The Ephemeric

London Theatre Round-up: "The Master & Margarita", "All New People" and "Making Noise Quietly"

noreply@blogger.com (James) — Mon, 07 May 2012 23:31:00 +0000

Theatre remains one of London's great treats, and the 2012 season is off to a great start. How does the Donmar hold up in the post-Grandage era? Will Simon McBurney see a return to form? We answer all these questions and more as we look at the early notables of London theatre in 2012:

"The Master & Margarita" Theatre Review
Directed by Simon McBurney
Written by Mikhail Bulgakov
Starring Paul Rhys, Henry Pettigrew, Angus Wright
Theatre Barbican, Complicite

I don't normally start a review with my conclusion but in this case I will make an exception; holy cow what a show. When it comes to Simon McBurney's Complicite theatre group you are never quite sure what awaits you; sometimes ingenius, sometimes vapid, this is entirely the former.

The Devil and his retinue visit Moscow in the 1930s to attend a gala with a demonic talking cat while Jesus and Pontius Pilate debate the nature of good and evil; in reality an allegory for Stalinism. This is the fevered imaginings of Mikhail Bulgakov whose seminal masterpiece the Master & Margarita has been hailed as one of the greatest novels of the 20th century, and at the same time a notoriously unadaptable piece of work.

Yet the biggest surprise is not simply that the production manages to hold together, but the panache with which this has been pulled off. It is perhaps to be expected that any adaption of such eclectic source material would involve an unorthodox approach and it is precisely this sort of area where Complicite are known for excellence. The audience is treated to technical marvels including clever use of music, video and 3D animation, and some extraordinarily choreographed climactic scenes.

Fortunately there's more substance here on offer than just a sensory feast, and the acting is equally remarkable. Paul Rhys is simply beguiling as the Bulgakov-like Master and the demonic Woland, a performance so deliciously offbeat that it is impossible to take your eyes off of him. Angus Wright almost steals the stage as the frenetic Koroviev along with Ajay Naidu as Woland's retinue, in equal parts menacing and camp.

Ultimately The Master & Margarita achieves an almost impossibly addictive concoction of zaniness, existential terror and pure excitement. An absolutely unmissable show, easily the best of the year so far and probably comparable to the best of recent years.

"All New People" Theatre Review
Directed by Peter DuBois
Written by Zach Braff
Starring Zach Braff, Eve Myles, Paul Hilton, Susannah Fielding
Theatre Duke of York's Theatre

What does one do after starring in a hit TV show for a decade, and making waves in Hollywood with an award winning debut film? In Zach Braff's case the answer was simple. The star of TV's Scrubs and his writer/director debut Garden State returned to his first love the theatre.

After a moderately successful run in America, All New People has come to the West End. Fans of Braff will recognise his handiwork immediately upon entering the theatre; the very signature Braff style of soundtrack that typified the production of Scrubs and his various movies plays over loud speakers, featuring many of the same songs. The script even features its share of slapstick comedy and ironic humour with which he has become associated.

However this is a much darker brand of comedy than we are used to, with Braff beginning the opening scene standing on a chair, his neck in a noose. That this scene manages to be hilarious is a testament to both his writing chops as well as his impeccable comedic timing. In addition the script goes into far darker areas including hitmen, prostitution and considerably more profanity than he has ever been able to get away with on TV.

This is a plot that reaches quite close to my heart: a neurotic Jewish guy and a beach house setting in my own childhood haunt of Beach Haven, Long Beach Island. Yet at the same time this is a particularly surreal experience, with amusingly over the top situations and the usual cast of larger than life characters. The mostly tight writing keeps the jokes smart and the gradual reveal of plot points engrossing, while also making time for his trademark moments of tender contrast. What ultimately lets the production down is the clumsy pacing towards the end.

Braff excels at earnest and naturalistic writing, but by forcing his script into a 90 minute running time he is forced to wrap things up in far too abrupt a fashion. Plot threads take awkward twists out of nowhere, and characters turn violently bi-polar in the blink of an eye. It's an unfortunate and uncharacteristic narrative flailing after what is otherwise a reasonably neat and well executed production.

Nevertheless, this stakes a claim as one of the more noteworthy of early 2012 stage productions, and one would be foolish to pass on it while it's in town.

"Making Noise Quietly" Theatre Review
Directed by Peter Gill
Written by Robert Holman
Starring Ben Batt, Susan Brown, Jordan Dawes, John Hollingworth, Sara Kestelman, Matthew Tennyson
Theatre Donmar Warehouse

A lot of eyes have been on, Josie Rourke, the recently installed artistic director of the famed Donmar Warehouse. It is interesting then that Rourke has made the bold choice of reviving Making Noise Quietly, an unsettling, inscrutable piece that has never been to everyone's taste. Sadly on the evidence, it seems a poor choice.

The production takes the form of three short plays each presenting an intimate peek at how personal lives are affected by the spectre of war. The first concerns a troubled conscientious objector's encounter with a precocious homosexual man against the backdrop of countryside bomb raids, the next gives us a sorrowful perspective of a young soldier delivering bad news to a grieving mother, and the last concerns an ill equipped single dad suddenly saddled with a troublesome mute child as a result of war.

It's an interesting concept with the potential for a lot of personal insight. The problem is that this last paragraph contains the entirety of the content of the play. Any psychological or philosophical analysis rarely goes further than skin deep, and the rest of the production's running time is filled with pretentiously vague dialogue the sole purpose of which appears to be to mask the absence of substance and the condescendingly telegraphed "subtext" between characters. This is a script that isn't even half as clever or deep as it thinks it is, and doesn't trust the audience to connect the extremely obvious dots, instead spelling things out as painfully and melodramatically as possible.

To its credit, the acting in this play is perfectly serviceable. Particular mention must go to Matthew Tennyson's performance in the first segment. But this is a rare positive moment for what is otherwise a dull and tedious three hours. An unfortunate and disappointing blip on the record of the Donmar.

The unfortunate truth is that this is a play with little to say, and it takes a long time saying it.

Music Review Round-up: "The Shins", "Lana Del Rey", "Dry the River"

noreply@blogger.com (James) — Sun, 22 Apr 2012 00:35:00 +0000

Believe it or not, 2012 is off with a bang and whipping by at a lightning pace. The time has come for a little catch up and since I'm feeling extra generous, here's three hot off the press reviews of noteworthy new albums. Today we have for you the latest LP from American indie stalwarts The Shins, followed by two of the year's hottest debut releases in the UK Lana Del Rey and Dry the River:

"Port of Morrow - The Shins" Album Review
Genre Alternative Rock

With their humble indie credentials established through hits like New Slang and advertised through the medium of Zach Braff, James Mercer's band was the American indie darling of the mid 2000s. They released 3 albums in 6 years, then went on hiatus for the 6 years hence.

Following their debut the band has tried to expand their sound with each release more eclectic than the last, ranging from bubblegum pop-rock to psychedelia and prog-rock. Apparently dissatisfied with this as a creative outlet, Mercer himself has since dabbled in various side projects and collaborations, notably with elite producer Danger Mouse. Now he returns to the act that gave him prominence.

At times this latest effort might seem their most traditional sounding album so far, and yet the band have not sacrificed the indie edge that made them stand out. You have your classic fare here from the impossibly catchy lead single Simple Song to deliciously breezy acoustic numbers like September, while other standouts include the ultra funky, almost Bowie-esque Fall of '82.

There's no reinvention of the wheel here, but for fans of The Shins or just good catchy rock and roll here's another offbeat collection of summery tunes to enjoy.

"Born to Die - Lana Del Rey" Album Review
Genre Pop

One can't help but feel sorry for Lana Del Rey, dismissed as a one hit wonder months before her album even saw the light of day. Such can be the cruel effect of a wildly successful single like Video Games. Not to mention the spate of harshly negative press she's received in America.

The critics have been predictably polarised then, between those who hold this view and others who are more generous. As usual, I take a more middle ground view. This album is not bad by any means, but at the same time it's a victim of its own hype.

This album contains a handful of solid pop-noir songs like Born to Die and of course Video Games, along with a number of today's typical radio staple of hip-hop infused pop which are more hit and miss. The truth is that nothing on this album, even the good songs, comes close to matching the musical and lyrical richness of her lead single. Perhaps it is the curse of high expectations, but much of the album sounds bland, with genre staples that have been done better by other current artists, and lyrics that are very superficial.

I suspect that ultimately this is an album caught between two niches, that of mainstream pop and the more sophisticated singer-songwriter. As the former this is a perfectly serviceable album that ranks alongside the likes of Adele and Duffy that will no doubt find many fans of a certain demographic, but for those who heard Video Games and expected the latter, disappointment is inevitable.

"Shallow Bed - Dry the River" Album Review
Genre Indie

It's traditional to start the year with a heavily hyped new British band, but this is something a little bit different. Dry the River have been around for ever it seems, touring, receiving favourably coverage and pride of place on "hottest new band" lists, and now finally we have the finished product.

Dry the River are a difficult band to define, in equal measures purveyors of whispy folk in the vein of Bon Iver or Fleet Foxes, and more bombastic chamber rock, taking a page from the likes of Thom Yorke and Arcade Fire.

It's impressive, then, that they manage to drift so seamlessly from one intensity to another, assuming the best elements of their influences while bypassing their faults. Lead single New Ceremony is a fiery multi-instrumental epic of Freddie Mercury style flamboyance and radio friendly polish. By contrast we have Hammer, an acoustic track of such elegance it could pass for Mumford & Sons if not for the fact that it sounds more interesting than watching paint dry. Other standouts include History Book with its luxuriant arpeggios and misty lyrics.

It's a solid effort overall with some fine songs and a consistently accomplished production. Unfortunately "good" never becomes "great". Much of the album is instantly forgettable, and one feels that even the highlights are destined for a short lifespan. This is a band that shows promise, but not yet ready to join the vaunted annals of the great British indie scene.

"Home Again - Michael Kiwanuka" Album Review

noreply@blogger.com (James) — Tue, 10 Apr 2012 23:38:00 +0000

Genre Soul, Acoustic, Folk
Label Polydor Records
Producers Paul Butler

Here at the Ephemeric we are only too happy to admit when we are mistaken, as rare as that is. One such mistake took place not all that long ago when we bumped Mr. Kiwanuka's debut album off our top 10 most exciting albums of 2012 and gave it a mere honourable mention. It didn't take long for us to realise the error of our ways and you may consider this review the appropriate remedy.

Michael Kiwanuka seems strangely out of place receiving the sort of hype he has, as a soft spoken acoustic singer in an age of Lady Gaga and Adele; his music treads the well worn path of artists like Paul Simon and Tracy Chapman with a tint of 60s/70s soul, lacking both the sonic pomp and thematic melodrama of his most successful contemporaries. These are lyrics of a more existential context, about persistence and self worth, aimlessness and seeking clarity. It's a far cry from Adele's songs about failed relationships or Black Eyed Peas going out clubbing.

Yet almost by accident his debut album Home Again manages to be a bit of a crowd pleaser. Kiwanuka imbues his retro styling with a modern edge and likeable melodies that seem to appeal as much to the mainstream as to the more discerning music lovers out there.

The obvious examples lie in the titular lead single Home Again, a wistful strummer evocative of a grittier reimagining of early Jack Johnson, and I'll Get Along, which strikes a more jaunty, summery note.

Where the album really impresses, however, is with its capacity for the unexpected. Upbeat opening track Tell Me a Tale characterises this dynamism with its rich instrumentalisation and pleasantly unexpected tonal shifts, while slow burners like Any Day Will Do Fine and I Won't Lie lend real weight to Kiwanuka's otherwise feather-soft vocals.

Paul Butler's production of the album is sublime throughout, with perfectly pitched and suitably satisfying melodies and a wide range of instrumental textures, but it is Kiwanuka's voice that really makes these songs so special. That it's malleable enough to hit the jazzy smoothness of Bones and the R&B soul of the superb I'm Getting Ready highlights a truly unique talent.

This is just a taste of an album where really every song is worth listening to. Home Again manages to accomplish what few others are capable, a balance between the sincerity of a substantial work and the accessibility of a music sensation.

Must Listen
I'm Getting Ready

Tell Me a Tale

I'll Get Along

Home Again

Cupcakes in London: the Insiders' Guide

noreply@blogger.com (James) — Sun, 01 Apr 2012 23:00:00 +0000

Everyone enjoys a good cupcake, on this we can agree. If you don't, then clearly you just haven't found the right cupcake. That's where we come in; this is the Ephemeric's ultimate guide to cupcakes in London, running the rule over the most notable luminaries of confectionaries that this great city has to offer. For those of you with a sweet-toothed disposition, consider this the I Ching of frosted treats.

London town is no stranger to this distinctly American creation, but as with many transatlantic imports few establishments manage to really nail the subtleties of what makes a good product into a great one. Cake that is dense and moist, soft but not crumbly; icing that is neither rock hard nor pure liquid but rather strikes a suitably pudding-like consistency that melts in the mouth; and above all a flavour that is not too sweet, a tragic yet common mistake.

This guide has been a while in the making, and a lot of good cupcakes have been eaten in the name of science. So read on and enjoy as we cover the key dispensaries of which any cupcake aficionado should be aware.

6. Peyton & Byrne
Where: 196 Tottenham Court Road, W1T 7LQ
Price: From £3.00

The self proclaimed rose of British baking, P&B somewhat off-puttingly labels their cupcakes by the British moniker of "fairy cakes". Nevertheless their reputation is such that it warranted a visit. At first I was somewhat worried about the variety of flavours here, eschewing the basic standards in favour of more exotic ideas such as "frou-frou" and lemon meringue which don't always work. Fortunately the cupcake itself is solid, with the icing in particular quite artistically crafted. However if P&B has one major flaw, it's that the cakes err much too far on the sweet end of the spectrum, another very British trait.

Rating on Cupcake-O-Meter:

5. Buttercup Cake Shop

Where: 16 St. Albans Grove, W8 5BP
Price: From £2.50

Sadly not the same Buttercup as the excellent cupcake chain from New York, but clearly finds its inspiration in the American ethos of caked treats. The buttery, creamy icing is everything it should be in terms of texture and flavour, but the cake batter itself is a bit on the dry and crumbly side. More impressive is the periodically changing variety of flavours on offer which always ensures something fresh and new for returning patrons.

Rating on Cupcake-O-Meter:

4. Primrose Bakery

Where: 69 Gloucester Avenue, NW1 8LD
Price: From £2.00

The Primrose Bakery is something of a local favourite for those of us from north London, and gains points for being one of the more reasonably priced entries on the list. Cute, colourful and with near perfect icing, the cupcakes nevertheless lose standing with the rather more dry cake batter. Still, the variety of flavours and general yumminess ensures this will be a fixture for years to come.

Rating on Cupcake-O-Meter:

3. Peggy Porschen Parlour

Where: 116 Ebury Street, SW1W 9QQ
Price: From £3.50

Formerly a designer of bespoke cakes for weddings and events, Peggy Porschen opened her delightfully pink and chocolate parlour in Belgravia a little over a year ago. This dispensary is as expensive as one might expect, but warranted by the quality of product. The cake is light, but moist, with the icing delicious but a little bit on the thick side. The menu serves as a great example of how to non-standard flavours correctly, with the likes of strawberry champagne and vanilla chiffon displaying a fine balance of creativity and tastefulness. PPP also receives the highest commendation here for presentation and decoration; artistic without taking away from enjoyment of the cupcake.

Rating on Cupcake-O-Meter:

2. Bea's of Bloomsbury

Where: 44 Theobalds Road, WC1X 8NW
Price: From £2.50

Bea's is famous as one of London's favourite tea shops, and also widely known as a purveyor of wonderful cakes of varying descriptions. Buy your cupcake individually, or alternatively wander in and sit yourself down for one of their afternoon teas, which comes with a cupcake of your choice. The cupcake itself is very tasty, with a rich darkness to the icing that resists the urge to go too sweet. But the lack of sugar means the cake batter is perhaps not quite as moist as it should be, though by no means too dry. Bea's is another establishment which excels in the aesthetic side of cupcakery, and the range of flavours will keep you coming back to try something new. Keep an eye out for their cookies and cream cupcake.

Rating on Cupcake-O-Meter:

1. Hummingbird Bakery

Where: 133 Port0bello Road, W11 2DY
Price: From £2.00

The undisputed daddy of London cupcakes, and comparable to the very finest anywhere in America, Hummingbird is required eating for anyone in this town. The cake is delicious and moist, the icing of perfect texture and sweetness. The sprinkles are delicious but non-intrusive, and the presentation as a whole is top rate without going over the top, as one might argue is the case with Peggy Porschen. Their selection of cupcakes may not be the biggest, but the quality can't be beat. As a bonus note, most of their products can be bought gluten-free if necessary.

Rating on Cupcake-O-Meter:

Oscar Predictions 2012

noreply@blogger.com (James) — Sun, 26 Feb 2012 02:46:00 +0000

This Sunday, Hollywood's famous Kodak 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 forced laughs and real tears.

The real drama this year lies not on the screen, but behind the scenes as overrated director Brett Ratner (hey, in Hollywood "knowing people" is a very real qualification) resigned from his producer's role in this year's ceremony following scandal, and took with him scheduled host Eddie Murphy. So in a moment of panic the Academy has done what it always does and gone crawling back to Billy Crystal, who will once again host the evening.

As always, I give you my loyal readers some 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

Nominations:

The Artist
The Descendants
Extremely Loud and Incredibly Close
The Help
Hugo
Midnight in Paris
Moneyball
The Tree of Life
War Horse

Who Could Win:
This year we have 9 nominations, as apparently the new rules state that "up to" 10 may be nominated for best picture. As always I pine for the day of 5 nominations, when a best picture nomination actually meant something. This year I think it's safe to say that everyone and his nan could guess the winner, the hype for The Artist has well and truly reached fever pitch, deservedly so, and it will take far more than a Clooney-shaped meteor to stop it.

Winner:
The Artist

Best Director

Nominations:

Woody Allen – Midnight in Paris
Michel Hazanavicius – The Artist
Terrence Malick – The Tree of Life
Alexander Payne – The Descendants
Martin Scorsese – Hugo

Who Could Win:
No surprises here; in recent years the best director prize has always gone with the winner of best picture, even more so when that director has already won the DGA award, as good a barometer of Oscar gold as any. This year that man is Michel Hazanavicius, the impossible to spell director of The Artist.

Winner:
Michel Hazanavicius

Best Actor

Nominations:

Demián Bichir – A Better Life as Carlos Galindo
George Clooney – The Descendants as Matt King
Jean Dujardin – The Artist as George Valentin
Gary Oldman – Tinker Tailor Soldier Spy as George Smiley
Brad Pitt – Moneyball as Billy Beane

Who Could Win:
Up until a few months ago, George Clooney's victory appeared almost inevitable. The Academy often has a tendency to pick "the next in line" for this award as seen with Jeff Bridges and Colin Firth in recent years, whose victories were known before anyone had even seen a frame of their respective films. This year there was the sense that it was simply Clooney's year. But that was before The Artist came along, and now some hold the sentiment that it would simply be unconscionable not to award Jean Dujardin the Oscar for what is, quite simply, the best performance of the year in The Artist.

Winner:
Jean Dujardin

Best Actress

Nominations:

Glenn Close – Albert Nobbs as Albert Nobbs
Viola Davis – The Help as Aibileen Clark
Rooney Mara – The Girl with the Dragon Tattoo as Lisbeth Salander
Meryl Streep – The Iron Lady as Margaret Thatcher
Michelle Williams – My Week with Marilyn as Marilyn Monroe

Who Could Win:
This could be a close one. Conventional wisdom is torn between this award going to Academy darling Meryl Streep for her Oscar bait role as Maggie Thatcher and the lesser known Viola Davis for her star turn in the crowd pleaser The Help. If there's one thing the Academy loves it's period pieces circa the civil rights era, and the word from my sources says that Viola has simply won too many hearts with her performance to let this prize go to media favourite Streep.

Winner:
Viola Davis

Best Supporting Actor

Nominations:

Kenneth Branagh – My Week with Marilyn as Laurence Olivier
Jonah Hill – Moneyball as Peter Brand
Nick Nolte – Warrior as Paddy Conlon
Christopher Plummer – Beginners as Hal Fields
Max von Sydow – Extremely Loud and Incredibly Close as The Renter

Who Could Win:
Another tough one. Here you have here a number of very well regarded actors in good roles, and Jonah Hill for some reason, who could win themselves an Oscar on prestige alone. However I suspect that this race is really down to Max Von Sydow and Christopher Plummer, the latter of whom has in fact never won an Oscar. If the buzz is to be believed then this might just be Plummer's year at last.

Winner:
Christopher Plummer

Best Supporting Actress

Nominations:

Bérénice Bejo – The Artist as Peppy Miller
Jessica Chastain – The Help as Celia Foote
Melissa McCarthy – Bridesmaids as Megan Price
Janet McTeer – Albert Nobbs as Hubert Page
Octavia Spencer – The Help as Minny Jackson

Who Could Win:
This year's favourite is without a doubt Octavia Spencer who by all rights should complete an impressive actress prize double whammy for The Help. That being said, there is genuine upset potential here depending on just how big a wave The Artist enjoys on Sunday night; I wouldn't run out and bet money on it, but don't rule out a surprise win for Bérénice Bejo.

Who Will Win:
Octavia Spencer

Best Original Screenplay

Nominations:

The Artist – Michel Hazanavicius
Bridesmaids – Kristen Wiig and Annie Mumolo
Margin Call – J.C. Chandor
Midnight in Paris – Woody Allen
A Separation – Asghar Farhadi

Who Could Win:
A two horse race between Midnight in Paris and The Artist. Personally I think any screenplay that manages to be as engaging as The Artist's without including any dialogue deserves some recognition, but there is a lot of buzz about Woody Allen's most recent hit. This one will once again depend on just how big that Artist wave is.

Winner:
Midnight in Paris

Best Adapted Screenplay

Nominations:

The Descendants – Alexander Payne, Nat Faxon, and Jim Rash from The Descendants by Kaui Hart Hemmings
Hugo – John Logan from The Invention of Hugo Cabret by Brian Selznick
The Ides of March – George Clooney, Grant Heslov, and Beau Willimon from Farragut North by Beau Willimon
Moneyball – Screenplay by Steven Zaillian and Aaron Sorkin; Story by Stan Chervin from Moneyball by Michael Lewis
Tinker Tailor Soldier Spy – Bridget O'Connor and Peter Straughan from Tinker, Tailor, Soldier, Spy by John le Carré

Who Could Win:
Another tough one to call. On the one hand there is The Descendants, a film which fancies itself as the would be Oscar kingpin for this year had The Artist not existed, and in close competition there is the underrated Moneyball. In all honesty Moneyball should probably win, offering a smarter and more original product than it's rival, but I predict the Descendants will win here as consolation for losing out to the Artist elsewhere.

Winner:
The Descendants

Various Technical Awards:
Hugo will likely pick up a few prizes here in the way of cinematography and art direction, again largely as consolation for losing out elsewhere. Expect also to see some of the Artist tsunami strike these shores; for my money best original score should be on the cards, after all pretty much all you hear the entire film is non-stop score.

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

The 10 Most Highly Anticipated Albums of 2012

noreply@blogger.com (James) — Mon, 23 Jan 2012 00:00:00 +0000

Welcome back. We hope you enjoyed our preview of the most exciting movies of 2012, and judging by our analytics it looks like you did! Today it is time to look at one of the other great passions in life, music.

This year we're changing the format a little bit; rather than two distinct lists of albums from new and returning bands we will be going with a simple top 10 list combining the best of both. Be sure to take the precise order with a pinch of salt as it will be based on a myriad of factors including quality, intrigue, and how likely we are to actually see the release in 2012. Rest assured though, every entry on this list has more than earned it's place.

So behold, here is the top ten list of albums to keep an eye on in the coming year, starting with number 10:

10. Untitled - Bloc Party

Bloc Party return following frontman Kele Okereke's ill advised dalliance in solo work. Will it be a return to form for one of Britain's brightest musical products of the last 10 years?

Known for their classic hits such as I Still Remember and Banquet, hype for the band has nevertheless cooled off to a certain extent in recent years following a mediocre third studio album and years of absence since.

Fortunately a nice restful hiatus can do the world of good for a band, and we can only hope that 2012 marks the return of a very fine group of performers indeed. Release date is slated optimistically for 2012, but there is a chance this may yet slip.

Release Date: TBA 2012

9. MGMT - MGMT

One of the Ephemeric's hotly tipped bands of 2008, MGMT's debut album Oracular Spectacular brought the band what some might describe as crazy success. Songs like Time to Pretend and Kids will be etched into the memory for a long time to come, and expectation will surely follow from here on in.

This is exactly what happened with their follow up, Congratulations, wherein the band decided to raise a middle finger to expectation and record a rather more experimental, non-commercial, and some might say self-indulgent album.

Going back to basics with their self-titled third album, and with decidedly more intrusive oversight from the record label if stories are to be believed, MGMT describe their new material as "fun and rewarding". Beyond this it's anyone's guess what direction they will take this time, and whether the band can bring back some of the more fickle hype fans they scared away last time. Either way be sure to expect psychedelia aplenty, with insightful and most likely self-flagellating lyrics.

Release Date: TBA 2012

8. Youth - Simian Ghost (New band)

Our first new(ish) band on the list. Simian Ghost did in fact release a moderately received debut album last year but that hasn't stopped them from pencilling in an audacious follow up only a year later, and from what's been heard so far it looks like the latest Swedish wunderband might be ready to move onto big things.

The Guardian has called new album Youth an early contender for album of the year, and other early coverage has been similarly bright. Listen to first single Wolf Girl and judge for yourself.

In this humble braggart's opinion, if the rest of the album is as lush and melodic as the single, then all signs point to excellence.

Release Date: March 5th 2012

7. Shallow Bed - Dry the River (New band)

Another new band, Dry the River are already moderately well known in the United Kingdom following two successive years of playing Glastonbury and touring, and recently featured in the BBC's "Sound of 2012".

After an apparently fierce bidding war, debut album Shallow Bed will finally see release this Spring. Expect an eclectic assortment from a group that's as comfortable with Killers-style anthems as Mumford and Sons style semi-acoustic melodies.

For a perfect example of this see two songs from the upcoming album: the fairly badass New Ceremony, and the rather more down-tempo No Rest. Could get interesting, keep an eye on it.

Release Date: March 5th 2012

6. Born to Die - Lana Del Rey (New band)

Lana Del Rey seems to be all the rage right now, with many critics including the Sunday Times naming her delicious piece of noir-pop Video Games as one of the songs of the year.

It remains to be seen if the rest of Born to Die will live up to its first single, but here you have a good looking girl with a great voice, and buckets of hype. Whatever happens, the Ephemeric radar predicts this album to be big, and the Ephemeric radar is rarely wrong.

Release Date: October 26th 2012

5. Untitled - Goldfrapp

Genuine chameleons of the electro-pop world, Goldfrapp has dabbled in everything from Kylie Minogue-esque neon to ambient acoustic serenity and even 80s dance anthems.

With their new as yet untitled album they could revisit any of these styles or head some place completely new. If the first song revealed, Melancholy Sky, is any indication however, we might be in for a touch of the same down-tempo delights of previous album Seventh Tree.

The exact release date is unknown, but fingers crossed we see it in 2012.

Release Date: TBA 2012

4. Untitled, and Kisses on the Bottom - Paul McCartney

Former Beatle and elder statesman of Rock and Roll Paul McCartney returns for his fifteenth studio album. Kisses on the Bottom will contain a mix of covered jazz classics and new material, and feature collaborations with the likes of Eric Clapton and Stevie Wonder.

But in addition to this he will apparently also be releasing an as yet untitled album which promises more of the pop stylings he is known for. Frankly I'm excited about both prospects, and we are making them joint 4th place on this list.

Honestly there's little else that can be said about McCartney that has not been said already. The man has earned his status as one of the finest songwriters of all time with a career spanning 50 years and going strong. If these match up to his last release in 2008 under the name The Fireman then we are in for a treat.

Release Date: TBA 2012, and February 7th 2012

3. Port of Morrow - The Shins

Following some time off working on a few rather excellent side projects, James Mercer is finally returning to the band which made him famous, The Shins, for their first studio album in five years.

It's hard to guess what's in store for Port of Morrow from a band known for producing such varied and eclectic sounds, from the acoustic stylings of New Slang to the 1960s psychedelia of Girl Inform Me and the more traditional indie rock of Phantom Limb.

So far just the one new song, titled Simple Song, has been revealed and it kinda rocks. As such I have pretty high hopes for this album when it is released come the Spring time.

Release Date: March 20th 2012

2. Battle Born - The Killers

Alright now we are talking. The boys have returned from hiatus and their various solo efforts, and they are recording a new album. That's right, arguably one of the biggest new bands of the last 10 years, The Killers, are back. I mean, do I really even need to post a link to Mr. Brightside or All These Things I've Done? Didn't think so, but I did it anyway.

Little is known of the new album, tentatively titled Battle Born, except that it will supposedly mark a return to the more guitar-based milieu a la Hot Fuss. The band are well known for mixing things up and playing with different styles and inspirations though, so expect something that is nevertheless fresh.

So far the only new song to be heard is this rough around the edges live recording of The Rising Tide, sounding in this man's humble opinion a bit like a cross between the Springsteen-esque style of Sam's Town and Hot Fuss. Not a fan of the new haircut, and Brandon needs to watch out for those high notes, but still looking forward to this album.

Release Date: Summer 2012

1. Untitled - Passion Pit

And this year's number one most highly anticipated album sees the return of another former Ephemeric success story. Passion Pit were a hotly tipped new band back in 2008 when their early EP did the internet rounds and generated immense buzz, and were essentially the hype band of 2009.

No doubt many of you will recognise ubiquitous songs like Moths Wings and Sleepyhead. Now Passion Pit returns with their as yet untitled follow up album, originally due for release last spring, but delayed until 2012. Expect more of the same lush, euphoric melodies and addictive, impossibly uplifting production, plus the invaluable added benefit of experience.

Described by frontman Michael Angelakos as "beautiful, exciting and fun", so far the only taste we've got of new material comes from this sweet live recording of American Blood. Early days yet and no word on precisely when it will see release, but this one is looking pretty special.

Release Date: TBA 2012

Honorable mention must go to new albums from British hip hop artist extraordinaire M.I.A. as well as the experimental electronica of Crystal Castles and in particular a rather promising sounding debut from the acoustic stylings of Michael Kiwanuka which was unlucky not to make it onto our top 10.

Lastly there is also a rumour that Mercury Prize winner (and former Ephemeric hot tip) The XX may be on the verge of releasing a follow up album in the next year. Sadly I'm pretty skeptical that this will actually happen, and so they miss out on a top 10 spot they would otherwise easily have earned.

Tune in next week for the best upcoming video games of 2012!

The 10 Most Exciting Movies of 2012

noreply@blogger.com (James) — Sat, 14 Jan 2012 00:00:00 +0000

Ladies and gentlemen, welcome to 2012. Now that the new year has had time to settle in, take its shoes off and make itself at home, I think it's about time to start having a look at what awaits us over the next 12 months. We begin with our in depth look at 2012 in films.

This list looks at films released after the deadline for the 2012 Oscars. As with every year, we can only express our condolences to top films like the Artist and the Descendants which open during the awkward lapse between the end of year Debbies and the Oscars. Sadly they will not be considered on this list as "2012 films" despite their apparent excellence and 2012 release date.

So behold, here is the top ten list of key films to keep an eye on in the coming year (trailers linked in the title where available), starting with number 10:

10. The Great Gatsby

This could be a bit special. F. Scott Fitzgerald's classic novel is being brought to the big screen again, this time courtesy of director Baz Luhrmann and starring the likes of Leonardo DiCaprio, Carey Mulligan and Tobey Maguire.

With the array of talent involved in this project great things are to be expected, and the Christmas day release date suggests they mean business.

It will be interesting to see how Luhrmann approaches this film given his track record for heavily stylised, overly sentimental romantic films, but it might just be a perfect fit for him. DiCaprio meanwhile will be hoping to make up for the likely disappointment of not winning the Oscar this year for J. Edgar (yeah I'm calling it) and Mulligan, who is pretty much the hottest up and coming young actress in Hollywood, may finally find the role that takes her to the next level.

Release Date: December 25th 2012

9. Les Miserables

The legendary musical will finally get a proper musical film adaption, and now I'm going to tell you why that's something to get excited about. Les Miserables is the longest running musical in the world, based off Victor Hugo's timeless novel, and 1998's mediocre non-musical adaption not withstanding has never had a proper film interpretation.

That's going to change now, with none other than King's Speech director Tom Hooper at the helm, and an all-star cast including Hugh Jackman (fresh from his smash hit show on Broadway), Russel Crowe, Anne Hathaway, Eddie Redmayne and Helena Bonham Carter.

Sweeney Todd showed us that musicals can still be taken seriously by the Academy if done well, and this production has more than enough pedigree to make that happen.

Release Date: December 7th 2012

8. Prometheus

Ridley Scott is back and so is the Alien franchise (kinda, sorta, not really), although not in name. This is technically a loose prequel to Alien, however it is intended to be taken as a standalone story, almost entirely unconnected to the Alien movies.

The plot details are a bit thin at the moment, but Prometheus stars Noomi Rapace, the up and coming Michael Fassbender, Guy Pearce, and Charlize Theron, who between them have tallied a number of great movies and numerous awards.

Some pretty top talent involved then, with creative control in the hands of one of the directors who pretty much invented modern sci-fi. Expect this to be pretty big when the summer blockbuster season comes around.

Release Date: June 8th 2012

7. World War Z

After a long bidding war and production issues going back over five years, Brad Pitt's zombie baby is ready to make an appearance.

Mind you this is no ordinary zombie movie. World War Z is based on a best selling novel, directed by Oscar winner Marc Forster and starring Pitt himself, with a cast that includes Matthew Fox and Bryan Cranston.

It may not be the next 28 Days Later, or up for awards in 2013, but all signs point to this being one heck of a ride, with some pundits speculating that this film could do for zombie movies what Blade Runner did for sci-fi.

Billed as a trilogy grounded in the realistic gun-metal style of the Bourne series tethered to the unsettling end-times vibe of the Walking Dead, keep an eye on it.

Release Date: December 21st 2012

6. Skyfall

James Bond returns for our next entry, hoping to atone for the misstep that was Quantum of Solace. Skyfall happily breaks away from the story arc of the last two entries in the series for a bit of original storytelling, which sees Bond fighting for the very survival of MI6 and in particular Judi Dench's maternal "M".

Daniel Craig makes his third and allegedly final appearance as James Bond alongside a cast that includes Oscar winner Javier Bardem and Ralph Fiennes.

But the real news here is that legendary director Sam Mendes is directing. Those of you who don't remember Mr. Mendes from his time as artistic director of the Donmar theatre will certainly remember his Academy Award winning work with American Beauty and Road to Perdition, as well as his other films Jarhead and Revolutionary Road.

Here's hoping that this one will be a bit more Casino Royale, and a bit less Quantum of Solace. For now though there is plenty of reason to be excited.

Release Date: October 26th 2012

5. Gravity

Another highly mysterious project about which very little is known. What we do know is that Gravity is a thriller about astronauts who get stranded on the International Space Station after some kind of disaster, and that it will star this year's current favourite to win the Oscar George Clooney as well as previous Oscar winner Sandra Bullock.

The other big piece of info is that this film will be directed and written by Alfonso Cuarón, best known for his Oscar nominated work on the brilliant Children of Men. I'll be honest, the only reason this film is so high on this list is because that was such an excellent movie.

Little additional info has been made available, but the insider buzz on this one is quite positive, certainly one to keep an eye on.

Release Date: November 21st 2012

4. The Dark Knight Rises

What more can be said about Chris Nolan's Batman films that haven't already been said? Dark Knight Rises marks the end to this trilogy and the end of an era.

Of course the likes of Christian Bale, Gary Oldman, Morgan Freeman and Michael Caine will return, and this time they are joined by Tom Hardy, Joseph Gordon-Levitt, Anne Hathaway, and Marion Cotillard. That's an extremely well stocked cast.

It remains to be seen if this can match the runaway success of its predecessor the Dark Knight, but either way the level of talent involved is undeniable, and with Chris Nolan at the helm anything is possible. This trilogy looks set to go out with a bang.

Release Date: July 20th 2012

3. Django Unchained

The unmissable Quentin Tarantino returns with his next film following the success of Inglourious Basterds. As with most of his films, details are being kept tightly under wraps, but it's safe to say we can expect the usual mix of violence, great acting and sharp dialogue.

A typically all-star cast includes Joseph Gordon-Levitt (who appears to be doing a Ryan Gosling and appearing in everything this year), Leonardo DiCaprio, Samuel L. Jackson, Christoph Waltz, Kurt Russel, Jamie Foxx, and interestingly Sacha Baron Cohen. It's a fantastic cast, featuring a lot of old Tarantino favourites and an abundance of award winning talent.

Not much is known about the plot except that it's about slavery, set during civil war times in the American south. Tarantino himself describes it as a spaghetti western set in the south, or as he calls it a "southern".

Release Date: November 20th 2012

2. Lincoln

This one is actually pretty difficult to talk about without molten Oscar gold dripping out of your mouth. Steven Spielberg directs this biopic of Abraham Lincoln, one of America's greatest historical figures, starring Daniel Day-Lewis, who has allegedly been in character as Lincoln since last summer.

Between the two of them they have more than a dozen Oscars and they are backed by an impressive ensemble which includes Sally Field, Tommy Lee Jones, and Joseph Gordon-Levitt (seriously, he's everywhere!).

I don't have to see a single frame of footage to know that this film is going to be in the running for awards this time next year. It's hard to believe that it took this long to make a big budget film about our 16th President, but if any film maker is up to the task it is Spielberg, despite his disappointing 2011.

Release Date: TBA Q4 2012

1. Cloud Atlas

The most intriguing entry on this list is the long mooted film adaption of David Mitchell's challenging and complex best selling novel. A profound telling of six interlocking story arcs that span generations and geography, it sounds like the sort of subject matter that can't possibly be adapted for the mainstream.

Enter the Wachowski Brothers. Best known for making high school philosophy into a mainstream blockbuster with the Matrix, revolutionising the action genre in the process; if anyone can turn Cloud Atlas into something presentable it's them.

Add to that a great looking cast featuring Tom Hanks, Hugh Grant, Halle Berry, Jim Broadbent and Hugo Weaving, and you've got yourself the makings of something a little bit special. Let's just hope this doesn't go all Matrix Revolutions on us.

Release Date: October 2012

This is just the cream of the crop, but an honorable mention should go out to The Avengers, which forms the culmination of the recent deluge of Marvel franchise films, and Men In Black III, which will probably be absolutely awful, but still deserves a watch through merit of the original film. Meanwhile on a more serious note we have The Master, a controversial commentary of all things on Scientology starring Phillip Seymour Hoffman, which has not been included on this list because it may not even come out in 2012.

Tune in next week for the best upcoming music of 2012!

"The Artist" Film Review

noreply@blogger.com (James) — Sun, 08 Jan 2012 00:00:00 +0000

Directed by Michel Hazanavicius
Written by Michel Hazanavicius
Produced by Thomas Langmann
Starring Jean Dujardin, Bérénice Bejo, John Goodman
Running time 100 minutes

So maybe this hasn't been the most exciting year for cinema in recent memory. Maybe there's no King's Speech or Avatar, but when February rolls around the Academy will still have plenty of traditional Oscar fare to contend with like War Horse, the Descendants and the Help.

Yet it isn't any of these that is currently considered the frontrunner for the most coveted of film awards, that honor belongs to a french silent movie shot in black and white, starring and directed by complete unknowns. It might just be one of the strangest and most unexpected awards campaigns of all time, but the Artist has captured the zeitgeist of critics and movie patrons the world over, and heads into 2012 as favorite for the big finish.

Naturally I was curious as to how such a thing could be possible, and made sure to book tickets for opening night, which just happened to be my birthday. I'm pleased to say that I can now understand why such an oddball of a movie has elicited so positive a reaction, this film easily surpassed my expectations.

First of all: yes this film is (almost entirely) silent, with scenes backed by a continuous score, rarely any diegetic sound, and dialogue displayed sparingly with intertitles. The Artist is a love story for sure, but the real meat of the plot lies with the tormented silent movie star whose dumb pride and stubborn ways render him unable to cope with the changing times in Hollywood. The Artist is a tender homage to the early days of cinema, and particularly the period of transition between silent movies and "talkies", but any fear that this aesthetic is merely some self-indulgent gimmick is quashed within the first few minutes.

As hard as it may be to believe, I was glued to the screen for the entire film, absorbed into the moment in a way that few recent films have managed. The Artist is uproariously funny, perfectly acted (not least of all by a scene-stealing terrier), at times heartrending, and always sublimely stylish to look at.

It turns out there is an art to conveying story and emotion using the minimum dialogue. While we like to think of such a style as some archaic relic from the silent era they still form some of cinema's most eloquent and affecting moments, from 2001 to Cast Away to Wall-E. There's a surprising amount that can be said without words. The Artist uses that effect better than any of these films to the extent that, far from a gimmick, this heavily stylised tone actually adds to the content of the film. It also doesn't hurt that the score which accompanies almost every second of the film is so excellent.

So is it really a contender for best picture in February? Most definitely. The Artist is one of those films which grows even fonder in memory; certain scenes are so brilliantly clever and well executed that they border on cinematic perfection. The spellbinding and utterly committed best-actor-at-Cannes-winning performance of Jean Dujardin is also almost certain to earn a nomination, though halting the Clooney buzz that seems to be building will be a tall order, no matter how deserving.

Yet at the same time the Artist is a film that in hindsight might look strangely lightweight next to other winners of the coveted best picture. This is not a "deep" movie, it doesn't tell any groundbreaking story that hasn't been done before, and on the grand scheme of things it doesn't have anything pivotal to say. The Artist is simply an exceptionally well made encapsulation of Hollywood and everything that people love about movies. It captures the devoted torment and the unbridled joy of an artform, and it does so in a way that is simply absorbing for the moviegoers.

Skeptical? I was too, but give this a go and the irresistible charm will suck you in and win you over.

Loves:
Extraordinarily clever filmmaking
Tour de force performances
Daring and ultimately vindicated stylism

Hates:
That skeptical patrons may not give this a shot

The Debbie Awards 2011

noreply@blogger.com (James) — Sat, 31 Dec 2011 18:22:00 +0000

Here we are again for the traditional end of year awards, where our esteemed panel of judges (ie me) lay down the ultimate verdict on the year gone by for everything, and we do mean "everything". 20 categories, 20 hard fought and well earned trophies.

It's been a year of much excitement and transition, of folk-rock revival and Ryan Gosling, and whether you find yourself overwhelmed by it all, or simply haven't been paying attention, you can't miss our final and definitive look back at all things 2011.

So happy holidays you magnificent bastards, and without further ado here are the:

2011 Debbie Awards

Cinema & TV

1. The Debbie for TV Show of the Year
Winner: Curb Your Enthusiasm
Runner Up: Dexter

Curb Your Enthusiasm , the brainchild of comedy legend Larry David, is quite simply the funniest thing on TV right now, and this latest season might just contain some of its finest moments. It's all the more impressive when you consider that between this and Seinfeld, David has been writing at the forefront of comedy for more than 20 years, his is a rare kind of genius.

Dexter comes in second, with the series still defying all expectations in keeping the premise improbably watchable as the seasons advance. The series may have peaked, there may be only a year or two left waiting in the wings, but for now this still remains one of the best shows currently on TV.

2. The Debbie for New TV Show of the Year
Winner: American Horror Story
Runner Up: Falling Skies

It's safe to say that many eyebrows were raised when the creators of mega-sensation Glee said they wanted to move into horror for their new TV series American Horror Story, especially for people like myself who hate Glee. The result however is far better than anyone could have expected, proving that some people simply have a knack for making compelling television regardless of genre or style.

Also worthy of note is new Spielberg produced alien invasion series Falling Skies, the spearhead of TNT's new lineup, which got off to a very promising start this fall.

3. The Debbie for Film of the Year
Winner: Moneyball
Runner Up: Source Code

While it may be a premature statement with so many of the films tipped for next year's Oscars still to be released, the Brad Pitt starring Moneyball goes down as the best of 2011 in my books. For the second year running, an Aaron Sorkin scripted film takes the prize, this time adapting the best selling true story of a manager who turns a tiny baseball team into record setters through the magic of statistics.

Duncan Jones (who no longer has to be known as Zowie Bowie now that he has escaped his father's shadow) follows up his critically acclaimed debut Moon with the bigger budget Source Code . The result speaks for itself and provides another hint of things to come from one of the most promising directors in cinema.

Music & Theatre

4. The Debbie for Theatrical Production of the Year
Winner: Frankenstein
Runner Up: Anna Christie

For the second year running, we snub the Donmar for the coveted Theatre Debbie. Michael Grandage must be phoning it in with his final year in charge. That being said, the winning production is something quite spectacular indeed: Danny Boyle's stunning interpretation of the classic Frankenstein starring a superb cast of Benedict Cumberbatch and Jonny Lee Miller, and the music of Underworld. Truly it was the kind of theatrical blockbuster that comes along only so rarely, and one that will live long in the memory.

The Donmar's Anna Christie takes the silver medal with Jude Law proving his stage acting chops with a role cast completely against type, and all the better for it.

5. The Debbie for Album of the Year
Winner: Hurry Up We're Dreaming - M83
Runner Up: Helplessness Blues - Fleet Foxes

Some Debbies are easy to award, but in this case there has been much deliberation and disagreement over which of two great 2011 albums should take home the gold. Ultimately we went with the more creatively adventurous effort from M83 and its rich, ambitious soundscape. Dreamy, nostalgic and quite remarkable, Hurry Up We're Dreaming is a worthy winner.

Fleet Foxes take the runner up price, but make no mistake they would have been a worthy winner in another year. Helplessness Blues improves upon their successful debut in every way, refining the wistful folk-revival sound and adding a lyrical narrative richness that was often previously lacking.

6. The Debbie for Debut Album of the Year
Winner: Noel Gallagher's High Flying Birds - Noel Gallagher's High Flying Birds

It's not been an especially groundbreaking year for debut acts, but there are a couple which come to mind when considering this most coveted of Debbies. This year the winner is Noel Gallagher's High Flying Birds, the latter and greater of this year's two post-Oasis solo albums. Noel is on song here on his own for the first time, staking his claim as a standalone artist in his own right.

7. The Debbie for Song of the Year
Winner: Helplessness Blues - Fleet Foxes
Runner Up: Wait - M83

In a reversal of fortunes from the best album Debbie, it is Fleet Foxes who take the top prize for song of the year with their lead single Helplessness Blues. Building on the smooth harmony-laden melody of a White Winter Hymnal, Helplessness Blues forms the crux of the new album with its driven angst and impetus.

Meanwhile the sumptuous Wait from M83's album takes second place with its beautiful, yet understated melancholy.

Videogames & Technology

8. The Debbie for Greatest Technological Innovation of the Year
Winner: Kepler Spacecraft

While technically speaking Kepler launched in 2009, 2011 was a big big year for the project, and a year of many firsts for space exploration. 2011 saw the first Earth-size extra-solar planets discovered as well as the first extra-solar planets discovered within the so-called "goldilocks zone"; there has been much talk of the death of the space program, but in many ways now more so than ever before is an exciting time in this field.

9. The Debbie for Lamest Technological Innovation of the Year
Winner: Kinect

At some point the Microsoft bigwigs gathered in a smoke-filled and i'd like to think poorly lit room and decided that the best way to copy Nintendo's motion control idea was Kinect, a device which involves controlling games by flapping about like an idiot with absolutely zero physical feedback. Needless to say it has not exactly taken off, nor has Microsoft's grand vision of a house controlled entirely by waving your hands at Kinect.

10. The Debbie for Videogame of the Year
Winner: The Legend of Zelda: Skyward Sword
Runners up: Portal 2, LA Noire

The winner of this year's Debbie for best video game may raise some eyebrows for its lack of review on this website, but then I'm a busy man, so deal with it. The fact that it's winning game of the year against some pretty formidable competition should say all that needs to be said; Skyward Sword sees the most radical shift in gameplay arguably in the series' history while managing to stay faithful to the elements which make Zelda one of the world's most critically acclaimed franchises.

In a year full of tough competitors for the top prize, the choice of runners up was equally difficult, but ultimately second place is being shared by Portal 2, the more ambitious sequel to one of the greatest games of the past 10 years, and LA Noire, Rockstar's technologically innovative homage to the 1940s.

Sports

11. The Debbie for Footballer of the Year
Winner: Lionel Messi

Lionel Messi, retains his trophy, being that he is frankly not in the same category as the rest of us mere mortals when it comes to footballing ability. For this reason I have decided that picking a runner up would bely the gulf in class between him and the rest. Also I didn't even bother changing this blurb or picture from last year's awards.

12. The Debbie for Sports App of the Year
Winner: iFooty

It's been a big year for iFooty with the launch of video content and other new features, one which has seen the app attract even greater media attention, including a write up in prestigious football magazine FourFourTwo.

Social

13. The Debbie for Party of the Year
Winner: Halloween Pub Crawl

Maybe I'm just a sucker for Halloween, but year after year they tend to produce the best nights. This year's pub crawl through the seedy depths of Camden Town set the scene perfectly.

14. The Debbie for Restaurant of the Year
Winner: The Oxo Tower
Runner Up: O Ya

This year belongs to the Harvey Nichols brasserie in the Oxo Tower, consistently one of the best restaurants in London with its superb changing menu and newly redone bar. With unrivalled panoramic views across the Thames this is truly a restaurant for special occasions.

Content to hold the runner up position again is O Ya of Boston, one of the best restaurants in the world, so good as to make reference to it as a "sushi place" seem almost ludicrous.

15. The Debbie for Nightclub of the Year
Winner: Piccadilly institute

If there's one thing I am a sucker for it's creative drinks and themes. Piccadilly has this going for it in spades with several uniquely themed rooms and drinks to match including a science room containing the steaming foamy beakers pictured above, and a Moulin Rouge styled room where drinks are served in a top hat with sparklers.

16. The Debbie for Best Brother
Winner: Jeremy Debate

You're welcome bro.

17. The Debbie for Douchebag of the Year
Winner: 99.9% of all London bike riders

Bikes, the scourge of London drivers and pedestrians, and with the new influx of "Boris bikes" (actually a brilliant idea, though we stole it from the French) there are a whole lot more of them all of a sudden. Don't get me wrong, bikes are a great thing, the trouble is 99.9% of people in London ride them like an idiot. So to those of you in the 0.1% I raise a glass in gratitude, to the rest, a middle finger.

Travel & Literature

18. The Debbie for Book of the Year
Winner: Girl with the Dragon Tattoo - Stieg Larsson

Not exactly a new book, but read for the first time this year and unique to say the least. Don't just catch the films, make sure you read the books as well.

19. The Debbie for Wine of the Year
Winner: Castello di Fonterutoli 2004
Runners Up: Cerviolo 2001

Castello di Fonterutoli 2004 is, for my money, the best vintage of the best wine from one of the best vineyards. Fonterutoli has become one of the biggest names in wine, but if you want to do it right, try to find one of these bottles, which are understandably becoming scarce.

Going for something a bit on the heavier side, Cerviolo 2001, takes the silver medal this year having tracked down the last remaining bottle at the San Fabiano vineyard. Quite the wine.

20. The Debbie for Champagne of the Year
Winner: Champagne Mailly L'Air Blanc

Champagne Mailly's latest Grand Cru continues the "four elements" theme, this year bringing air to the table, and it might just be their best yet. This delicious 2005 vintage is rich, fruity and irresistibly smooth.

Well there you have it, another great year, and here's to the next one being even better!

Review Round-up: "Drive", "Noel Gallagher's High Flying Birds", "Mylo Xyloto - Coldplay"

noreply@blogger.com (James) — Mon, 12 Dec 2011 00:00:00 +0000

As you have probably noticed, I haven't had a lot of time (read: any time) to write new articles lately. However, now that the holidays are upon us I intend to get started again. A few big articles coming up, but before then I'm going to get a few essentials out of the way, with a round-up of all the recent reviews I haven't been posting.

"Drive" Film Review
Directed by Nicolas Winding Refn
Written by Hossein Amini, James Sallis (novel)
Produced by by Michel Litvak, John Palermo, Marc Platt, Adam Siegel
Starring Ryan Gosling, Carey Mulligan, Bryan Cranston
Running time 100 minutes

On paper, Drive is a film that ticks all the boxes. In Ryan Gosling, they have one of the hot actors of the moment, and with the Danish Nicolas Winding Refn they have a hotly tipped director whose last big western release was the critically acclaimed Bronson. Critical reaction has been strong and indeed Drive has been doing the rounds in many a top ten film list for the year, but this is not a film that will live long in the memory.

The plot is your standard heist-gone-wrong, with Gosling's unnamed stunt/race/getaway driver getting caught up in the illegal shenanigans of Irene's (Carey Mulligan) jailbird husband. This story may not be particularly remarkable or compelling, but the performances bring it to life with Gosling showing again why he is held in such increasingly high regard. More impressive are the outstanding supporting roles played by fellow up and comer Carey Mulligan, multi Emmy award winner Bryan Cranston, and the two mobsters played by the superb Albert Brooks and Ron Perlman.

However, what most stands out about Drive is undoubtedly the bold style of film making, with events being told through heavily stylised noir and some admittedly captivating cinematography and production. Sadly pretty visuals can only go so far, and this focus on style over substance simultaneously hurts the film more than anything else. The repeated reliance on music-backed montages and segments often makes portions of the films feel like a long music video, and with little meat to fall back on the end product feels superficial in the extreme.

This perception is not helped by actual shoe-horning of other films' scores into this film. On first viewing I noted the 28 Days Later score used repeatedly, and one extra long sequence set to Trent Reznor's Academy Award nominated score for the Social Network. For such polished production, this feels incredibly tacky, and quite jarring when you're familiar with the score in its original use.

In the end Drive is a flashy, but at times fairly grating crime noir film that nevertheless deserves notability in a year so far bereft of classics.

"Mylo Xyloto - Coldplay" Album Review
Genre Alternative Rock

A new Coldplay album is always going to be pretty big news and pretty big business, sadly by the point it feels like the band is just phoning it in. I am reminded of the claim that Chris Martin made six years ago that he was on the verge of retiring, not wishing to drag his career, and yet here we are still milking that Coldplay cow.

Don't get me wrong I love classic Coldplay as much as anyone, but this time around the memorable songs are few and far between, with just the dance-riff based Every Teardrop is a Waterfall pushing the band into new and exciting territory and only Don't Let it Break Your Heart doing justice to the classic stadium busting Coldplay sound. Credit where it is due, these are very fine songs indeed, but they are the diamonds in the rough rather than highlights.

Mylo Xyloto has been billed by the band as a move into more "poppy" music. Strangely though I have yet to find a single person who was of the opinion that Coldplay's biggest problem was that they were not "poppy" enough. Nevertheless it is unfortunate that their interpretation of "poppy" seems to mean bland rehashes of their old music. Even less forgivable is the apparent shallowness of the album as a whole, devoid of any coherent theme or structure that one might have expected from their earlier albums.

Coldplay has never been everyone's suit, but even for long time fans Mylo Xyloto is a disappointment. Too early to say that the band's best days are behind them? Either way, this one is just Coldplay by the numbers.

"Noel Gallagher's High Flying Birds" Album Review
Genre Alternative Rock/Britpop

Many are still feeling the bitter fallout from the split of britpop band Oasis, but little by little those wounds are beginning to heal. The elder Gallagher Liam returned to the limelight earlier this year with his solid solo project Beady Eye. Now it is the turn of the younger and arguably more musically gifted brother Noel.

Noel is the man behind some of Oasis's finest hours like Don't Look Back in Anger, often described as the more creative force within Oasis. So it is with great interest that we finally get a look at what he can do on his own, and finally determine once and for all which Gallagher is best.

Happily I can report that this album is not only a triumph, but also the best collection of Gallagher written songs since the early days of Oasis. Embracing his new central role, Noel's fingerprints are all over this album; from full blooded sing-along anthems to grittier rock and roll songs, the self-titled album captures all the best elements of Oasis and imbues them with a new charm and panache rarely seen in the band's back catalogue.

The album maintains a refreshingly high quality throughout, with several excellent songs and a handful of strong supporting songs. The soundscape is richer, the melodies more grown up and the range broader, with standout tracks like If I Had a Gun, Soldier Boys and Jesus Freaks, and A Simple Game of Genius.

Noel's solo career is off to an excellent start. You should buy this.

"The Tree of Life" Film Review

noreply@blogger.com (James) — Thu, 03 Nov 2011 00:00:00 +0000

Directed by Terrence Malick
Written by Terrence Malick
Produced by by Dede Gardner, et al.
Starring Brad Pitt, Sean Penn, Jessica Chastain
Running time 139 minutes

The enigmatic director stormed this year's Cannes Film Festival with his ambitious magnum opus, but does it deserve its success or is it a sprawling mess?

How to describe what the Tree of Life is all about? The hint is right in the title; it's about life and all existence, from the macroscopic to the very personal level. This film spans from the dawn of time to the end of the universe. We see the big bang and the dinosaurs, and finish with judgement day and the end of the Earth. So how can this film be anything other than an unfocused, pretentious flop? Well it's unlike anything you've seen before, that's for sure.

The central plot tells the story of Jack O'Brien (Sean Penn), jumping between his troubled childhood in 1950s suburbia at the hands of his overbearing father (Brad Pitt) and his aimless adult life where he continues to struggle with the memory of his tragically deceased brother. At it's heart this is a story about love, loss and the grieving process, the rationalisation of life and death in a greater context. The all consuming sorrow of a single lost life and the weight of a man's entire 50 year experience is paled into insignificance against the birth and destruction of the universe, and the scale of all time.

What makes this film special is the way it manages to cover such cosmic distances and contrast issues of such profundity with those on the personal level without collapsing under its own weight, something which is accomplished by its quite unique storytelling methods.

The lack of spoken dialogue in this film is striking. Most scenes pass outside the diegesis, narrated instead by evocative music as years of memory and story flow in minutes. Partnered with stunning cinematography and visual imagery, this is a story told mostly through sensation and mood rather than words, unfolding implicitly rather than through explicit dialogue or exposition. An apt analogy of the comparison between the Tree of Life and other films would be that of classical music to the pop music of today: telling a story without vocals, but still lyrical.

The film is a beautiful spectacle then, a statement which not many will disagree with. This is definitely not a film where it would be appropriate to spend a lot of time critiquing the writing or the acting as so little prominence is given to these elements of the film. On the other hand, this is certainly not a film for people who are used to being dictated a story when they go to the cinema, as opposed to inference.

What many will no doubt find objectionable are the overdone religious overtones, particularly in the last season and the conclusion of Jack's story. My preferred interpretation was to view this as merely the character's chosen method of internal rationalisation of his situation, rather than some attempt by the film maker to press his ideology upon us. However I can see why it would bother others.

What does, however, trouble me is the unsatisfying dramatic nature of this resolution, and indeed much of the narrative structure. The film essentially revolves around this one grand notion to which I have alluded, and fails to really add much over the course of two and a half hours. A great many scenes feel overcooked to the point of self indulgence, or simply unnecessary, and often I had the impression that what I was watching served more as an exercise in the technical aspects of film making than an attempt at really poignant storytelling.

This is a film that will inevitably polarize audiences, with some driven off by the opaque, demanding nature of the film, and others drawn to its artistic splendour. It may end up being a film that will be remembered more for its technical excellence and experimental cinematography than for any deeper meaning, but in this humble reviewer's view there are few scenes in cinema which are as touchingly beautiful and relatable as some of the childhood montages set to the backing of Bedřich Smetana. Malick is to be applauded for his vision and his ambition, but is perhaps a little too self indulgent for this film to really achieve the kind of status it seeks.

Loves:
Stunning cinematography
Evocative music

Hates:
Overdone and Preachy
Difficult to get into

"FIFA 12" Videogame Review

noreply@blogger.com (James) — Fri, 21 Oct 2011 23:00:00 +0000

Developed by EA Canada
Published by Electronic Arts
Genre Sports
Platform Xbox 360, PS3, PC, OSX, Wii

After a few years of doing this, the annual FIFA updates inevitably seem to start blending together. This is not necessarily a bad thing as it allows me to half-ass my reviews and get back to more important things. However, this year EA Sports have decided to delight millions of fans, and mildly inconvenience me, by bringing about the biggest revolution that FIFA games have seen in a generation.

I speak, of course, of tactical defending. It's no secret that defending has always been the weakest area in FIFA; the timing is imprecise, the AI is terrible, and close friendships have ended over arguing who has to sit back and defend. But this year's update looks to change all that.

Positioning is now the key element to defending in this game, and much of the process involves applying pressure to defenders and then making the correctly timed tackle, process which seems much smoother this year than it has in the past. This new mechanic is buoyed by the all new physical collision engine which aims to add yet further realism to the art of defending. When it works, it works very well, and yet I can't help but feel as though EA are barking up the wrong tree.

You see, it doesn't work all the time. Even aside from the steep learning curve, the fact remains that by far the biggest issue with defending in the past has been the dreadful AI, and this has been the case for a number of years. So for their big defensive revolution to leave this aspect completely untouched is bizarre to say the least, and if anything the more cerebral defending in this game only serves to highlight these inadequacies.

As for the shiny new physics engine, don't get me started. People laughed at me for being skeptical when it was first announced, but anyone who has played FIFA and seen the general patchiness of EA Sports' recent attempts at animation and "realism" should have seen this coming, or this. You see, EA Sports has a habit for trying to be far too clever and overdoing it, which is why they took the concept of referees getting decisions occasionally wrong out of the game. The sad thing is that these comedy issues are not the rare glitch, they are incredibly common, I would be surprised if you can get through more than one or two matches without seeing a few slapstick moments like this.

However, it is a valiant, if misguided attempt at fixing the defensive side of the game, and aside from these issues, the gameplay is pretty damn good. In almost every other way the football on offer here has been honed and improved from last year's iteration and the attacking play feels incredibly satisfying and versatile. In the old days it would often be the case that all goals would end up being scored in the same way, but now it really is a more varied affair, and passing the ball through the defense, putting crosses in, shooting from range are all perfectly viable solutions.

The biggest issue with the game for me is more a case of design. Once upon a time there was a game called FIFA 98, which incredibly included all the domestic football content, the whole world cup from qualification to final, and a series of scenarios or "challenges" which could be played through to keep things from getting stale. Since then, however, it seems that the actual content of the game decreases more and more every year.

In FIFA 12, the challenges from previous iterations are gone, replaced with a periodic online challenge which can be played if and when the developers come up with one, so on the day of purchase there was only one challenge I could play, as opposed to literally dozens that came with the old FIFA.

Of greater concern, however, is the new career mode. EA Sports seems to have bizarrely decided that it would be best to combine the regular career and the be-a-pro mode into one single feature. The effect of this is that be-a-pro career mode has essentially been removed from the game. In FIFA 11 this gameplay mode would start you off as a youngster in the reserves, and then let you play your way into the first team and even the national side. Well in this year's edition none of that is true, there is no 'narrative' so to speak, you just start in the senior team and there is no career progression and no international call ups. Basically, the be-a-pro career mode is now exactly the same as the regular mode, except you control one player instead of an entire team. A big step backwards then.

So we find ourselves in a familiar position here. FIFA is undoubtedly the strongest football game on the market right now, but it is still so riddled with gaping flaws and astonishingly amateurish design choices that one really wishes Pro-Evo would step up their game a bit to apply greater pressure on EA.

Loves:
Defending is... slightly better
Attacking side of the game still a delight
Looks beautiful

Hates:
Overcooked physics engine (but funny)
Dire lack of be-a-pro gameplay features

"Tinker Tailor Solider Spy" Film Review

noreply@blogger.com (James) — Fri, 07 Oct 2011 23:00:00 +0000

Directed by Tomas Alfredson
Written by Bridget O'Connor, Peter Straughan, John le Carré (novel)
Produced by by Tim Bevan, Eric Fellner, Robyn Slovo
Starring Gary Oldman, Colin Firth, Tom Hardy, Benedict Cumberbatch
Running time 127 minutes

An all star cast and crew team up in an attempt to adapt le Carré's classic novel to the cinema.

Skepticism was rife when a cinematic adaption of Tinker Tailor was announced. After all, the novel is a celebrated and layered tale of espionage, which up til now has only been successfully adapted into the BBC's seminal seven part miniseries. Fitting the entire piece into a two hour film was always going to be a tall order.

For their part, an impressive array of talent has been assembled for the project. Director Tomas Alfredson is one of the big up and comers in the cinema world following the critical acclaim lavished upon Let the Right One In, while the cast features such luminaries as Gary Oldman, Colin Firth, Benedict Cumberbatch, Tom Hardy, John Hurt and Mark Strong. It all makes for one of the more impressive ensembles in recent years, with a good mix between experienced old hands and hotly tipped newcomers.

It is no small praise then that this crew damn near succeeds in their efforts. The end result is an entertaining and cerebral two hours, one which appears almost flawless from a technical standpoint. Alfredson more than lives up to his billing, crafting a visually striking and generally well articulated film of some style. A great deal of credit must go to both him and the scriptwriters who have done about as good a job as can reasonably be expected in fitting the story into such a short narrative running time. Tinker Tailor is a satisfying and complex story regardless of format, and fans of the genre will find much to enjoy here.

Additional kudos must go to the actors involved. It is inevitable that they will be unfairly compared with those that have portrayed these characters in the past, notably the late Sir Alec Guinness, but they do themselves a great service, standing tall alongside their esteemed forbears.

Gary Oldman delivers one of the strongest performances of his career, a fine-etched tableau of a world weary being sleeping under well trained exterior. Familiar faces like Colin Firth and John Hurt also bring their typical level of quality to proceedings, but special note should be afforded to relative new boys Tom Hardy (who viewers will recognise from Inception) and Benedict Cumberbatch (who will be familiar to fans of the recent BBC adaption of Sherlock Holmes, or to any regular theatre patrons in London), both of whom have seen their stars rise considerably in the last few years and will see it take off still further here.

Yet despite this, Tinker Tailor still falls short of the standard set by its other iterations. While this may be a highly entertaining and well made spy thriller, it consistently falls flat when addressing some of the meatier contexts of the original plot, and at key moments. A perfect example is the final climactic scene, which sadly finds itself lacking in any real suspense or sense of danger. The big reveal of the double agent traitor thus feels disappointingly indifferent; what was supposed to be a wrenching and deep conflict of friendship and betrayal ends up with a complete lack of emotional impact.

So what went wrong? Ultimately it seems inarguable that two hours is just not long enough to fully appreciate the details of this story. The ending lacks tension because the stakes have not been well established, and the pacing inconsistent. The character drama lacks impact because the characters have not been fleshed out with any substance, and their relationships have not been explored in any real sense. Colin Firth in particular, for what is a pretty central role, has fewer lines than I can count on my fingers up until the final scene, and as far as I can remember doesn't share any lines whatsoever with Mark Strong's character, which is intended to be one of the deeper and more meaningful relationships in this story. These characters, simply, do not have anywhere near enough time to develop sufficiently.

This movie feels like an abridged version of Tinker Tailor, a bare-bones outline of events, offering newcomers to the story only a touch more emotional depth than a wikipedia plot summary. However, it would be foolish to only criticise this film for what it isn't, rather than appreciate what it is. This is not a novel, nor is it a miniseries, but as a film in its own right it is a fine piece of work, albeit one that finds itself oddly lacking in bite.

Just to be clear, this film makes a valiant attempt at adapting the classic novel. The production and cast are superb, and one can't help but be impressed at how close they have come to condensing everything to film length. In the end there simply is not enough time to devote more than the most superficial of attention to the characters and relationships, which is where the real meat of this tale lies.

Loves:
Quality of film making
Fine acting
Satisfying and intriguing classic plot

Hates:
Too short to flesh out character drama
Sometimes lacking in suspense
Often lacking in dramatic impact

"Hurry Up, We're Dreaming - M83" Album Review

noreply@blogger.com (James) — Tue, 20 Sep 2011 23:00:00 +0000

Genre Dream pop, Electronica
Label Mute
Producers Justin Meldal-Johnsen
Release Date October 18th

Even though Hurry Up, We're Dreaming is the 6th studio album of Anthony Gonzalez's M83, chances are you haven't heard of them before. That may all be about to change.

Gonzalez has spent three years pouring over every detail in this latest album, and it shows. Hurry Up, We're Dreaming stretches out over 2 discs and 22 tracks, a rarity for music these days, and yet each song is so meticulously crafted that every synth note, every chime, every buzz feels as though it has been placed with intent and fastidious care. Even during the album's more adventurous, abstract segments there is method and purpose and the end result is that the album sounds exactly as described on the cover, like some ephemeral, velvety dream.

I do not say this merely with regards to how the music sounds, although "dreamlike" would be an apt description for the ethereal, lush quality of this music, but more to its ability to be emotionally evocative. In equal parts uplifting and deflating, this is an album that can be wistful and reminiscent, thought provoking and introspective. In this regard the album feels very much like a dream.

The easy comparison that will no doubt be a feature of every review is one with 80s music, and indeed much of the album will evoke a distinct John Hughes aesthetic, but to characterise the album as simply an 80s revival would do a disservice to the great variation throughout.

Hurry Up, We're Dreaming runs the full gamut from anthemic pop-heavy tracks like Midnight City and Ok Pal, harkening back to the likes of Simple Plan and OMD, to the more stripped down hushed harmonies of Wait and Splendor.

Throw in a few eclectic tracks like Raconte-Moi Histoire, more a throwback to pre-80s psychedelia, and even full blown orchestrated songs like My Tears Are Becoming a Sea and you have some idea of the kind of range we have here.

It is impressive then that the music is so consistent; one gorgeously crafted melody after another and a good balance of instrumental and vocal elements. Each and every song merits a listen, and at its best moments this is an album that absolutely sparkles. If I have one qualm with the music itself it would be that the vocal style is quite the departure from M83's usual subdued yet quietly affecting lull, with Gonzalez taking on the reins himself and Morgan Kibby absent entirely. It almost sounds more in the vein of Kings of Leon or Arcade Fire; that's not to say that it doesn't work, it's just different. Some people may like it, others won't.

The bigger issue is that there seems to be no real structure to the album as a whole, no logical thread running through the length of either of the two discs, let alone the whole package. If one were to listen to the album on shuffle, I doubt they would notice a difference in the experience compared to progressing from start to finish. Hurry Up, We're Dreaming ultimately feels more like a collection of pretty sounds than a cohesive whole, although indeed one could say that this simply adds to the overall dizzying dream-like quality of the album, for better or for worse.

But despite this, Hurry Up We're Dreaming is an album that is hard to resist. Few other albums have captured the dream-like state to such a degree and portrayed it with such elegance and beauty. The attention to detail belies the talent of a true perfectionist and produces a record that may lack the clear narrative to which we are accustomed, but is undoubtedly the embodiment of this man's vision.

Hurry Up, We're Dreaming is M83's most ambitious album to date, and certainly their most impressive. This is a contender for album of the year, it's time to start taking notice.

Must Listen
Wait

Midnight City
&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://soundowl.com/track/18ws/m83-midnight-city"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Steve McQueen
&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://soundowl.com/track/1lmg/m83-steve-mcqueen"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Splendor
&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://soundowl.com/track/1lmd/m83-splendor"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Weekly Round up - 17th September 2011

noreply@blogger.com (James) — Fri, 16 Sep 2011 23:00:00 +0000

song of the week: "Lungs Quicken" by "Lanterns on the Lake"

thing that makes me smile today: Going to my first Chelsea game of the season.
pic of the day
IN:
M83
Daniel Sturridge
Tinker Tailor Soldier Spy

OUT:
Cut Copy
Nicolas Anelka
Jane Eyre

"Anna Christie" Theatre Review

noreply@blogger.com (James) — Wed, 14 Sep 2011 23:00:00 +0000

Directed by Rob Ashford
Written by Eugene O'Neill
Starring Jude Law, Ruth Wilson, David Hayman
Theatre Donmar Warehouse

Eugene O'Neill has always been the sort of playwright who will appeal to a certain crowd, whilst putting many others off with his overwrought dialogue and turgid stylings. Anna Christie is a play which, at first, sounds like a typical entry from his back-catalogue; there is depressive boozing, jaded old men, rough around the edges sailors, and of course the supposedly innocent girl with a shameful past. But to dismiss this production as such would be to do yourself a grave injustice.

Rob Ashford and the Donmar have crafted a superb production which manages to embrace the depth of drama, whilst highlighting the kernel of optimism and indeed throws lashings of good humour into the mix. This is a finely pitched, intense piece of theatre brimming with energy and deftly sidestepping the potential pitfalls of melodrama, one which will take even the most skeptical of theatre patrons and keep their attentions glued to the stage for the entire two and a half hour production.

Indeed much of this quality can be credited to the strong cast, with particular note for the three main characters. David Hayman gives a superbly nuanced and often heart-rending performance, even if he lays his Swedish accent on a bit too thick. Ruth Wilson is accomplished in every department as the titular main role, balancing the acerbic qualities of her world-weary character with a touching sense of vulnerability, although for some her demeanour and vocal qualities might come of as a bit too textbook for such a role.

But of course much of the focus will rightly go to one Jude Law, who has produced a potentially career-changing performance here, breaking free of his effete typecasting and transforming on stage into a gruff, surly sailor with such fervor and character that it is honestly difficult to believe that this is the same actor. Jude Law far exceeds anything he has ever done before, anyone who is not a fan will be after they see this.

The production is notable from a technical standpoint as well. The entire stage is replaced by a mechanical platform which pivots and emulates the tossing of the sea, while dry ice pours fog in from all angles and water sprays on deck. Such is the obsession with detail of setting that reportedly the front rows of the audience in the early showings of Anna Christie were soaked.

Fans of Eugene O'Neill will love the quality of the drama and the level of detail, while those who would not normally consider themselves fans will nevertheless enjoy the range of this production, a highly enthralling and well pitched production for all comers.

"Super 8" Movie Review

noreply@blogger.com (James) — Sat, 10 Sep 2011 23:00:00 +0000

Directed by J.J. Abrams
Written by J.J. Abrams
Produced by by Steven Spielberg, J.J. Abrams, Bryan Burk
Starring Joel Courtney, Elle Fanning, Kyle Chandler
Running time 112 minutes

Geek deity J.J. Abrams returns with most ambitious foray yet into cinema.

Better known for his Television credits, with the likes of Lost, Alias and Fringe to his name, J.J. Abrams has in recent years started to delve into the world of cinema. Beginning with franchise films like Mission Impossible 3 and the recent Star Trek remake, Abrams also saw great critical and commercial success with his first original creation, Cloverfield. Now in Super 8 Abrams teams up with his childhood idol Steven Spielberg to produce a film that is arguably his most mature and polished work to date.

The director's veneration for his producing partner here is apparent throughout, with homage paid repeatedly to Spielberg's classic sci-fi from the 1970's and 1980's. Everything from the setting to the style to the dialogue will evoke memories of Close Encounters of the Third Kind or ET. There are numerous other references of iconic pop culture (eg. Romero, the Twilight Zone, amongst others), but it is certainly a distinct Spielbergian vibe above all else that pervades.

That is not to say that Super 8 is lacking in originality or its own identity. Indeed, Abrams straddles the line between respectful tribute and basic mimicry perfectly, and adds in a few of his own modern touches that make this film distinctly a J.J. Abrams production.

The story itself concerns a group of kids in small-town America (So far so Spielbergian, even the classic character archetypes are all here!) who are in the process of making their own home movie on a Super 8 camera for a school competition, when all of a sudden strange things begin to happen across town. Naturally their childlike curiosity and desire to make a good movie compels them to dig deeper, and thus the plot unfolds.

The narrative that unravels is traditional sci-fi conspiracy stuff, you have aliens and military cover ups all accounted for, and if I were to have any complaint to make about this movie it's that this element of the film feels a bit hackneyed in a 'been-there-done-that' sort of way, and the alien itself was a somewhat uninspiring creation. Not to give too much away, but think more Cloverfield than Close Encounters, a concept which clashes quite strongly with the more simple and down to earth style in which the rest of the film is made (I suppose this would be the Abrams twist on the classic Spielberg formula). Meanwhile the military suits themselves are not fleshed out at all beyond 'look out, bad guys!', which leaves these antagonists lacking the real bite or intrigue that other better movies in the genre have produced.

Fortunately, the quality of the film making here is such that these flaws can be overlooked. The direction and production in general is so spot on and superb that you find yourself caught up in the story even if you don't really buy into it. Ultimately the secret is that none of the sci-fi or alien stuff really matters that much in this film. As strange as it is to say for something which is billed as sci-fi, these elements feel more incidental than central to on-screen events.

The real purpose of this movie lies with the characters, and the magic of film making in general. Super 8 is really a celebration of the passion of film makers, all the way up from the little kid with a cheap handy-cam to the big name Hollywood titans to whom this film so lovingly pays homage, and that desire for storytelling. It succeeds wonderfully.

Go see Super 8. It is a wonderful film, and certainly one of the better I've seen so far this year. Its few nagging flaws or lack of depth do not detract from its many strengths, and to focus upon them inordinately would be to miss the point entirely.

"Loves":
Quality of film making
Loving tributes to classic cinema

Hates:
The "alien" (ok "hate" is too strong a word)

"I'm With You - Red Hot Chili Peppers" Album Review

noreply@blogger.com (James) — Wed, 24 Aug 2011 23:00:00 +0000

Genre Rock
Label Warner Bros.
Producers Rick Rubin

There has been a long hiatus for the Red Hot Chili Peppers between their last album, released in 2006, and this newest release. It's been a time of upheaval for the band, with lead guitarist John Frusciante leaving (again), to be replaced by Josh Klinghoffer. It's a perilous time for a comeback.

The first thing to note is that the band is definitely missing something without Frusciante. You don't lose arguably the best guitarist of a generation without noticing. Indeed the band appears to have lost some of their edge.

Album opener Monarchy of Roses typifies everything that the band has become known for; the duality between the dirtier funk stylings and the more melodic, soaring chorus. It's a hopeful and exciting start to the new era.

Unfortunately the next track Factory of Faith is more representative of this particular album. Awfully repetitive and frankly bland, this track sounds more like a parody of incredibly phoned in, inspiration-less funk.

Indeed much of the album seems to consist either of similar songs like this or more uncharacteristically low-fi rock like Brendan's Death Song and Meet Me at the Corner, the likes of which are perfectly listenable, but again, strangely flavourless for the band.

However there are brighter moments, including the typically radio-friendly lead single The Adventures of Rain Dance Maggie, which features the classic RHCP funk/melody combination and one of Flea's classic swaggering bass lines.

Meanwhile, Did I Let You Know becomes one of the surprise highlights of the album with it's sunny demeanour and multi-vocalist chorus, while Happiness Loves Company is a delightfully bouncy throwback to the 1970s. Also worthy of note is the laid back Police Station, this album's answer to Californication.

In the end, I'm With You seems to be more about the band finding it's footing following the recent shake up and time out. The album as a whole is mercifully less sprawling than their last effort, the two-disk Stadium Arcadium, but it feels unfortunately lacking in memorable tracks. Their are some fine songs here to be sure, but they are few and far between, and overall, not of a high enough quality to stack up next to the band's back catalogue.

Must Listen
The Adventures of Rain Dance Maggie

Happiness Loves Company

Did I Let You Know

Police Station

The Ultimate Premier League Preview 2011/12

noreply@blogger.com (James) — Mon, 15 Aug 2011 23:00:00 +0000

Did we even have a summer this year? I have had neither the time off, nor the good weather here in London. Nevertheless, I have been informed by my assistant that it is now August, and as such we are approaching the start of the new season of football.

As per usual the Ephemeric is here to run the rule over every team in the Premier League and render a few solid predictions. Read on for the ultimate preview of what awaits us these next nine months.

Premier League 2011/12 in a nutshell:
Champions: Manchester United
Champions League qualifiers: Manchester United, Manchester City, Chelsea, Arsenal
Europa League qualifiers (via final league position): Liverpool, (others depending on cup + fair play)
Relegated: Swansea, Wigan, QPR
Golden Boot winner: Wayne Rooney (Man U)
Golden Glove winner: Petr Cech (Chelsea)
Player to watch: David Silva (Man City)
New signing to watch: Sergio Agüero (Man City)
Young player to watch: Daniel Sturridge (Chelsea)
First manager to get the sack: Steve Kean (Blackburn)
Shock of the season: Arsene Wenger leaves Arsenal

ARSENAL

Nickname: The Gunners
Ground: Emirates Stadium
Capacity: 60,000
Position last season: 4th
Manager: Arsene Wenger

The better part of a decade has now gone by without Arsene Wenger’s men bringing home any silverware. The “club in transition” excuses have long since dried up, and it’s getting to the point where simply shrugging one’s shoulders and pointing toward empty coffers for an explanation will no longer cut the mustard with the Arsenal faithful

That’s where porn-star-moustachioed new owner Stan Kroenke comes in, to give the club a bit more of the financial clout that is so important in this day and age. Arsenal fans have so far been resistant to any such spending (years of self-righteous bitterness toward the League's sugar daddies may be a factor here) but even the hardest of hardcore now seem willing to admit that such action is necessary if the club want to catch up with the top tier teams.

Of course, transfer spending is not the only area where Kroenke can make a difference. The faster the club’s massive stadium debts are paid off, the faster they can realise the income potential of such an asset. With Kroenke’s investment and the Emirates’ stadium income, Arsenal FC stand to be in a very strong financial position in a few years’ time, where the only thing holding them back will be their relatively minuscule commercial revenue. For that to pick up, they’ll have to actually start winning things.

On the personnel front, the club faces a real challenge with the threat of mass exodus of key players including Fabregas and Nasri, with Clichy already out the door. Robin Van Persie is likely to take the arm band in the near future as an increasingly heavy weight is placed upon the Dutchman’s shoulders, Arsenal fans will be hoping that he doesn’t begin to get similar ideas of greener pastures abroad.

Key Signing: Gervinho
Key Man: Robin Van Persie
If they were a car: A Daihatsu Copen, sporty, pretty to look at whilst being very economical, but in reality it's just a lemon.

Verdict: Can still challenge if their more established rivals falter in a big way or suffer catastrophic injuries, but will likely be more concerned about keeping their top 4 position with the likes of Liverpool and Tottenham breathing down their necks.

ASTON VILLA

Nickname: The Villans
Ground: Villa Park
Capacity: 42,593
Last season: 9th
Manager: Alex McLeish

Never quite recovered from the bombshell of Martin O’Neill’s resignation, but the writing had been on the wall for a long time with the unpopular departures of key players to bigger clubs. They face a similar problem once again with the likes of Ashley Young and Stewart Downing already leaving this summer and the threat of further exits down the road.

New manager Alex McLeish is undoubtedly good at what he does, but begins his job amid a fire of controversy following the fracas that has arisen from his switch between the club and bitter arch rivals Birmingham. He has a lot to prove after suffering relegation last season, even more so now with the additional undesired attention and the scepticism of the fans.

On the other side of the transfer market the club have done some good business already this summer. Villa have pulled of something of a coup with the signing of Shay Given, unquestionably one of the best goalkeepers in the league who was only kept out of a strong Manchester City side by the quality of Joe Hart. However Given has his work cut out for him, stepping into the shoes of Brad Friedel. Meanwhile Wigan’s star player Charles N’Zogbia has made a big money switch to the Villans in what could prove to be a shrewd reinforcement for the club.

Key Signing: Shay Given
Key Man: Darren Bent
If they were a car: They would be down at the chop shop, selling off spare parts without a care in the world for whether or not she will ever drive again.

Verdict: If N’Zogbia can supply Bent with a steady stream of chances, Europa League qualification is a strong possibility.

BLACKBURN ROVERS

Nickname: Rovers
Ground: Ewood Park
Capacity: 31,367
Last season: 15th
Manager: Steve Kean

Steve Kean managed to save the club from relegation last season, but the fact remains that they weren't even under threat of going down until Sam Allardyce's shock sacking. Kean has much to prove this season, and the same has to be said for Blackburn's wealthy new owners who have taken a lot of flack for this controversial decision.

A good start to the season will be crucial to calm nerves and ensure the club doesn't get sucked down into another relegation battle. However fans would be wise to start preparing for the worst.

A bright prospect has left the club in Phil Jones, and rumours persist linking Chris Samba with a move away to a bigger club. Radosav Petrović, meanwhile, is an interesting signing of whom much will be expected.

Key Signing: Radosav Petrović
Key Man: Chris Samba (if he stays)
If they were a car: A jeep where the engine has inexplicably been traded for that of an electric scooter.

Verdict: A tough season ahead which could well see the team dragged into another relegation fight.

BOLTON WANDERERS

Nickname: Trotters
Ground: Reebok Stadium
Capacity: 27,879
Last season: 14th
Manager: Owen Coyle

Owen Coyle seems to have stabilised a club that has been in decline ever since the departure of one Sam Allardyce, but it'll be interesting to see how he can take them on from here.

Bringing Daniel Sturridge in on loan last season proved to be a very shrewd move, and the Chelsea youngster's 8 goals in 12 games played a big part in their improved form for the second half of the season. They'll be at a disadvantage then this season without Sturridge, who is set to make a breakthrough at Stamford Bridge.

Coyle has wasted no time in snapping up a few bargains this season, including Nigel Reo-Coker on a free transfer, but he'll desperately need more firepower up front to play off of Kevin Davies if he is to assure a comfortable mid table finish.

Of equal concern will be the persistent rumours linking Gary Cahill with a move away from the Reebok, a loss which would have quite an impact on the club's back line.

Key Signing: Nigel Reo-Coker
Key Man: Kevin Davies
If they were a car: Honda insight. Hardly the most glamorous out there, but dependable, and in the hands of a skilled driver can even challenge the big boys.

Verdict: Consistency is key to prevent club from going backwards.

CHELSEA

Nickname: Blues
Ground: Stamford Bridge
Capacity: 42,449
Last season: 2nd
Manager: André Villas-Boas

Last season was the perfect summary of the consistency problems that plagued the club under the reign of Carlo Ancelotti, from record breaking winning runs to record breaking winless runs, and the unsurprising result was a trophiless year.

The club has pulled off something of a coup in appointing Villas-Boas, the treble winning Porto manager who was being tapped as Pep Guardiola's replacement at Barcelona next year until he was poached by his former employers at Chelsea. Villas-Boas brings a more stylish flair-based approach to football to the club, but only time will tell if he's really ready for such a big step up. Either way, patience will be needed from the fans and the club owners.

There is no doubt that the team is in need of a serious shake up. It is surprising then that there has been so little transfer activity from the Blues this summer. So far only hot prospects Thibault Courtois, Oriol Romeu and Romelu Lukaku have been signed, with Courtois already off on loan for the season, and the others unlikely to play a major role in the first team just yet. Rumours persist of a move for Tottenham's Luka Modric, which would be a major boost to a club that lacks creativity in the midfield, but with such extortionate fees being quoted one must wonder why they don't seem to be considering other targets. Indeed, if the squad remains as it is now, it's hard to see the club having aspirations for anything beyond a top four finish.

On the plus side, youngsters like Daniel Sturridge and Josh McEachran appear ready for a breakthrough season, with the former in particular likely to play a big part in the team's drive for silverware. There is still a good deal of team building required here, Frank Lampard looks to be on his last legs and Didier Drogba is getting on in the years, but the club finally appears to be on the right track, arguably for the first time since the sacking of Mourinho.

Key Signing: So far, the manager.
Key Man: John Terry
If they were a car: A vintage Mercedes; expensive once upon a time, but after years of disuse is now having to subsist on budget replacement parts, currently missing a steering wheel.

Verdict: As always, predicting Chelsea's fortunes is an exercise in futility, but few would predict anything lower than third this season, and a title push an outside chance, but probably only if additional signings are made.

EVERTON

Nickname: Toffees
Ground: Goodison Park
Capacity: 40,170
Last season: 7th
Manager: David Moyes

Another year, and another big challenge for David Moyes who continues to purvey his unique magic levitating act on Everton with no budget. Indeed there are no transfers in so to speak, and nagging rumours that key players Phil Jagielka and Jack Rodwell could be off in the near future. Arguably though, such a loss would in fact be a good thing for Everton, who could then use the proceeds to buy a couple of new players, something that Moyes has always been adept at when presented with the funds.

This, plus stadium and ownership issues, has lent to a feeling of angst surrounding the club in the run up to the season, and one which could put a dampener on things once the action gets underway. There is the impression that the club has stagnated in recent years, and unfortunately for Toffees fans, that doesn't look like changing this season.

Key Signing: None yet
Key Man: Leighton Baines
If they were a car: The Magic School Bus, nobody quite knows how it does what it does, but there you go.

Verdict: Again, will probably be around the same place as they end up every year, barring a miracle or a disaster.

FULHAM

Nickname: Cottagers
Ground: Craven Cottage
Capacity: 26,000
Last season: 8th
Manager: Martin Jol

Mark Hughes appeared to be doing a good job at the club until his humorous self destruction over the summer. The reigns of power now pass over to Martin Jol, another seasoned hand with Premier League experience who will endeavour to take the club to the next level.

No major signings so far, aside from the reunion of the Riise brothers, this season, but then the squad is not such that it needs a major overhall. Fans will be hoping that Bobby Zamora can avoid the injury problems that have followed him, and that the impressive defensive combo of Brede Hangeland, Aaron Hughes and Mark Schwarzer continues in similar form. Most importantly will be the consistency of key performer Clint Dempsey, who seems to have hit his peak in recent years.

Ultimately it’s hard to see how the club can go any further than they have done, finishing a creditable 8th place last season, but similarly I would not expect them to face any real threat of being sucked into a battle for survival.

Key Signing: John Arne Riise
Key Man: Clint Dempsey
If they were a car: The “ghost of Michael Jackson” car... for obvious reasons.

Verdict: A comfortable mid table finish seems likely.

LIVERPOOL

Nickname: Reds
Ground: Anfield
Capacity: 45,362
Last season: 6th
Manager: Kenny Daglish

Liverpool have had a number of false dawns over the years, and following their sublime second half of the season last year, in which new manager Kenny Daglish turned their fortunes on a sixpence and ended up as the form team in the league, there is the feeling that a return to the big time is not far away.

In truth, not many would predict that the club are anywhere near ready to mount a sustained title challenge again, but a return to the Champions League certainly seems like a distinct possibility. Given that last Christmas they found themselves in the bottom half of the table, that’s quite the turnaround.

They have coped well following the loss of Fernando Torres, though perhaps eyebrows will be raised at the club’s decision to blow more than two times the Torres income (£45m) on largely unproven players like Andy Carroll (£35m), Jordan Henderson (£20), Stewart Downing (£20) and Luis Suarez (£23); although in the case of Suarez, the money appears to have been well spent, the jury is still out on the rest.

Following such a massive expenditure, expectations will surely begin to mount on Daglish. It will be upon him to gel the new players quickly, and maintain the form of present Liverpool stalwarts like Dirk Kuyt and Steven Gerrard, the latter of which is in desperate need of a good season after appearing to be on the decline over recent years. If Gerrard is unable to recover his form, a lot of will rest upon new signing Charlie Adam.

Key Signing: Stewart Downing
Key Man: Luis Suárez
If they were a car: Must... resist urge... to make scouser joke.

Verdict: A massive season for the club if they’re serious about returning to the glory days. Contention for a Champions League place is likely, will probably duke it out with Arsenal for 4th.

MANCHESTER CITY

Nickname: Blues
Ground: City of Manchester Stadium
Capacity: 48,000
Last season: 3rd
Manager: Roberto Mancini

No more excuses for nouveau riche club or it’s under pressure manager. Manchester City’s FA Cup triumph last season made it clear for all to see that the heavy investments are starting to pay off, and the next target has to be the Premier League crown.

Nobody doubts the quality of the squad that has been amassed here, at great expense, but real questions remain over how good a team they are together. It’s never a good way to the start the season with your club captain Carlos Tévez doing all he can to force his exit, even going so far as to publically declare that he will never again line up in Manchester blue.

His ostensible replacement Sergio Agüero is unproven at this level, and very inconsistent for both his former club and country, while Mario Balotelli is one of those players who will always make more headlines for his crazy shenanigans than for his footballing prowess, talented though he may be.

In addition Agüero, new signing Gaël Clichy offers perhaps a slight upgrade on Wayne Bridge, and it is widely expected that Samir Nasri will join any day now. If Nasri signs then Manchester City will have arguably one of the strongest clubs in the league, and one of the brightest midfield prospects in the world. However, the priority now has to be less on bringing in more signings and more on helping this current group of stars operate as a unit. The secret to Manchester United’s success has always been the strong dressing room atmosphere, a factor that inevitably pays dividends right at the crunch time of the season when it really counts. Arsenal’s invincibles had it, Chelsea under Mourinho had it, and Manchester City must find this quality if they want to be the best team in the country.

Key Signing: Sergio Agüero
Key Man: David Silva
If they were a car: A souped up Lamborghini from Fast and Furious, the owner constantly adding more flair and shiny things, but seemingly unconcerned with practicality.

Verdict: A big year for the club where many pundits are expecting great things, likely to mount a challenge, but would be a surprise if they managed to achieve the consistency required to actually win the thing.

MANCHESTER UNITED

Nickname: Red Devils
Ground: Old Trafford
Capacity: 76,000
Last season: Champions
Manager: Sir Alex Ferguson

Last season Manchester United were easily the best team in the league, but any suggestion that the club intend to sit on their laurels and content themselves with being the best on this side of the Channel can be ignored.

No, this year they face a bigger challenge: unseating Barcelona at the summit of European football. Following last season’s comfortable Champions League final defeat at the Catalan’s hands, Sir Alex has set himself the challenge of building a team that can go one step further in what may indeed prove to be his final project at Old Trafford before retirement.

Not only do they start off the season as the strongest in the league, but they have also been one of the more active in the transfer window, adding the likes of Ashley Young, Phil Jones, De Gea and potentially Wesley Sneijder. Considering the transfer activity of their rivals who begin in a worse position (Chelsea have yet to make a first team signing and Man City have only signed no-names and a Tevez-lite replacement) it's hard to see them having too much trouble in securing a record 20th title. Of the prominent players who were released this season, only the loss of Van der Sar weakens them somewhat from last season, and so a lot will depend on how quickly his replacement can adjust to life at Old Trafford.

Key Signing: Ashley Young
Key Man: Wayne Rooney
If they were a car: The Batmobile. Their super powered enemies usually get a head start, but once Batman gets going it would be unwise to bet against them.

Verdict: Have enough about them to defend their title so long as their new goalkeeper proves to be less Van der Gouw and more Van der Sar.

NEWCASTLE UNITED

Nickname: Magpies
Ground: St. James' Park
Capacity: 52,387
Last season: 12th
Manager: Alan Pardew

Mission accomplished last season in holding a comfortable mid table position and remaining in the top flight. Some may have questioned the dismissal of Chris Hughton, the manager who after all got them promoted and took them into the top half of the Premier League, although in Pardew they have placed themselves in safe hands. Eyebrows may also be raised by the club's transfer policy in selling the likes of Enrique and Carroll, but they have recruited well this summer with the signings of Demba Ba who impressed during the tail end of last season, and former Manchester United hot prospect Gabriel Obertan, who could turn out to be something of a coup for the club.

Survival shouldn't really be an issue this season, but at the same time I don't think anyone should be expecting a Europa League push either. Of greater concern will be the morale of players off the pitch. Considering the recent high profile shenanigans with Joey Barton who almost got free-transferred for criticising the club's management hierarchy, it only seems reasonable to ask questions of the perennially under fire club owner Mike Ashley, and whether his treatment of the senior players bodes ill for their prospects.

Key Signing: Demba Ba
Key Man: Joey Barton
If they were a car: The Prime Minister's car, as the owners of both club and car enjoy a similar level of popularity.

Verdict: Another mid table finish is on the cards.

NORWICH CITY

Nickname: The Canaries
Ground: Carrow Road
Capacity: 27,033
Last season: Promoted from Championship
Manager: Paul Lambert

Back to the big time for the Canaries, for the first time in six years they will compete in the top flight of English football. Manager Lambert has pulled off something really quite remarkable by securing back to back promotions for the club, but he will find that the Premier League is something completely different, and he will do well to ensure survival.

But this is not an impossible task, and indeed his business operations during the summer appear to be quite shrewd, ruthlessly cutting a lot of the lower league slack that remained on the books and bringing in some quite interesting talent, including former Everton striker James Vaughan, and the loan signings of Kyle Naughton (Spurs) and Ritchie De Laet (Man U) among others. The emphasis is certainly on young and hungry players, as opposed to experienced and over the hill, a stark contrast to the team building policy of many newly promoted teams.

A long season lies ahead, but Norwich are certainly not going to be pushovers, and it could well be that the next page of the script has them staying afloat this year.

Key Signing: James Vaughan
Key Man: Grant Holt
If they were a car: A circus clown car. Looks small, not really sure what's inside, but could spring a surprise or two.

Verdict: Staying in the Premier League will be a tough challenge, but if any newly promoted side looks to have a shot it's them.

QUEENS PARK RANGERS

Nickname: The Hoops
Ground: Loftus Road
Capacity: 18,360
Last season: Promoted from Championship
Manager: Neil Warnock

Fans rejoice, Neil Warnock has returned to the Premier League, and now that he is backed by the money of QPR it will be interesting to see what rants he comes up with this time around.

Transfer activity so far seems to be a mix of the good (Jay Bothroyd, DJ Campbell) and the sounds good on paper, but is actually bad (Kieron Dyer), while the club will be buoyed by the fact that much talked about (by his agent presumably) midfielder Adel Taraabt looks set to stay at the club for at least another six months, however the loss of Wayne Routledge, to another newly promoted team no less, is a blow.

This is the club's first season of top flight football in 15 years, since the early days of the Premier League, but their chances for survival appear threatened by a host of off the pitch tensions, created chiefly by their wealthy owners and the ongoing saga of takeover rumours, which has contributed to the present unwillingness to afford the squad the kind of investment that would make a positive season more likely. As it is, this is a team that still looks awfully lower league.

Key Signing: Jay Bothroyd
Key Man: Adel Taraabt
If they were a car: A hatchback entering into an F1 race, with two elderly ladies driving, bickering over control of the wheel.

Verdict: Survival is going to be a very tall ask for the club, despite Warnock's best efforts. Get ready for the press conference fireworks now.

STOKE

Nickname: Potters
Ground: Britannia Stadium
Capacity: 28,384
Last season: 13th
Manager: Tony Pulis

Pulis continues to do almighty work at Stoke, punching above their weight and particularly pulling out the stops against the big teams.

So far the only incoming transfer activity has been Jonathan Woodgate. If he can stay fit, he will be a fine addition to the already formidable Stoke defence, and a threat going forward for set pieces, still the mainstay of Stoke goalscoring. Rumours abound for some additional attacking threat along the lines of a Carlton Cole or a Cameron Jerome, but as of yet no move has materialised. The expectation then should be for more of the same from one of the more consistent teams in the Premier League these days.

The key central defensive duo of Shawcross and Huth seems to grow stronger with each passing game, and the emergence of Asmir Begovic in goal has been something of a triumph for the club now entering its fourth consecutive season of top flight football. If it ain't broke don't fix it, but one has to wonder, how long can Stoke keep playing at this level without trying to evolve the squad and style of play.

Thanks to last year's appearance in the FA Cup final, Stoke will also be involved in European competition this season, adding further challenges to the already congested schedule of a Premier League club. It will be the most telling indication yet of Stoke's durability as a top flight club to see how they cope with the additional pressure.

Key Signing: Jonathan Woodgate
Key Man: Asmir Begovic
If they were a car: A Rory Delap shaped catapult… that's close enough to a car, right?

Verdict: Aiming for status quo in the face of new challenges.

SUNDERLAND

Nickname: Black Cats
Ground: Stadium of Light
Capacity: 48,300
Last season: 10th
Manager: Steve Bruce

Steve Bruce is a good manager and he has crafted a decent club out of the collection of Sunderland misfits he inherited, one that has long since forgotten about ensuring Premier League survival and one that now sets its sights on Europa League qualification. The challenge this season will be to combat the club's habit of inconsistency in order to progress still further.

The sale of Darren Bent was a big loss for the club, but the signing of much hyped striker Connor Wickham offers a great deal of potential, both for a player looking for space to develop, and for a club looking for someone to partner the erratic Asamoah Gyan. Meanwhile decent signings have been made in other positions including the likes of Craig Gardner and Sebastian Larsson.

If this is to be a good year, Sunderland will finish top seven and mount a creditable cup run, on the other end of the hypothetical spectrum, they might finish around 15th. My prediction? Well see below.

Key Signing: Connor Wickham
Key Man: Lee Cattermole
If they were a car: The Smartcar, small, unassuming and attracts derision from many, but surprisingly solid, and quietly gathering momentum… and then they break down for no apparent reason.

Verdict: Push for a Europa League place, but top 10 finish should be the minimum aim.

SWANSEA CITY

Nickname: The Swans
Ground: Liberty Stadium
Capacity: 20,532
Last season: Promoted from Championship
Manager: Brendan Rodgers

Cue the hysteria, we have the first ever Welsh club in the Premier League. Oh, what's that you say? No one gives a toss? Right then moving on…

Ex-Chelsea youth coach Brendan Rodgers is quickly making a name for himself as a manager. Rodgers was quick to poach the cream of the unwanted Chelsea youngster crop with the likes of Fabio Borini and Scott Sinclair lighting up the Championship, and last season his attractive Swansea side were the final team to clinch promotion to the Premier League through the playoff system. Even though Borini is now gone, he has strengthened his side well with the likes of Wayne Routledge and Leroy Lita, while the attacking forces of Nathan Dyer and Luke Moore make perfectly clear the intention to fight for survival playing attractive, attacking football. It's a similar tactic to the one Blackpool employed last season, so best of luck to them.

Whatever happens, this is a team that's likely to be fighting for survival come the end of the season, and while their style of play will win many fans and make them a popular choice for avoiding the drop as with Blackpool last year, the odds are that they too will find the step up to the top flight one too many.

Key Signing: Wayne Routledge
Key Man: Scott Sinclair
If they were a car: Alpha Romeo, aspiring for style and panache, but clearly lower league under the hood.

Verdict: A favourite for relegation despite their ambitious style.

TOTTENHAM HOTSPUR

Nickname: Spurs
Ground: White Hart Lane
Capacity: 36,236
Last season: 5th
Manager: Harry Redknapp

Tottenham under Harry Redknapp have far too often turned out to be the "almost but not quite" club. A rare piece of silverware, a first foray into the Champions League after threatening to break through for so many years, but last season saw a step backward for the club. With the level of competition toward the top of the league being what it is now, there are realistically six clubs fighting for the four Champions League qualification places, and arguably three of them fighting for just one place. Tottenham is one of those clubs, and compared to their rivals, they would appear to have the longest shot.

On top of this it is often overlooked that Tottenham have been among the biggest spenders in the league for many years now with very little to show for it, and considering the lack of major changes this summer, it is hard to see this changing. The one big improvement is the recruitment of a consistent, and excellent goalkeeper in Brad Friedel to replace the gaffe prone Gomes. No noteworthy departures as of yet, but rumours persist linking Luka Modric with a move to Stamford Bridge in the near future. Such a loss would clearly have a big impact on the squad, and on player morale for that matter, although the potential transfer fee would easily allow Redknapp to bring in a few replacements.

Make no mistake, Tottenham are certainly in contention for Champions League qualification this season, but it seems unlikely unless both Arsenal and Liverpool have massively underwhelming seasons.

Key Signing: Brad Friedel
Key Man: Luka Modric
If they were a car: Lotus Elise, costs way more than it should, in equal parts frustrating and delightful.

Verdict: Finishing outside the top six would be a bad result for the club, but pushing into that all important top four may be too much to ask.

WEST BROMWICH ALBION
Latest club news

Nickname: Baggies
Ground: The Hawthorns
Capacity: 26,500
Last season: 11th
Manager: Roy Hodgson

The dismissal of Roberto Di Matteo came as a surprise considering the fact that the newly promoted club (which he got promoted at the first time of asking) was positioned against all odds in the top half of the Premier League table at the time, however they have replaced him well with Roy Hodgson, a man whose disastrous tenure at Liverpool takes nothing away from his ability as a small-team manager. Hodgson duly did what he does best and ensured survival and even a comfortable mid table finish.

Once upon a time next big thing Scott Carson has been moved on, and another once upon a time next big thing Ben Foster has been brought in as his replacement, a definite improvement as far as we're concerned. Elsewhere, star striker Odemwingie looks set to carry the team's front line again, as no partner has been brought in as of yet. Hodgson looks as though he might even play with just the one up front, having brought in a number of new midfielders, including Shane Long who impressed for Reading in the Championship last season.

Captain Chris Brunt continues to be influential on the right, with Mulumbu sits in front of the back line with his intelligent play and fine passing, while Jerome Thomas completes a solid midfield. This is not a team that's ready to push for the Europa League just yet, but one that is probably good enough to avoid the drop.

Key Signing: Shane Long
Key Man: Peter Odemwingie
If they were a car: Chitty Chitty Bang Bang, something delightful about the old codger in charge, who manages to craft something quite special from not much at all.

Verdict: Another finish in the lower half of the table looks likely, probably not quite stuck in the relegation battle.

WIGAN ATHLETIC

Nickname: Latics
Ground: JJB Stadium
Capacity: 25,000
Last season: 16th
Manager: Roberto Martinez

Wigan defied the odds, and an atrocious start to the season, by securing survival on the last day of the season in dramatic fashion. It may take another late miracle to prevail again, as the coming season looks like another long one for the club.

Securing Ali Al-Habsi is a big coup for the club, but much more will be needed to shore up the leakiest defence in the league. Meanwhile the loss of Charles N'Zogbia and the return of Tom Cleverley to Manchester United are both big losses for the team's attacking efforts. As of yet no ready replacements have been signed, which will probably mean that the burden of responsibility rests with Victor Moses and Rodallega.

Given the number of years that this club has survived against the odds, one would think that a turnaround in fortunes is long since due, however the opposite appears more likely and Wigan fans have every reason to worry.

Key Signing: Ali Al-Habsi
Key Man: Hugo Rodallega
If they were a car: A golf, with required pit stops every few miles, its engine on the last legs.

Verdict: Wigan's luck could run out this season.

WOLVERHAMPTON WANDERERS

Nickname: Wolves
Ground: Molineux Stadium
Capacity: 28,525
Last season: 17th
Manager: Mick McCarthy

Wolves face a tall order to remain in the Premier League, once again. However, Mick McCarthy is a good manager and he has done impressive work with Wolves for the last couple of years. He has also invested well. with Steven Fletcher coming in from Burnley, and Birmingham's impressive Roger Johnson coming in to bolster the back line.

But in today's Premier League where the quality of even the lower tier teams seems to improve with each passing year, that may not be enough. Johnson, while impressive for Birmingham, rarely got called out for his inconsistency, and here he is joining a defence that is already notoriously inconsistent. Meanwhile Wolves' attack was the least productive in the league last season, and while Fletcher and Doyle might sound like a convincing attacking pair together, it won't count for much without some additional quality in the midfield to create chances.

Key Signing: Roger Johnson
Key Man: Kevin Doyle
If they were a car: A Fiat. 60% of the time, it works every time… except that it's more like 20%.

Verdict: Another tough season ahead, which is likely to involve a struggle for survival.

Predicted table:
1. Manchester United
2. Manchester City
3. Chelsea
4. Arsenal
5. Liverpool
6. Tottenham
7. Everton
8. Sunderland
9. Stoke City
10. Aston Villa
11. Fulham
12. Newcastle United
13. Bolton
14. West Brom
15. Norwich
16. Blackburn
17. Wolverhampton Wanderers
18. Swansea City
19. Wigan
20. Queens Park Rangers

"The Cherry Orchard" Theatre Review

noreply@blogger.com (James) — Tue, 02 Aug 2011 23:00:00 +0000

Directed by Howard Davies
Written by Anton Chekhov (Original), Andrew Upton
Starring Zoë Wanamaker, Conleth Hill, Kenneth Cranham
Theatre National Theatre, Olivier

I will begin by saying that Anton Chekhov is one of my favourite playwrights, possibly the favourite, while the Cherry Orchard is one of his most revered plays, considered by many to be his best.

Set at a time of social upheaval, characterised by the rise of the middle class and the fall of the nobility, the Cherry Orchard follows a formerly wealthy family that has been ravaged by debt, as they return home to the family estate to be present as it is auctioned off to pay the mortgage.

Just as the landed gentry at the time were cost by their refusal to face up to the changing times, so does this family ignore all warnings in order to perpetuate the fantasy of permanent status. But the march of "progress" proved to be unstoppable, as presaged here in Chekhov's visionary work.

It’s always a risk when you take such a play that has been done, and done well, in the past and attempt to refresh the script. So it’s no surprise that reaction so far has been mixed at best, with newcomers generally pleased with the production while old fans are grated by the intrusion of modern slang and inconsistent anachronisms.

However, despite my fondness for Chekhov’s original work, I did not find myself particularly bothered by Upton’s liberty taking with the language. The central themes and the underlying historical context all remain intact, ensconced in the kind of rich character drama that only Chekhov can do so well.

For me, the biggest problem with this production comes from a strange lack of heart. One could argue that it is the director’s intention to cast a cruel and unfeeling light on proceedings; it would even be a fitting reflection of the homogenisation of modernity, the inevitability of which casts a pall upon the characters in this play. Ultimately something feels lost in translation as the fantasy of the old world mentality, epitomised by the luxuriant hubris of land owner Ranyevskaya, fails to contrast effectively with the relentless advent of societal change. In a play where the ties of family and tradition are overwhelmed by the changing times, I found myself oddly unmoved.

The play also contains an uneasy marriage between the naturalism that typifies the work of Chekhov, and symbolism that is part and parcel when it comes to a politically intentioned play such as this. Often this works to good effect, with the complex and often unspoken dynamics between characters mirroring the underlying analogies. However other times it comes off as quite jarring, as with perennial student Tofimov and his penchant for meandering monologues making a stark contrast with the otherwise understated and natural style of dialogue.

Aside from these potential criticisms, however, there is much to enjoy with this production. The acting is generally excellent; Zoë Wanamaker shines in the starring role of Ranyevskaya, while Conleth Hill nearly steals the show as the exasperated businessman Lopakhin. Credit must also go to James Laurenson's tragically layered turn as Gaev and Tim McMullan as loveable moocher Simyonov-Pischik, but above all to the venerable Kenneth Cranham for his effortlessly masterful rendition of the senile Firs.

In addition the stagecraft is fantastic, the set makes good use of the Olivier space, and it's level of detail is a thing of beauty. It is even more impressive as it effortlessly transitions from one seen to the next. The lighting is also pitch perfect and atmospheric, giving a real sense of place and time, while the sound-work also displays a keen attention to natural detail in classic Stanislavskian traditions.

In the end this is a technically adept production which never quite achieves the sum of its fine components. This reworked version of the Cherry Orchard serves as a clear reminder that even when the acting and production is done right, it still takes something extra to really capture the soul of a play, an intangible quality that this production unfortunately lacks.

Weekly Round up - 23rd July 2011

noreply@blogger.com (James) — Fri, 22 Jul 2011 23:00:00 +0000

song of the week: "Battery Kinzie" by "Fleet Foxes"

thing that makes me smile today: Finally getting around to seeing the summer movies.
pic of the day
IN:
Futurama
Daniel Sturridge
X-Men: First Class

OUT:
Family Guy
Nicolas Anelka
Pirates of the Caribbean: On Stranger Tides

Back in the London Groove

noreply@blogger.com (James) — Thu, 21 Jul 2011 23:00:00 +0000

Well it’s been a long time since I made a personal entry on this blog, so I thought I’d just chip in my own inimitable word about the summer, what’s going on with me, and life in general:

I am glad to be back in London after my months of world adventuring, even if I have been working pretty much solid since then, first at the House of Commons and now at Deloitte. Most of you I’ve caught up with recently, but if I haven’t then don’t take offense; I am working 10 hour days at my current job!

Indeed my time in DC was a great experience for a political junkie such as yours truly, and that was just the work part of it. The rest of this trip had everything, from the excitement that comes with exploring a totally new town with new restaurants and attractions, and of course the time honored holiday infatuation (as one does). I could write a whole article about the sights and nightlife of DC, but suffice to say it is a really lovely city, and very reminiscent of a cosmopolitan place like London, albeit on a much smaller scale.

In the meantime, although it may not seem like it lately, it is in fact summer here in big London, and it’s proving to be a good time to renew old acquaintances and make new friends. At first I was disappointed not to have a holiday to go travel abroad as I usually do, but then I realised just how much there is to do in London during the summer. I would have liked to write a bit about the Taste of London festival if I had some time to do so (hint: le Caprice was there, and I could eat there every single day if it weren’t so expensive), the Shoreditch festival is now on if we ever get a sunny enough day to make it worthwhile, and later this month begins the Film4 Festival in London, with cheap tickets for under 25s, on which you’d be a fool to miss out.

As for me, I've started writing again whenever I have a little time, and hopefully will find a little bit of holiday before I begin at law school in September. There’s quite a lot going on right now so expect a few more lengthy blog articles in addition to the regular reviews. I expect I will have a lot to say regarding the News Corp scandal, the 2012 primaries and the upcoming football season in the near future, so stay tuned!

I know a lot of you guys like it when these posts are laced with a bit of drama, but what can I say, it's a very chill time. If you want drama go watch the phone hacking stuff on tv, heck it's more action packed than any of the so called "summer blockbusters" I've seen in the cinema this year.

"Bon Iver - Bon Iver" Album Review

noreply@blogger.com (James) — Tue, 12 Jul 2011 23:00:00 +0000

Genre Folk, Baroque Pop
Label Jagjaguwar
Producers Justin Vernon

When Bon Iver architect Justin Vernon cut himself off in a forest cabin for three months in order to record debut album For Emma, Forever Ago, he ensured that it would go down as a record as notorious for its mythology as its music. It was a tale that complemented the style of music well; sparse, falsetto laden folk musings, with surprisingly evocative lyrics from someone whose band and album names both stem from some really fairly droll wordplay.

The album was critically acclaimed, and Bon Iver became the biggest folk darling since Fleet Foxes, albeit without quite the same level of commercial success. His star has risen considerably since then by positive word of mouth and a bizarre collaboration with Kanye West, and he moves on to his eponymous sophomore effort with the burden of expectation upon him.

Some say that the second album is the most difficult one. From one angle there is the need to maintain the signature style that won over those key fans, and from the other there is the pressure to evolve and avoid accusations of staleness; few bands manage to break these rules and get away with it. Here Veron has managed to find the sweet spot in between these two contrasts.

Those who may have found his early work a little too low key and raw will appreciate Bon Iver’s new sound. Fuller instrumentalisation and lush soundscapes lend an extra panache to Vernon's rustic introspections. The result is something which sounds more sophisticated, yet still as subtly effecting as ever.

Lead single Calgary is the best example of how things have changed; a supremely polished throwback to late 80s new wave, shifting deftly between delicate acoustic lulling and some of the rockier guitar bits on the album. Similarly, opening track Perth takes a more fiery tone with clarion call and civil war style drums, contrasted against Vernon's lush vocals and reverb guitar harmonies.

Meanwhile, Towers stands as one of the traditionally folky songs, with clean picked guitar strums and classic progression before breaking away into a more fluid mid-section, backed by warm string overtures.

Minnesota, WI marks a change with its more groove-laden melodies meshed with dulcet banjo picks and soulful vocals. The name (as with one or two other songs) may spark some curiosity with an album full of tracks mostly named after real world locations, and here we have a strange mishmash of two states. It's actually strangely fitting for an album which fashions a rather dream-like state through its nearly indecipherable lyrics and distorted sound.

The one thing that all of these songs have in common is an almost infallible sense of good taste; there is rarely a bum note or a hackneyed refrain. Vernon shows marked restraint in the way he's crafted these songs, even the more adventurous ones. Often he resists the temptation to indulge in an extra flourish, or he'll build and build, only to play out the track in a sweet and satisfying manner. Indeed the album as a whole is a macrocosm of each carefully thought out bar that at just 10 tracks long, he ensures that it strikes a chord, but doesn't overstay its welcome.

Must Listen
Calgary

Minnesota, WI

Towers

Perth

"Duke Nukem Forever" Videogame Review

noreply@blogger.com (James) — Tue, 05 Jul 2011 23:00:00 +0000

Developed by 3D Realms, Gearbox Software
Published by 2K Games
Genre First Person Shooter
Platform PC, Xbox 360, PS3, Mac OSX

Well here’s a headline I never thought I’d see. After 14 long years the highly anticipated and much ridiculed continuation of the Duke Nukem series has arrived.

Not to dwell too much on the absurdity of the protracted production cycle that has become the stuff of comedians and journalistic scorn, but this really is one of those stories that falls into the category of “too ridiculous to be true”.

Originally due out before the turn of the millennium, 3D Realm’s obsession with the cutting edge led to repeated delays as the developer sought to shoehorn into the game the latest in first person shooter vogue. When Halo came out, they decided they needed regenerative health (which has since become the norm), when Half Life 2 came out, they decided to include physics puzzles and driving sections. Time and time again this game was torn up and reshaped the name of some misguided pursuit of perfection.

3D Realms were digging themselves into a hole. With an approach and time scale like this, not only would it have been impossible to ever live up to expectations, but with so many complete overhauls and updates, the chances of the end product being even vaguely cohesive or polished was pretty low. It had become pretty much assumed that this game would never see the light of day, and when Gearbox Software bought the IP and pledged to finally release the game this year, there were many who felt that it should have stayed that way.

To an extent these fears may have been well founded, but as it turns out, not as much as some would have you think.

Duke Nukem begins in a suitably bombastic style, with plenty of crude humour and pop culture references to go around, and it sets the tone straight away. Urination, fellatio, pot shots at various celebrities all mark the opening segment of the game, and for fans of the series, it’s pretty fun. However, once the shooting begins it becomes apparent at just how dated a product this really is. This game is really 14 years old and it’s noticeable. The graphics may have been brushed up a bit, but it’s all so rough around the edges, and the shooting mechanics themselves feel unrefined. Add to this a rather inelegant and undeveloped series of features from regenerative health to a clumsy interface and unnecessary driving sections which lead one to wonder if there’s much else here aside from the jokes. The only positive innovation to be found is Duke’s “ego” meter, which fills as the player engages in various Duke-like activities, and I’ll leave you to guess what they might be.

The crux of this criticism lies on the uneasy marriage between old school game play and the staples of modern shooters, and what makes it particularly strange is just how unnecessary a debate it is. Love him or hate him, the defining feature of Duke is that he is an anachronism, a remnant of 80s action genre films, complete with outdated sensibilities, arrogant swagger and witty, but often crude one-liners. This being the case, it is somewhat bizarre that the game would be so desperate to integrate modern features of video games which simply don’t fit, rather than embracing the archaic simplicity of its video game forebears as it does the cinematic.

Ultimately there’s too much time here spent trying to imitate more serious first person shooting games, entirely missing the point of what made Duke Nukem so great to begin with. The true character of Duke Nukem came from the ability to do humorous and fun things, unusual and often pointless though they may be. In Duke Nukem 3D one could use sinks and toilets to regain health, give dollar bills to strippers, use candy machines, ride roller coasters and generally interact with your environment in ways that were quite unique at the time. The environment was really a bigger attraction than the shooting game itself. Such an element is clearly not as special in this day and age as it was 20 years ago, but without it all you really have is a mediocre shooting game with some off colour jokes.

Loves:
Classic Duke silliness
Pop culture references

Hates:
Misses the point of Duke
Unpolished
Dated

Weekly Round up - 2nd July 2011

noreply@blogger.com (James) — Fri, 01 Jul 2011 23:00:00 +0000

song of the week: "Calgary" by "Bon Iver"

thing that makes me smile today: The start of Copa Aemerica!
pic of the day
IN:
Bon Iver
Roberto Di Matteo
Wii-U

OUT:
Mumford and Suns
Ray Wilkins
Wii