a sneak peek at who might just be walking away with the big prize.

Best Picture


  • Call Me By Your Name
  • Darkest Hour
  • Dunkirk
  • Get Out
  • Lady Bird
  • Phantom Thread
  • The Post
  • The Shape of Water
  • Three Billboards Outside Ebbing, Missouri
And the winner: The Shape of Water
Who should really win: The Shape of Water

Best Director

  • Christopher Nolan – Dunkirk
  • Jordan Peele – Get Out
  • Greta Gerwig – Lady Bird
  • Paul Thomas Anderson – Phantom Thread
  • Guillermo del Toro – The Shape of Water
And the winner: Guillermo del Toro - The Shape of Water
Who should really win: Guillermo del Toro - The Shape of Water

Best Actor

  • Timothée Chalamet – Call Me by Your Name
  • Daniel Day-Lewis – Phantom Thread 
  • Daniel Kaluuya – Get Out 
  • Gary Oldman – Darkest Hour 
  • Denzel Washington – Roman J. Israel, Esq.
And the winner: Gary Oldman - Darkest Hour
Who should really win: Gary Oldman - Darkest Hour

Best Actress

  • Sally Hawkins – The Shape of Water 
  • Frances McDormand – Three Billboards Outside Ebbing, Missouri
  • Margot Robbie – I, Tonya 
  • Saoirse Ronan – Lady Bird 
  • Meryl Streep – The Post 
And the winner: Frances McDormand - Three Billboards Outside Ebbing, Missouri 
Who should really win: Frances McDormand - Three Billboards Outside Ebbing, Missouri 

Best Supporting Actor

  • Willem Dafoe – The Florida Project 
  • Woody Harrelson – Three Billboards Outside Ebbing, Missouri 
  • Richard Jenkins – The Shape of Water 
  • Christopher Plummer – All the Money in the World 
  • Sam Rockwell – Three Billboards Outside Ebbing, Missouri 
And the winnerSam Rockwell – Three Billboards Outside Ebbing, Missouri 
Who should really win: Sam Rockwell – Three Billboards Outside Ebbing, Missouri 

Best Supporting Actress

  • Mary J. Blige – Mudbound 
  • Allison Janney – I, Tonya
  • Lesley Manville – Phantom Thread 
  • Laurie Metcalf – Lady Bird 
  • Octavia Spencer – The Shape of Water 
And the winnerAllison Janney - I, Tonya
Who should really win: Allison Janney - I, Tonya

Best Original Screenplay

  • The Big Sick – Emily V. Gordon and Kumail Nanjiani
  • Get Out – Jordan Peele
  • Lady Bird – Greta Gerwig
  • The Shape of Water – Guillermo del Toro 
  • Three Billboards Outside Ebbing, Missouri – Martin McDonagh
And the winnerGet Out - Jordan Peele
Who should really win: Three Billboards Outside Ebbing, Missouri - Martin McDonagh

Best Adapted Screenplay

  • Call Me by Your Name – James Ivory 
  • The Disaster Artist – Scott Neustadter and Michael H. Weber 
  • Logan – Screenplay by Scott Frank
  • Molly's Game – Aaron Sorkin 
  • Mudbound – Virgil Williams and Dee Rees 
And the winner: Call Me by Your Name – James Ivory 
Who should really win: Molly's Game – Aaron Sorkin 

So there you have it, The Ephemeric's picks for the year. Enjoy the Oscars this weekend, and when the results go as predicted, remember that you heard it here first!

Monday, 26 February 2018

Created by Bryan Fuller, Alex Kurtzman
Network CBS, Netflix
Starring Sonequa Martin-Green, Doug Jones, Jason Isaacs, Michelle Yeoh, Shazad Latif
Genre Science Fiction
Running Time Varies

star trek discovery bad terrible flop cbs netflix

After several years in the wilderness, the Star Trek franchise has returned to TV. Brought back from pop-culture purgatory by the success of JJ Abrams' 2009 big-screen reboot and its sequels, a TV comeback was inevitable and had been discussed in various forms over the past ten years. Initially, it had been reported that the franchise heads were considering a radical departure into an anthology-style series, as is the trend these days, but this was ultimately turned down. CBS studio heads ultimately settled on Discovery.

With Star Trek and TV veteran Bryan Fuller signed on, and the franchise flying high from its recent big-screen adventures, everything seemed set for a triumphant return. Then Fuller quit part way through production, and Discovery was hit by delay after delay. Such production troubles rarely bode well.

The success of this 2009 reboot posed a dilemma in its conception. Would the new show follow the canon of the original franchise, or the new reboot with which many of today's fans would have been more familiar? Discovery resolves this issue by avoiding it entirely, taking the form of a prequel set before both the original series and the cinema reboot. This brings its own set of pitfalls, limiting the scope of the series to the confines of its sequels. You can't very well introduce some new form of technology or make major modifications to the existing characters that we know not to exist in the future. Or so you would think.

For better or for worse Star Trek Discovery shows itself to be largely unconcerned by such conflicts. Much of the first season's narrative focuses on a new technology known as the spore drive, a form of propulsion based on some pseudo-scientific nonsense which has the capability to take the ship anywhere in the galaxy in an instant... despite the fact that they clearly don't have anything so advanced in the sequels. More controversially, the writers have also implemented a radical redesign of the Klingon species, a mainstay of the Star Trek franchise, and a source for many of the series' most beloved characters. The new Klingons are less characters than monsters, hairless, grotesque, by-the-numbers baddies with more prosthetic makeup than complexity. Fans of classic Trek characters like Worf and Torres will find it hard to reconcile the two interpretations.

But it's not just these nitpicky little backstory inconsistencies or creative adjustments that differ. From its philosophy, to its artistic direction and storytelling style, Star Trek Discovery is near unrecognisable from what came before. For all the spaceships and phasers, Star Trek was always really about two things: intelligent, thought-provoking stories, and likeable, well developed characters. Star Trek was always considered a thinking man's sci-fi. Violence was a rarely invoked last resort, and most dilemmas were solved instead by the moral character of the crew. Star Trek was known for its optimistic, enlightened view of the world, and its message-based storytelling.

Discovery, by contrast is a much darker, grimier setting. Episodes almost always involve action, violence and big spectacle sequences. The first season's serialised storytelling focuses almost relentlessly on war, with seemingly no time for any of the provocative short stories, nor the idealistic moralising of its forebears. Discovery also makes the somewhat bold choice to focus on a single main character, played by a very bland and ham-fisted Sonequa Martin-Green, rather than a rich ensemble cast as with previous series of Star Trek.

Of course, changes in artistic vision and canon inconsistencies don't inherently make a TV series bad. We've ascertained that Discovery is nothing like Star Trek, so what is it exactly?

Star Trek Discovery is essentially Game of Thrones in space. It's action and melodramatic twists. The antagonists are all gruesome monsters. Everything from the writing and visual direction is all sexed up, glamourised and intensified. The truth is that Discovery isn't trying to be Star Trek, it's trying to be a breathless, high-octane action-fest in space for today's fans of addictive binge-TV.

So if you happen to love Game of Thrones, and couldn't care less about Star Trek's ideals or high-minded storytelling, then Discovery might be just what you're looking for. It's a visually striking series with excellent effects, atmospheric set design and a good looking cast. The pace never lets up, and the twists come at a breakneck pace. On the other hand, if you are looking for measured, thought-provoking concepts, or complex character-driven stories, you won't get that here.

Unfortunately, in just about every other regard Star Trek Discovery rarely rises above mediocrity. The dialogue is just bad, even by Star Trek standards, and in some scenes is truly cringe-worthy. The focus on a single character means the supporting cast are only superficially explored, and engaging character relationships are practically non-existent. Plots are often muddled and poorly thought out and characters act in completely irrational, non-sensical ways. If you can get past much of the stupidity, then Discovery is certainly a passable show, but it rarely feels like anything other than a time-filler.

Ultimately Star Trek Discovery does not succeed as a new Star Trek series, and is only really above average at best on its own merits. The relentless, mindless action may win over the binge-TV fans of Game of Thrones, but lacks any real quality in its writing or acting to elevate itself to anything greater. It's watchable, some episodes are even good, but overall this is a massive disappointment.

Sunday, 25 February 2018

Directed by Duncan Jones
Written by Duncan Jones
Produced by Stuart Fenegan
Starring Alexander Skarsgard, Paul Rudd, Justin Theroux
Studio Netflix
Running time 126 minutes

mute duncan jones alexander skarsgard paul rudd justin theroux netflix 2018

Duncan Jones became Hollywood's new golden boy almost overnight. His first two films, Source Code and Moon were critically acclaimed and commercial sleeper hits. Many in the industry had quickly declared him as the next big thing, a saviour for intelligent science fiction.

Both films were quite different, but equally impressive demonstrations of how good filmmaking can surpass the sum of its parts. Source Code in particular is my go-to example for how a seemingly daft story can be elevated into something great by a talented storyteller. A brief detour into mindless commercial blockbusters with Warcraft proved to be ill suited to Jones’ talents, and so with his latest film Mute ostensibly representing a return to his roots, many had hoped that it might also mark a return to greatness.

This film represents a big moment for Netflix too, whose ventures into original film production have so far failed to match the excellent standard by their television team, or indeed the more celebrated cinematic efforts of their peers at Amazon. With some 100 original films produced over the past few years, only Okja, The Meyerowitz Stories, and Beasts of No Nation received anything like critical praise, and even then very little mainstream attention. Conversely with prominent recent flops Bright and The Cloverfield Paradox fresh in the mind, there is an awful lot of expectation riding on Mute; a much hyped comeback from an acclaimed director that had been seen as something of a coup for Netflix when announced as an exclusive.

Unfortunately Mute will neither reinvigorate Jones’ career, nor do much to raise the profile of Netflix’s film division.

The premise of Mute is bizarre to try and type out. Alexander Skarsgard plays Leo, a mute Amish man living in a grimy, futuristic Berlin. He goes searching for his missing girlfriend, a mission that finds him becoming intertwined with Paul Rudd’s Cactus Bill and Justin Theroux’s Duck Teddington, two American surgeons gone AWOL, both fairly unpleasant low-life type characters. It’s essentially a sci-fi neo-noir film, which takes a very generous amount of inspiration from the likes of Blade Runner, as well as the dystopic fantasyscapes of Jones’ father, David Bowie.

These influences provide a rich source of material from which to draw inspiration, yet Mute falls far short of that level. It’s clear early on what the problem is: Mute has a very bad screenplay. The dialogue is atrocious, the pacing is a mess. There's little attempt to consider in any detail the premises put forward, such as the difficulties of an amish person living in such technologically dependent times. There's far too little time spent developing the character moments and relationships that underpin the whole movie. The protagonist is uninteresting and underdeveloped, the worldbuilding half-baked and unoriginal, and quite frankly there's not enough here to make the viewer care about what's happening.

For some inexplicable reason a significant portion of the film is spent following the two aforementiond shady surgeons, who are tonally all over the place. The film has a particularly weird subplot involving Duck’s paedophilic tendencies, which adds absolutely nothing to the story, and somehow is often played for incredibly poor-taste laughs. That's not to say that sketchy, unpleasant characters can't make for an interesting movie focus, or even generate some very black comedy. Films like Fargo have pulled off a similar trick with aplomb. It requires a deft touch and well-balanced tone, but unfortunately Jones' script doesn't come even close to what better writers like the Coen Brothers have managed.

To its credit, the film is visually very striking, and occasional directorial flourishes in key scenes remind us of the storytelling of which Jones is capable. The cast is strong and they make a go of the poorly written characters they have been given. None of that comes close to making up for the film’s flaws.  

Unfortunately, Mute will go down as another Netflix flop, and a setback for what used to be among the most promising careers in Hollywood. There's a clear pattern developing here. Jones did not write Moon or Source Code, both were critically acclaimed. He wrote Warcraft and Mute, both have been panned. Mr Jones, please stop writing your own scripts.

Friday, 23 February 2018

Directed by Ivo van Hove
Written by Adapted by Lee Hall from the Paddy Chayefsky film
Starring Bryan Cranston, Michelle Dockery, Douglas Henshall
Theatre National

network national theatre peter finch bryan cranston chayefsky trump obama fox news

It has been forty years since Paddy Chayefsky’s Network first appeared in cinemas, and yet its themes are still as relevant as ever. The original film version is considered a cinematic classic; a parable of the power of television, and the danger of putting our blind faith in the things we see and hear in its content.

Howard Beale is a longtime news anchor fired from his job due to the declining ratings of his show and the news division at large. During his last broadcast, something snaps in Beale and he announces that he will kill himself, live on TV. The resulting ratings boost convinces the news network to cynically keep him on the air, and Beale begins a journey that will see his sanity continue to decline as he becomes the voice of populist rage for the nation.

Network depicts a world where entertainment masquerades as news for the sake of profit, where information is disseminated by shadowy and corrupt interests, less to educate than to manipulate and control. A world where there is no objective truth and all facts are subjective. In the decades since, we have seen the rise of fake news, of Rush Limbaugh and Glenn Beck (essentially the original film’s “mad prophet” brought to life), and of Fox News, a news network that openly defends its content by declaring itself to be “entertainment” rather than actual news. The conceit of Network was a terrifying idea back in the 1970s, but today it’s not a stretch to say that much of it has indeed come to pass.

The National Theatre’s adaptation adds a modern spin to the story, with allusions to fake news and social media. Beale’s reinvention as the mad prophet of the airwaves is brought to life through a decidedly more modern, Jerry Springer-esque manifestation than Chayefsky could ever have foreseen at the time of writing. In one magnificent sequence, we see one of Beale’s rants going viral, through the replication of hundreds of social media posts and vines of people reciting his most famous motto: “I’m mad as hell, and I’m not going to take it anymore.”

This is all presented through the brilliant staging and set design, which combines a stage, studio, makeup room, and restaurant in one efficiently laid out space, and a backdrop which features a cacophony of TV screens in various sizes. One gigantic screen in particular takes centre-stage, alternating between a close-up view of the various events playing out on stage, and a melange of thematically complementary videos and effects. When it’s not being used as a live camera, it flickers endlessly with clips of old commercials and news events. It’s a distracting presence, but no doubt that is very much the point: there are actual people, real people on stage, and yet the audience is drawn almost hypnotically to that all-powerful TV.

And then there’s the acting. No one was ever going to be able to touch Peter Finch’s Oscar winning depiction in the original, but Breaking Bad star Bryan Cranston leaves his own mark on the role with an indelible performance. This is no mere imitation, rather he counterpoints Finch’s powerful rage with a much sadder and more fearful energy, that is nevertheless every bit as powerful.

The production closes with a video reel of every President from the movie's release onward, reciting the oath of office at their inauguration. It begins with Ford, climaxes with a massive cheer from the audience for Obama, and jeers for Donald Trump. The message is clear. This is a man elected to an office for which he is wholly incapable and unsuited, purely because of the awesome force of TV propaganda, at the behest of corrupt interests that hide in the shadows. Donald Trump is essentially the pure manifestation of everything Network predicted. At its original launch, the message of Network was terrifying and bold, but in hindsight it’s downright prophetic.

Monday, 12 February 2018

Hello and welcome back to 2018's final post from the Hot List. So far we have covered the biggest news in televisionvideogames, music, and theatre. This week we will be looking at the most exciting new movies set to hit the big screen in 2018 from February onwards, after the cutoff point for this year's awards season.

ephemeric hot list most best hottest anticipated new movies films 2018 exciting

The Ephemeric finds itself the victim of its own success after some very strong 2017 predictions, featuring a top 4 which included The Darkest Hour, Three Billboards Outside Ebbing Missouri, and Dunkirk, and a top 15 which included many of the other big awards season players. Who said the film industry wasn't predictable?

Of course this means the pressure is on for this year's Hot List, anything less than a lineup of Oscar winners and box office smashes will be a step back. Fortunately 2018 is looking like a very strong year for films once again, from summer blockbusters, to prestige biopics, and work of a more experimental nature. But with all the strong contenders, there are 15 that stand out among the pack.

So enjoy, the key films to keep an eye on in the coming year (trailers linked in the title where available), starting with number 15:

15. The Old Man and the Gun

hot list best films movies 2018 old man and the gun robert redford casey affleck david lowery danny gloverLet's start with the new crime thriller from the up and coming David Lowery, who is both writer and director on The Old Man and the Gun.

This is based on the real-life story of criminal and escape artist Forrest Tucker, and stars a formidable ensemble cast which includes Robert Redford, Casey Affleck, Sissy Spacek, Danny Glover, Tom Waits, and Elisabeth Moss.

There was initial buzz that the film would drop at this year's festival circuit, but that has not yet materialised. A full release is expected for the latter half of the year when the awards season starts to heat up.

Release Date: Late 2018

14. Ready Player One

ready for player one spielberg best movies films 2018 tye sheridan tj miller mark rylanceReady Player One, has been a long time coming. This adaptation of Ernest Cline's novel of the same name was originally slated for release as far back as 2016, then switched to Christmas 2017, and finally pushed to spring 2018.

The latest from director and Hollywood legend Stephen Spielberg, Ready Player One is effectively a mystery/treasure hunt set in a futuristic virtual world. The fully stocked cast includes Tye Sheridan, Olivia Cooke, Ben Mendelsohn, TJ Miller, Mark Rylance, and Simon Pegg.

What's been taking so long in its production, you might wonder? Spielberg describes this as the most difficult film he's done since Saving Private Ryan. Set in a visually ambitious futurescape where physically anything can happen, he allegedly had to attend three hour meetings every week during it's prolonged production in order to make sure the FX work is up to scratch.

The release is almost finally upon us. This looks like the first bona fide blockbuster of the year.

Release Date: 29 March, 2018

13. Mary Queen of Scots

mary queen of scots saoirse ronan josie rourke margot robbie david tennant best films movies 2018Saoirse Ronan stars in this historical drama film as the titular Mary Queen of Scots. This project is based on the biography by British historian John Guy, and features a strong cast that includes Margot RobbieDavid Tennant, and Guy Pearce.

We all love a good costume drama, and the cast on this one is very impressive. Still, in this post-Game of Thrones era, there's always a worry whenever a studio starts talking about doing a "historical drama" - see the mess that is Britannia. Straight-faced historical storytelling seems to be out of fashion at the moment, and cinema is the worse for it.

Still, the hype is strong, and the industry expects big things from this project come next year's awards season. I for one will be hoping this is more The Queen than The Snow Queen.

Release Date: 2 November, 2018

12. Under the Silver Lake

david robert mitchell under the silver lake andrew garfield it follows best films movies 2018Under the Silver Lake is the follow up film from It Follows writer/director David Robert Mitchell. A mystery dramedy set in an anachronistic middle America, starring Andrew Garfield as unwitting would-be detective Sam.

For those who haven't seen the film that made Mitchell's name, It Follows is probably the best horror movie to have been released in many years. Between that film and his equally well-received debut The Myth of the American Sleepover, Mitchell is establishing himself as one of America's most exciting new directors. His latest looks to be following in the taut, highly stylised footsteps of his earlier work.

Under the Silver Lake releases in June, and we're very excited to see what he's got up his sleeve.

Release Date: 22 June, 2018

11. Creed II

creed 2 ii sylvester stallone michael b jordan ryan coogler best films movies 2018What's this? A sequel on the Hot List, and a franchise movie no less? Creed II is of course the sequel to Creed, the seventh movie of the Rocky Balboa franchise of boxing movies.

If that doesn't interest you then you must not have seen Creed, which was easily the best movie in the franchise since the Oscar winning original. Shifting the focus from Stallone's Rocky to Michael B Jordan's Adonis Creed was a game changer, and leaving directorial duties to Ryan Coogler a master stroke. Creed has reinvigorated the franchise potentially for years to come.

Sadly, Coogler has not returned, with the untested Steven Caple Jr in the hotseat, but otherwise the two main stars return, along with old favourite Dolph Lundgren. Creed was an excellent movie, if this is half as good then it will be worth your time.

Release Date: Q4 2018

10. Widows

widows steve mcqueen viola davis colin farrell andre holland best films movies 2017 peter dinklageWidows is the latest from acclaimed director Steve McQueen, best known for 12 Years a Slave, but also directed the well received Hunger and Shame.

Widows is essentially an old fashioned heist movie, where four robbers are killed attempting a break-in, and their widows team up to complete the job. It features a strong core cast of Viola DavisMichelle RodriguezElizabeth Debicki and Colin Farrell.

Release date is set for November. Possible awards contender? Doesn't seem like it from the genre, but with this talent involved who knows.

Release Date: 16 November, 2018

9. Beautiful Boy

beautiful boy timothee chalamet steve carrell amy ryan best films movies 2018One of 2017's biggest breakout stars, Timothée Chalamet has no shortage of offers in Hollywood right now. 2018 will see him star in the new Woody Allen movie, but I'm more excited by Beautiful Boy, the new film from writer/director Felix Van Groeningen.

Not light viewing, a hard wrought story of drug addiction and recovery that will see Chalamet star alongside Steve Carell, himself enjoying a great run of serious roles of late, and Amy Ryan.

This will be the latest from Amazon's increasingly well regarded film production studio which has already produced the critically acclaimed likes of The Neon Demon, Manchester by Sea, and The Big Sick. Release is expected in the latter half of the year.

Release Date: TBA 2018

8. The Front Runner

the front runner hugh jackman jason reitman vera farmiga jk simmons best films movies 2018The Front Runner is a very exciting prospect indeed. A biographical political dark comedy that tells the true story of former US Senator Gary Hart's doomed Presidential bid in 1988, which was derailed by scandal and extra-marital affairs.

Movies about political scandal appear to be very much in vogue right now, possibly due to current events, or maybe out of a sense of nostalgia for when something as simple as an extra-marital affair was enough to stop someone becoming President.

What makes this one particularly exciting is the presence of director Jason Reitman, best known for Juno and Up in the Air, and a cast which includes Hugh JackmanVera Farmiga, and JK Simmons.

Expected to release in time for awards season towards the end of 2018.

Release Date: Q4 2018

7. If Beale Street Could Talk

if beale street could talk barry jenkins moonlight best films movies 2018Director Barry Jenkins is one of the hottest talents in Hollywood following breakout hit Moonlight, an excellent film in its own right but perhaps most notable for derailing what seemed to be a La La Land inevitability at the Oscars two years ago.

So Jenkins is now the man that everyone wants to work with, and everyone wants to see what he comes up with next. If Beale Street Could Talk is an adaptation of the novel by James Baldwin, a story of love, racism and courtroom battles. Jenkins has gone with a fairly low-key cast which includes Kiki LayneStephan JamesDave Franco, and Ed Skrein.

This film is due for release sometime late in 2018, and big things are expected.

Release Date: TBA 2018

6. Roma

roma alfonso cuaron gravity best films movies 2018The last time we saw Alfonso Cuaron, he was waltzing his way to the Academy Award for best director for Gravity. It's been five long years, but Cuaron is back and he's returned to his roots, filming small-scale projects in his native Mexico. His newest project Roma is a family drama set in 1970s Mexico City, and featuring a cast of unknowns.

One of the "three amigos" of acclaimed Mexican filmmakers that includes Cuaron, Gonzalez Inarritu and Guillermo Del Toro. All three have won Oscars in the last few years, but Cuaron was the first to find success, and considered by many to be the best of the bunch. He is best known for Gravity, but this was only the latest chapter in a very promising career that has included the excellent Children of Men.

Taking a step back from big budget Hollywood success to make something on a smaller scale is an unusual move. Just ask Christopher Nolan if he's ever going to make a film like Memento again. Nevertheless the thought of a new Cuaron movie is an exciting prospect, and we can't wait to see what he comes up with.

Release Date: TBA 2018

5. Annihilation

annihilation alex garland natalie portman oscar isaac best films movies 2018This is the latest film of acclaimed writer/director Alex Garland, and the follow up to his brilliant directorial debut Ex Machina. Beyond this last film, many of you will know Garland for his work with director Danny Boyle on 28 Days Later and Sunshine, as well as his novels The Beach and The Tesseract.

Annihilation is an adaptation of the first of a series of novels by Jeff VanderMeer, which sees a group of four scientists set out into a remote and mysterious Area X, a place in which all previous expeditions have met with unfortunate fates. He is joined by the Academy Award winning Natalie Portman, Academy Award nominated Jennifer Jason Leigh, and following up their collaboration on Ex Machina, the up and coming Oscar Isaac.

Garland has a penchant for complex, thought-provoking sci-fi, and early reactions suggest that this is no different. Annihilation will see a cinematic release in the US, Canada and China at the end of February, and the rest of the world on Netflix. This is undoubtedly one of the most exciting releases of 2018.

Release Date: 23 February, 2018

4. Where'd You Go Bernadette

where'd you go bernadette richard linklater cate blanchett kristen wiig billy crudup best films movies 2018This is a new collaboration between director Richard Linklater, director of Boyhood, and Annapurna Studios, titled Where'd You Go Bernadette.

Based on the novel of the same name, Bernadette is the story of an agoraphobic architect who leaves home to try and figure out what happened to her missing mother. The cast includes Cate BlanchettBilly CrudupKristen WiigJudy Greer, and Laurence Fishburne.

Originally slated for a summer release, Annapurna ultimately decided to push back to the awards season in October. Great talent involved and a studio with an eye for a good film, this is one to watch.

Release Date: 19 October, 2018

3. Mute

mute alexander skarsgard paul rudd justin theroux best film movie 2018 netflix duncan jonesMute is the latest film from director and screenwriter Duncan Jones. Sure, that's David Bowie's son, but more importantly he's the director of the critically acclaimed Moon and Source Code, both of which were pretty brilliant. The cast includes Alexander SkarsgardJustin Theroux, and intriguingly Paul Rudd.

Mute is essentially a neo-noir mystery film, set in a futuristic Berlin. The aesthetic direction Jones has taken is earning the film comparisons with the likes of Blade Runner and other settings of a cyberpunk/retrowave persuasion. Jones himself has described this film as something of a tribute to his late father, hence the Berlin setting, the heavy 1980s influence and other retro references.

Billed as a spiritual sequel to Moon, Mute has been in production for years, held up only by Jones' brief foray into making mindless summer blockbusters. Adding to the film's intrigue is the fact that Netflix of all studios have ultimately picked up distribution rights, which presumably means an online premiere, and probably being ignored by the Hollywood establishment. Whatever the case, this is a big first for Netflix to release such a major film, it will be indicative to see just how that plays out. Release date is set for February, if Mute is half the film that Moon and Source Code were, it will be one of the highlights of the year.

Release Date: 23 February, 2018

2. Backseat

backseat dick cheney bush iraq christian bale adam mckay big short amy adams steve carell sam rockwell best films movies 2018Christian Bale is known for his physical transformations, extreme displays of mass addition and weight loss so as to fully immerse himself in a role, whether it's to bulk up for Batman's muscular physique or emaciate himself for his Oscar winning performance in The Fighter. With Backseat, Christian Bale's gut will face its sternest challenge yet, piling on the pasta to fit into Dick Cheney's size 70s.

Yes, Backseat (or possibly "Cheney", the title is still apparently not confirmed) is the story of Dick Cheney, the highly controversial Vice President under George W Bush's turbulent administration. It features a strong ensemble cast which includes Bale, Amy Adams, Sam Rockwell, and Steve Carell, but the real highlight is the involvement of writer/director Adam McKay, his first project since the award winning The Big Short took cinema by storm.

This is being brought to the screen by Annapurna, one of the best production companies in the business, and they are targeting an awards friendly December release date. This is going to be a contender.

Release Date: 14 December, 2018

1. First Man

best films movies 2018 first man damien chazelle ryan gosling neil armstrong moon claire foy corey stoll kyle chandlerAnd we finish with one of the most exciting productions that's come along in years, First Man.

This is the Neil Armstrong biopic directed by Damian Chazelle, one of Hollywood's hottest talents right now, and his first film since La La Land. Ryan Gosling will play the film's subject, and be joined by a supporting cast of The Crown's Claire Foy, Kyle Chandler, and Corey Stoll.

Prestige cast, prestige director, and prestige subject matter makes this a home run. But for all the hype about Chazelle currently, it's worth noting that he has never made a film like this before. Indeed it will be interesting to see how he copes with a more traditional, non-musical subject matter. Based on what we've seen so far of his talents, we have high hopes.

First Man releases in October.

Release Date: 12 October, 2018

So there you have it folks: The 2018 Hot List. Here's to a fantastic year, and the Hot List will return in 2019!

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