The Ephemeric

song of the week: "The Push" by "The Seedy Seeds"


thing that makes me smile today: Fifa 11 demo.

pic of the day
IN:
Fifa 11
127 Hours
Parallels

OUT:
Fifa 10
Slumdog Millionaire
Boot Camp

Genre Indie Psychedelic Pop,
Label Polyvinyl
Producer Kevin Barnes
Release Date September 14th



You never really know what you're going to get with Of Montreal. Their previous albums are laced with genius and catchy hooks, but overwhelmed by zaniness and almost too much creativity, if such a thing is possible. Their newest release False Priest continues in this fashion.

Most tracks on this album contain an element of brilliance, a great chorus or an infectiously catchy verse, but unfortunately it seems that these transient moments are surrounded by a whole lot of "weird for the sake of weird". For long time fans, this craziness might be what attracts you to the band, but for others I can see it being a major put off.

This is probably best exampled by Like a Tourist, a crazy, non sensical glam rock tune with a wonderfully euphoric chorus. Overall I find the song fairly irritating, but the chorus makes it worth listening to. Much of the rest of the album is equally hit or miss, and it often does not work.

When it does work though it's pretty excellent, and in general the production on this album is much tighter than their past work. One thing I would advise to those who listen to this album is do so with a good pair of headphones to take advantage of the full instrumentalisation. Janelle Monae collaboration Enemy Gene in particular is a real pop gem with a dreamy chorus and arguably the most satisfying tune on the album.

This is immediately followed by another good song in Hydra Fancies, an R&B tinged track which combines effectively with elements of classic rock and funk. Like most songs on this album, the lyrics are gloomier than the deliriously happy melodies would suggest.

Beyoncé's sister Solange lends her vocal talents to the infinitely danceable Sex Karma, a song which probably best sums up the band's penchant for the ridiculous. You may not want to, you may end up hating yourself for it, but this is one of those infectiously catchy pop numbers that simply won't leave your head.

These three tracks may be among the most over the top sugary, upbeat things I've heard all year, but they are undeniably some of the most catchy as well. Indeed this is where a band like Of Montreal succeeds, much in the same spirit as British popster Mika or the Scissor Sisters. If you don't mind taking in some innovative pop with a side of manic crazy then you'll probably enjoy some of this album. If grunge like Oasis is more your thing, then steer clear.


Must Listen
Enemy Gene


Hydra Fancies


Sex Karma

Genre Alternative pop-rock
Label Island, Vertigo
Producer Stuart Price, Daniel Lanois, Brendan O'Brien, Brandon Flowers
Release Date September 6th (UK), September 14th (US)



When the Killers announced in 2009 that they were going to take a well earned break after nearly six solid years of touring and recording, there was one person who was not ready to slow down just yet. Making music is what frontman Brandon Flowers lives for, and in the absence of his bandmates he is going solo with his debut LP Flamingo.

I'd like to begin by dispelling a few go-to clichés that lazy journalists are using to describe this album: 1) that this album is basically a new Killers album and sounds exactly the same, and 2) that this album is an "adventurous" and "experimental" body work from the notoriously audacious Flowers, who frequently laments the creative restraints his band places upon him.

Thematically Flamingo harkens back to the days of Sam's Town, The Killers' loving ode to their home town of Las Vegas. The lyrics here are awash with gambling terminology and old fashioned Americana, and musically speaking the Springsteen influences return along with a much more overt country music overtone; honestly there were times when this album sounded more like Conway Twitty than The Killers.

For sure there are one or two songs on this album that sound reminiscent of the Killers, which would be hard to avoid given Flowers' distinctive vocals, but in the end this album is just not as tight as a Killers album, it lacks the disciplined composition and production. It is sometimes suggested that the reason the Killers achieve such success is this dynamic where the band helps to restrain and focus Flowers' creative gifts, and this album is perhaps the ultimate proof of that. In the same way one could argue that this album is much more personal and introspective than anything the Killers have ever produced.

This is also a darker affair than what we're used to from The Killers and Flowers, and often guilty of taking itself far too seriously. Songs are inundated with religious imagery and overblown talk of redemption, while the music is often overproduced (or sometimes just badly produced) which I suppose is inevitable when you bring in so many different producers to pool their ideas into one album. Arguably, Flowers' best moments tend to come when he's being playful as with Hot Fuzz or Day & Age, and one has to wonder why he chose to go back to the same melodrama that earned Sam's Town such mixed reviews.

It is a testament to Brandon Flowers' considerable musical and vocal talents then that this album is not at all bad. I'll have to be honest and say that the first time I listened to the album I had difficulty picking out anything that was particularly noteworthy, but then I had a similar initial impression of the album's first single Crossfire, which later grew on me. So this time I made sure to listen to the album a few times over before forming a conclusion and it also grew on me a great deal. More so perhaps than with any other album I've listened to, this is a grower.

Once again, Flowers takes us on a tour of his hometown Las Vegas, with each song serving as a standalone memoir of life in and around Sin City.

The album opens in a typically bombastic fashion with Welcome to Fabulous Las Vegas. This song wastes no time in getting its American Mythic intentions out the door with swooning country guitars and Mojave-fried lyrics, while building up to the pomp and grandeur of the glittering lights of Las Vegas in increasingly sardonic tones.

The second track Only the Young is perhaps one of the best on the album, and really could have been a classic if not for some niggling annoyances with the production. Flowers piles layer upon layer of unnecessary vocal effects at every opportunity, and frankly the chorus can't help but sound slightly contrived. But beyond these issues lie haunting synths and one of Flowers' best vocal showings yet with some lovingly nuanced verses.

Hard Enough follows, a duet with Rilo Kiley's Jenny Lewis and the most sentimental track on the album. Spirited enough musically, but even longtime fans are likely to find the lyrics a little too saccharine. It's not a bad song, with pleasant verses and Lewis bringing something a little bit different to the mix, but ultimately this is one of the more forgettable songs on the album.

Jilted Lovers and Broken Hearts marks a return to Flowers' Springsteen tinged rock and arguably pulls it off better than any of his attempts on Sam's Town. Catchy verses and energetic chorus surge through dazzling city lights and casinos in the escapist frenzy of a broken hearted man. The drive and energy level marks this as a standout on an album which mostly aims for a less upbeat style.

Next we take things down a notch with Playing with Fire. A down tempo lounge beat and santana-esque guitars bring to mind images of a smokey bar in Vegas whilst religiously infused lyrics grow increasingly contemptuous in the face of sleaze and corruption.

Was it Something I said? Is one of the strangest songs on the album, with Flowers moving into full on Elvis-infused rockabilly. The result is something that sounds like a modern twist on Grease the musical. I suppose it's up to you whether that's a good thing or not.

The album takes a welcome turn into 80s style synth-pop with Magdalena, opening with a lush intro reminiscent of OMD which soon makes way for latin themed journey of redemption complete with castanets. Once again this lyrics of this song appear to be heavy in religion and morality. By this point I'm sure I'm not the only one who wishes Brandon would lay on his beliefs a little less thick and stick to ambiguous classics like "are we human or are we dancer". Can't fault the song musically though, similar in latin style to Happy Birthday Guadaloupe, but much much better.

Crossfire is a song that most people have probably heard by now, the first single released from this album a few months ago. A strange choice for the first single of Flowers' solo career as it's certainly not the strongest song on the album, but it's a fine number nonetheless with epic, ethereal piano and a rare sighting of guitar on this mostly synth album.

The penultimate track On the Floor is something of a misstep, moving into pure country music territory. The lyrics are the most heavily religious on the album, complete with gospel choir. I've seen a few reviewers identify this song as a highlight, but it's certainly not my cup of tea.

The album finishes on it's most playful note with Swallow It and the change in mood is most welcome. A serviceable if not particularly memorable pop song with fairly catchy verses.

Then of course there's the four bonus songs. The Clock Was Tickin' is pure country music once again, not something I really expected or wanted from this album.

Jacksonville is another victim of unfortunate editing, with a melody and vocals that could have made a great song if not for an annoyingly emphasised electronic bass on the chorus that drowns out and distracts from the prettier melody in the background. In general this song just sounds rough around the edges, effectively drowning in all the OTT sound effects that have been piled on. The song strangely morphs at the end of the second chorus, ditching all the droning effects and bringing in acoustic guitar, and frankly it sounds great. Another missed opportunity.

I Came Here to Get Over You is a decent rock song that really could have been included on the album, if only to break up the dreariness of much of what has been left. David Bowie influences aplenty, this song takes a few listens to grow on you, but it's definitely worth a listen.

Strangely, the final bonus song Right Behind You is probably the most interesting song on the album and one of its finest moments. This is more the kind of fresh, original idea we've come to expect from Flowers with a distinct vocoded chorus and another very hummable tune. Really this is a song that sets Flowers apart as a solo artist from the Killers and I find it very odd that it was left off the album.

Without a doubt Flamingo is a fine collection of "good" songs as one would expect, but I can't say there's anything on here that's actually "great". In terms of quality these songs hold their own against your average track from the Killers, but the album is definitely lacking that knockout blow from a Mr. Brightside or a Human. Without that, the album can't help but feel somewhat bland. Once these songs have been given time to sink in you'll fine that there is much to like about this album, but perhaps not much to love.


Must Listen
Only the Young (30 sec preview)


Jilted Lovers and Broken Hearts


Crossfire


Right Behind You

song of the week: "Black Sheep" by "Metric ft. Brie Larson"


thing that makes me smile today: My impending trip to Washington DC.

pic of the day
IN:
Returning to my blog
Washington DC
Scott Pilgrim

OUT:
Neglecting you while in Italy
London
Watchmen

Directed by Edgar Wright
Written by Edgar Wright, Bryan Lee O'Malley (comic)
Starring Michael Cera, Mary Elizabeth Winstead, Kieran Culkin
Release date(s) Out Now
Running time 112 minutes

Scott Pilgrim, an immature 23 year old slacker going nowhere in life, meets the girl of his dreams, Ramona Flowers. Now he must defeat her seven evil exes in order to be with the woman he loves.



The ambition of the original Scott Pilgrim comics has no lesser goal than to define a generation. This is the ADD generation where twenty-something males grow in a state of perpetual adolescence. Scott is a relatively ordinary youth if a bit sketchy, dating a high school girl named Knives Chau until something better comes along, completely self centred but still oddly lacking in self esteem. It's a mundane life, but through the videogame and pop culture infused mind of Scott Pilgrim it's a cataclysmic battle between good and evil where he sees himself as the white knight on the side of good.

Whether we are supposed to take these events literally as a fusion of the real world and videogame elements, or as the work of a juvenile fantasist is never really confirmed. Ultimately it doesn't matter, this is a commentary on the youth of today and the journey of growing up.

The first thing that most people are going notice when watching this film is the distinctive visual style. Indeed the visuals are dazzling, with comic-like special effects seamlessly integrated into the world. Sound waves pour out of musical instruments, batman like sound effects appear with each punch, videogame-like status indicators display vital statistics, and the effect is really quite unique. I don't think I have ever seen a film which so expertly merges live action with these unreal comic book and videogame elements, it truly does succeed at bringing the comic panels to life in a way that no other film has. I shudder to think about the inevitable imitations we will now see over the coming years.

In addition, the sound work is highly impressive, making use of some nostalgic videogame sound bytes. In a film where musical pop culture is as pervasive as videogame and comic book, it is fitting that the music for each of the three bands we encounter has been composed by big names from the industry. Scott Pilgrim's band Sex Bob-omb has none other than Beck writing their music, whereas Crash and the Boys has Broken Social Scene humorously breaking from their usual style. Meanwhile indie darlings Metric contribute their song Black Sheep to mega superstar band Clash at Demonhead.

The acting also deserves praise for the most part. While some of the minor characters stray unfortunately close to the Napoleon Dynamite school of teenage acting (ie. act badly and blandly because that's how teenagers sound), the casting is generally excellent.

Of course everyone's going to be talking about Michael Cera as Scott Pilgrim. He does ok with the role, although he's a bit weedier than one might expect Scott Pilgrim to be from the comics. In some scenes he is just too effeminately over the top, particularly with the running gag on Scott's hair. Otherwise his comic timing is excellent as usual, while it does falter somewhat due to the film's general pacing problems in some of the more rushed scenes like his first dream sequence, but that's not really his fault. It is also refreshing to see Cera leave his comfort zone with the various action scenes he is involved with, and he definitely kicks a fair amount of ass in these scenes.

Special note needs to be made for some of the evil exes. In particular Brandon Routh as the vegan-powered Todd, who provides some of the film's funnier moments, and above all Chris Evans as brilliantly funny action star Lucas Lee who really does steal the show for his few scenes. It is a testament to the quality of acting among even many of the minor roles that such a sense of character can be conveyed through only the few lines they are afforded.

However, the star performers in this film are Mary Elizabeth Winstead and Kieran Culkin. Winstead as Ramona has an intangible quality about her that seems to simply dominate proceedings when she's on screen, as well as the most bizarrely anime-like eyes I have seen on a live action actor, which helps her match up to how her character is drawn in the comics. Meanwhile Culkin takes the best character from the books, Scott's witty and self assured gay roommate Wallace, and turns him into the best character in the film in what is possibly a breakthrough role for him.

Of course you are always going to have problems adapting a comic book series to a film. For starters the surreal nature of comics generally doesn't translate well to the big screen and Indeed, some scenes work better than others. For example Matthew Patel's fight with Scott is a bit too over the top, complete with a Bollywood musical number and dancing demon hipster chicks. I didn't need to see that.

More crucially though, you're condensing six decent length books into a film that's under two hours long. Inevitably this means you're going to have pacing problems, as well as story elements and character depth cut out in order to fit. Unfortunately in this case the result is something of a mess.

Now I don't envy the job that director Edgar Wright (Shaun of the Dead, Hot Fuzz) had on his plate; given the running time, it seems likely that studio execs told Wright to keep the film under 2 hours in order to appeal to their target demographic and to maximise potential cinema revenue. This means they need to get through one out of the six comic books in just twenty minutes each. As you would expect then quite a bit of the background story and narrative meat has been removed with the hope that this would allow Wright to flesh out what remains.

The problem is that even this wasn't enough, and the scenes that are left in the film still feel incredibly rushed, condensed and cut into a sequence of quick-fire events that simply don't allow the audience to gain any appreciation of what they're watching. In any good story, you need a certain amount of time to dwell on the key plot points and revelations, and time to get to know the characters and become emotionally invested. This film takes no time to do any of this, and sprints through scenes like there's a time limit (fitting for a videogame movie perhaps), haphazardly introducing new characters and relationships and then moving onto the next bit. It doesn't help that the script itself is not as sharp as the source material, and indeed the best lines are taken straight from the comics.

For what is essentially a love story, there is no great romantic scene between Scott and Ramona. Any time anything even vaguely emotional or profound takes place it's over in about three seconds, notably toward the end where Knives has her moment of enlightenment complete with the sublime Broken Social Scene song Anthems for a Seventeen Year old Girl. This scene lasts four seconds before unceremoniously cutting to the next. Sadly, this almost dizzying manner of storytelling is entirely typical of the film in general, which constantly feels like it's rushing to the finish line.

But in fairness when you consider what Wright had to work with, he has generally done a good job of whittling down the content to the key plot points and streamlining them so that the film as a whole does not suffer from everything else that has been cut. I would even say that there are certain parts of the story where Wright has improved upon the comics, particularly with the ending.

The final book involved a rather confusing and, once again, over the top battle between Scott and various forms of his nemesis Gideon, much of which went over my head. The film makes this a much simpler affair, while still maintaining some of the more humorous, and indeed the more profound moments from this climax. In fact the coming of age moral of the story is actually more focused here than in the comic books, with a very clear resolution. This ends things on a very satisfying note that, for all the frustrations I have with the pacing of this movie, had me leaving the cinema with a positive impression.

Ultimately Scott Pilgrim vs. the World is a remarkable technical achievement, visually revolutionary and aurally sublime, and the acting is mostly good with some great laughs. Unfortunately, the pacing and structure of the film is off and the result is a messy affair. This film could have benefitted from an extra half hour with which to take its time over some of the more important scenes, but that doesn't stop it from being an enjoyable 2 hours.


Loves:
Visually stunning
Great audio production

Hates:
Poor pacing and structure
Skims through the books

Developed by Ubisoft Montreal
Published by Ubisoft, Universal Studios
Genre Beat 'em up, RPG
Platform Xbox Live Arcade, Playstation Network
Release date(s) August 25th 2010

One could be forgiven for thinking that Bryan Lee O'Malley has sold out, with his critically acclaimed comic book series Scott Pilgrim being adapted this month into both a big budget Hollywood film and a licensed videogame by Ubisoft, a company with a history of crappy licensed games. Comic book adaptions and licensed videogames are usually terrible, it's one of life's most painfully consistent truths. Fortunately, any fears I may have had were dispelled after roughly five seconds of starting up this game.



For those who don't know, the Scott Pilgrim comics are essentially the I Ching of mid twenties slackers. Scott Pilgrim is a archetypal twenty something male; plays bass in a band, unemployed, never quite grew out of college, skeezy enough to be dating a 17 year old and going nowhere fast.

To most people it's a mundane existence, but in the melodramatic frame of Pilgrim's pop culture and videogame obsessed mind it's a cataclysmic battle between good and evil. Every inch of this world is interpreted for us in this context through his eyes; objects and activities are intermittently given videogame style status indicators, daily life is a collection of statistics and levelling up, and conflict is resolved through over the top anime/street fighter styled combat. Scott Pilgrim meets the girl of his dreams, literally, and in order to be with her he must defeat her seven evil exes.

Videogame culture permeates everything about this series, so it makes perfect sense that the videogame adaption should be a retro throwback celebrating the 8/16-bit era complete with stylized graphics (from legendary pixel artist Paul Robertson), classic gameplay, and above all nostalgic music (from legendary chiptune band Anamanaguchi).

The graphics really are quite fantastic for anyone who is a fan of that old school style, but doesn't feel archaic, with enough flash and style to compare favourably to any game on XBLA. While I adored the style from the first moment I started the game up, I can imagine that this might not be the case for anyone who was not a gamer back in the early 90s, or is not especially enamoured with the old schol style.

The music as well deserves special note for being mind meltingly awesome. Anamanaguchi is known as the biggest name in chiptune music and you can see why from playing this game. Each track of the soundtrack is perfect; nostalgic and fitting for each specific setting. It really is almost worth the price of the game for this reason alone.

The gameplay meanwhile harkens back to classic streets of rage style 2d scrolling beat 'em ups, with stat building RPG elements and stores in which to spend all the coins you pick up from fallen enemies. I've spoken a lot about the style of the game, but Ubisoft have done a very good job at creating some fun gameplay, simple enough to get into but with different moves and plenty to keep you playing for a while.

Unfortunately, the game design itself is somewhat ill considered. Clearly this game is designed to be played with multiplayer, and indeed there is fantastic 4 player co-op in this game. Hoever, playing solo can be a frustrating and repetitive affair due to the difficulty which is balanced towards 4 players, requiring a solo gamer to grind and level up. In addition, there is inexplicably no online mode present, nor is there the option for extra players to drop in and out during gameplay.

In addition, Scott Pilgrim recreates many of the limitations of games from this era. Controls and collision detection feels a bit rough around the edges, while depth perception can be frustrating, particularly on one level which takes place on the roof of a bus where moving too close to the edges results in falling off.

If you have a couple of friends to play with, or the persistence to get through it on your own, then I fully recommend this game. Even if you have neither of those things, it's worth checking out just to play a few levels and absorb the geek chic awesomeness (at 800 microsoft pts, it's not especially pricey).


Loves:
Old school graphics
Old school music
Addictive multiplayer

Hates:
Frustrating solo gameplay
Lack of multiplayer options

It doesn't seem like too long ago that the world was enraptured by the great carnival of football that is the World Cup. As such the new season has somewhat snuck up on us and believe it or not there are just 9 days until everything kicks off again.

Last year Carlo Ancelotti made history by becoming the first manager ever to win the league and FA Cup double in his first season, silencing his many critics in the process. Meanwhile Arsenal surprised many by challenging with the big boys and showing that you don't need a sugar daddy to compete; though if Manchester City have anything to say about it, it will certainly help.

It promises to be an exciting year at the other end of the table too, with new boys Blackpool are still hungover from celebrating their first ever year in the Premier League. Meanwhile, old stalwarts Newcastle are back at the top level after just one year in the wilderness.

At the time of writing, there have been astonishingly few major signings to speak of, and with time running out the pressure is very much on.

In this guide we preview each and every team, run the rule over their key signings and players to watch and then fill you in on our carefully considered predictions for the season ahead.




ARSENAL

Nickname: The Gunners
Ground: Emirates Stadium
Capacity: 60,000
Position last season: 3rd
Manager: Arsene Wenger (September 1996)

Arsenal are always an interesting team to watch; you're never quite sure with them if you're going to get champagne or bucks fizz.

For a number of years now they have not really been competing with the top teams for the title, but last year suddenly they found themselves in with a shout right up until the death. Undoubtedly, much of this has to do with the quite surprisingly poor performance of both Chelsea and Manchester United as well as heavy injuries both sides incurred, but a great deal of credit must go to Arsene Wenger. Wenger continues to impress on a shoestring budget as Arsenal continue to pay off stadium debts, and only a few world class talents to work with.

Have signed the centre forward they so desperately needed, but Arsenal's defence remains a very real concern with the likes of Gallas leaving and only the untested Koscielny brought in as replacement. Considering their defence wasn't much to be proud of before, this is a big concern. The lack of of a quality goalkeeper also led to problems last season, and as of yet nothing has been done to remedy this.

Key Signing: Marouane Chamakh
Key Man: Cesc Fabregas
If they were a Hollywood movie: Red Dawn; a group of ragtag youngsters take the fight to the all powerful Russian(s).

Verdict: Will be relying on poor form and/or injuries from their more illustrious rivals, but if last season is anything to go by and their opposition players' age begins to catch up with them then anything could happen. Their best chance to win the title in years.


ASTON VILLA

Nickname: The Villans
Ground: Villa Park
Capacity: 42,593
Last season: 6th
Manager: Martin O'Neill (August 2006)

One has to give a lot of credit to Aston Villa, who continue to play good football and cause headaches for the big boys (albeit inconsistently). Martin O'Neill has turned them into a really top side, built around one of the league's strongest defences and most experienced goalkeepers. They are additionally blessed with pacey, young attacking talent that can trouble even the biggest names on a good day, as Man United found out last year.

But just as Villa were once considered to be gaining on the big four, the rest of the top eight now seem to be gaining on them. Spurs and City overtook them last year, Liverpool will be keen to bounce back from last year, and Everton are quietly growing in strength under David Moyes.

Have yet to strengthen the side, and with rumours suggesting that star player James Milner is set to leave to Man City there is the feeling that this could be a much tougher season for the plucky side.

Key Signing: None yet.
Key Man: James Milner (if he stays)
If they were a Hollywood movie: You've Got Mail; likable independent gets screwed over by "the man", ends up in bed with the enemy.

Verdict: Could be a step backwards after a number of good years for the club.


BIRMINGHAM

Nickname: Blues
Ground: St. Andrew's
Capacity: 30,009
Last season: 9th
Manager: Alex McLeish (November 2007)

Definitely the surprise package of last season, McLeish's Birmingham achieved a very impressive run of games that took them into the top half of the league in their first season back in the Premier League, just one place behind the so called big eight. Much of this can be attributed to a formidable defence featuring Roger Johnson, Stephen Carr and Joe Hart in goal.

But now Hart has gone back to Man City, and ex Man United goalkeeper Ben Foster has been brought in on a permanent deal to replace him. Foster was once a hotly tipped property before he collapsed at United, and his resurgence in form will be vital for any hopes Birmingham have of repeating their top half success this season.

Elsewhere, Crouch-esque Valencia striker Nikola Zigic has been signed and pundits will be anxious to see if he lives up to billing. If Birmingham have finally found themselves a consistent striker then this will be a marvellous deal for the club.

Key Signing: Nikola Zigic
Key Man: Stephen Carr
If they were a Hollywood movie: Braveheart; the Scotsman leads his hardened warriors with vim and vigour, but it may not be enough.

Verdict: Unlikely to repeat last season's heroics, but should be safely in mid table.


BLACKBURN ROVERS

Nickname: Rovers
Ground: Ewood Park
Capacity: 31,367
Last season: 10th
Manager: Sam Allardyce (December 2008)

Allardyce rarely disappoints, and his tenure at Blackburn is proving to be no exception.

Last season we got the first look at the tough, miserly, and distinctly "Allardyce" team that is being crafted and Blackburn, and Ewood park became one of the most feared grounds in the country to play at towards the end. Might even have done better had David Dunn managed to remain fit for any reasonable period of time.

Rumoured to be looking for another striker, with Dindane, Beattie and Jo the likely targets. As yet no signings though.

Key Signing: None yet.
Key Man: David Dunn
If they were a Hollywood movie: Fight Club; always cruisin' for a bruisin'.

Verdict: A top half finish by no means certain, but unlikely to move much from where they finished last season.


BLACKPOOL

Nickname: Seasiders
Ground: Bloomfield Road
Capacity: 12,555
Last season: Promoted (playoffs)
Manager: Ian Holloway (May 2009)

At long last, Ian Holloway has made it into the Premier League. Consistently one of the most quotable managers in the game, he is sure to liven things up for all of us. Unfortunately his stay in this division may be short lived.

Blackpool finished in the lowest possible position from which one can qualify, 6th, and then won promotion through unlikely circumstances in the playoffs.

In addition to a tough away game filled start to the season as a result of ground work, there is reported disharmony amongst the team. Player antipathy towards the chairman, and a poor financial situation that has seen players stripped of their bonuses leaves the team in some dire straits during a time in which they really have to pull together in order to have any chance of survival.

Key Signing: None yet.
Key Man: Jason Euell
If they were a Hollywood movie: 300; so much heart, but you know they're going to die before the movie even begins.

Verdict: Likely to go back down.


BOLTON WANDERERS

Nickname: Trotters
Ground: Reebok Stadium
Capacity: 27,879
Last season: 14th
Manager: Owen Coyle (January 2010)

Looked to be heading down last season until appointing Burnley's miracle working manager Owen Coyle at the helm, and it's no coincidence that Burnley promptly became the third team to get relegated.

This first full season at the Reebok will be all about getting the team to play his style of football and preparing a base on which to build for the future, but make no mistake, in Coyle they have the right man for the job.

Some decent signings so far, including Robbie Blake, Ivan Klasnic, and most notable Martin Petrov. Must avoid relegation this season, far from certain but should pull it off.

Key Signing: Martin Petrov
Key Man: Kevin Davies
If they were a Hollywood movie: Dirty Dozen; he's the right man for the job, but can he assemble a team to get the job done?

Verdict: Priority will be to stay up, but Coyle should manage.


CHELSEA

Nickname: Blues
Ground: Stamford Bridge
Capacity: 42,449
Last season: Champions
Manager: Carlo Ancelotti (June 2009)

Ancelotti came to the club with a lot of pressure, and a good deal of doubt amongst the fans. Indeed, following the incredible success he saw in his first season (winning the club's first ever league and FA Cup double) it is easy to forget that this was very much a touch and go season characterised by inconsistency. Chelsea may have set goal scoring records and won almost every player award available, but it was hardly them at their best.

In addition the team is now getting older, with key players Drogba, Lampard and Terry moving into their 30s. Ideally the club would be able to rely on younger players like Cech, Essien and Alex, if not for the bizarrely injury prone nature of their squad which saw them play a larger number of different players than any other team last season. A few fairly prominent players have even left the club, with Ballack, Deco both leaving and Carvalho potentially to follow.

As of yet the club has not strengthened the team much at all, with just Benayoun in at the time of writing, and Ramires due to be confirmed any day now. With the weakness of this squad, plus the lack of signings, it is obvious that Chelsea will be relying more and more on their youth players who made a fair few appearances last season and will now be looking to break into the first team.

Key Signing: Ramires
Key Man: Frank Lampard
If they were a Hollywood movie: Titanic; expensive, hyped, depressing.

Verdict: Though most pundits are lazily tipping them for the title, I can't really see it happening unless there are a number of signings between now and September 1st, or if players like Essien, Cech, Ashley Cole and Drogba can stay uncharacteristically injury free. A chance for youth to shine, but unlikely to be ready just yet.


EVERTON

Nickname: Toffees
Ground: Goodison Park
Capacity: 40,170
Last season: 8th
Manager: David Moyes (March 2002)

David Moyes has always impressed at Everton, consistently placing among the fringes of the top tier of the league despite a dearth of quality and resources. However in recent years with all the influx of money into Aston Villa, Man City and Spurs they are finding it increasingly difficult to maintain pace, and this looks unlikely to change this year.

So far have only signed a few young prospects, nothing really to strengthen the squad majorly aside from some extra depth up front. The inability to bring Landon Donovan back in is a blow, but this team still has a highly talented midfield featuring the likes of Tim Cahill, Steven Pienaar, Jack Rodwell and Mikel Arteta which can cause any team problems on their day.

Key Signing: Jermaine Beckford
Key Man: Tim Cahill
If they were a Hollywood movie: Mission Impossible; undeniably talented, well organised, but face a near impossible task.

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


FULHAM
Latest club news

Nickname: Cottagers
Ground: Craven Cottage
Capacity: 26,000
Last season: 12th
Manager: Mark Hughes (July 2010)

Roy Hodgson has done an amazing job to turn Fulham around into a comfortable Premiership team, a feat which culminated last season in a Europa League final place that they damn near won. But now he's off to Liverpool, and frankly one might expect the worst at Fulham in his absence.

They've found themselves a capable replacement in Mark Hughes, but he will have little time to adapt the team to his style of management in a league like this. Have strengthened reasonable well with Philippe Senderos and Jonathan Greening but could do with more strength up front along with Bobby Zamora.

Key Signing: Philippe Senderos
Key Man: Bobby Zamora
If they were a Hollywood movie: The Fountain; following the loss of central pillar Brad Pitt from the project, a risky replacement must be called in. Let's hope Mark Hughes steps up to the challenge better than Hugh Jackman did.

Verdict: Strong enough to stay up, but unlikely to match up to the accomplishments of Hodgson, right away at least.


LIVERPOOL

Nickname: Reds
Ground: Anfield
Capacity: 45,362
Last season: 7th
Manager: Roy Hodgson (July 2010)

Liverpool are a funny team, and a lot of people took pleasure in their disastrous season last year. But the fact is that Liverpool are better than that. Perhaps they need a fresh take from a new manager (and Hodgson is more than qualified for the challenge), or perhaps they simply need star players who don't get injured as often as Torres. But for whatever reason, they should do better than they did last year.

That being said, their squad still lacks depth. While they have made some 'interesting' additions to the squad, it's nothing that will make up for another major injury to Fernando Torres. On the plus side, they can be thankful that both Torres and Gerrard appear to be resisting overtures to move on to pastures greener.

Key Signing: Joe Cole
Key Man: Fernando Torres
If they were a Hollywood movie: Animal House; languishing in squalor and mediocrity, seeking an infusion of new blood to become relevant

Verdict: Should improve, but unlikely to reach their former heights.


MANCHESTER CITY

Nickname: Blues
Ground: City of Manchester Stadium
Capacity: 48,000
Last season: 5th
Manager: Roberto Mancini (December 2009)

After coming within a hair of Champions League qualification last season, they begin this year not just with an eye to going one better, but going the whole hog and challenging for the title.

Have strengthened their squad on a scale that exceeds even Chelsea back in their big spending heyday, and certainly eclipses any of the big teams this season. Their shaky defence has been bolstered by Boateng and Kolarov, whilst they have added yet more depth to their attacking talent with David Silva, and the box to box midfielder Yaya Touré.

Still questions remain over the manager Roberto Mancini, and the defensive partnership of Kolo Touré and Joleon Lescott which right now doesn't even come close to justifying the combined price tage in excess of 40 million pounds spent on those two players.

Key Signing: Yaya Touré
Key Man: Carlos Tevez
If they were a Hollywood movie: Ocean's 12; expensively assembled team of big name stars, but lacking in new ideas or a coherent plot

Verdict: If the team can gel quickly, there is no reason they can't challenge for the title, especially considering how weak the other big teams look this year.


MANCHESTER UNITED

Nickname: Red Devils
Ground: Old Trafford
Capacity: 76,000
Last season: 2nd
Manager: Sir Alex Ferguson (November 1986)

Last season was one to forget for Manchester United. Wayne Rooney had a fantastic year, but apare from him their squad looked very mediocre, slow and still far too reliant on ageing stars like Giggs and Scholes.

This season could be Sir Alex's last, and he has sought to address these problems, bringing in the likes of Javier Hernández, who looks a talent. Rio Ferdinand's recent injury problems are also a concern as they head into the new season.

Aside from Rio, however, their squad appears to be more durable and less injury prone than the likes of Chelsea and Arsenal, and over the course of a long season this could be crucial. Expect them to be there or there abouts whatever happens.

Key Signing: Javier Hernández
Key Man: Wayne Rooney
If they were a Hollywood movie: Rocky Balboa; not as fresh or as good as they once were, but can still hold their own against the best. One last big push for glory before retirement.

Verdict: The top few clubs are very hard to separate this season, but the combination of wily management, talented players and luck should see them finish the year as champions.


NEWCASTLE UNITED

Nickname: Magpies
Ground: St. James' Park
Capacity: 52,387
Last season: Promoted (1st)
Manager: Chris Hughton (September 2008)

It didn't take long for Newcastle to bounce back to the Premier League. A team clearly too good for the Championship, now they must contend once again with the challenges of the top flight.

Chris Hughton has done a remarkable job stabilising a club in freefall, something which all the big names and expensive signings who came before him could not do. Now he must take on the next step, which is turning them back into Premier League mainstays.

Won't return to the Newcastle of old overnight, but it's hard to see them going back down.

Key Signing: Dan Gosling
Key Man: Kevin Nolan
If they were a Hollywood movie: The Comeback Kid; self explanatory really.

Verdict: Should have enough about them to stay up fairly comfortably.


STOKE

Nickname: Potters
Ground: Britannia Stadium
Capacity: 28,384
Last season: 11th
Manager: Tony Pulis (June 2006)

Had a very good season last year, collecting a number of big scalps. Much of this success was built on a strong defence featuring the likes of Sorensen in goal and Shawcross at the heart of the back line.

Lack of funds for investment will make their task all the more difficult this season and the club could well slip down from last season.

Still have the throw ins of Rory Delap to rely on.

Key Signing: Carlo Nash
Key Man: Rory Delap
If they were a Hollywood movie: Happy Gilmore; a fairly poor star player with one incredible trick that can often win games

Verdict: Unlikely to live up to the heights of last season.


SUNDERLAND

Nickname: Black Cats
Ground: Stadium of Light
Capacity: 48,300
Last season: 13th
Manager: Steve Bruce (June 2009)

Last year was better from them, Steve Bruce knows how to run a club. I expect them to continue to put in similarly solid performances without really pushing for a top half finish.

You know you have problems when your star signing in the summer is Titus Bramble, an ex player for your biggest rivals no less.

Darren Bent, it seems, keeps getting better and better and his goal haul every season is really something to admire. He will be central to any success they have this season.

Key Signing: Titus Bramble
Key Man: Darren Bent
If they were a Hollywood movie: Bowfinger; fairly irrelevant, making a stab for glory featuring the kid brother of a world beater (Anton Ferdinand).

Verdict: More slow improvement under Bruce.


TOTTENHAM HOTSPUR
Latest club news

Nickname: Spurs
Ground: White Hart Lane
Capacity: 36,236
Last season: 4th
Manager: Harry Redknapp (October 2008)

Harry does it again. Another top year for the man from London saw Spurs finally reach their goal of Champions League qualification, claiming some major scalps along the way with some great performances.

Repeating the feat this season will be tough with Man City breathing down their necks and Liverpool looking to get back into the big leagues, but they've got as good a squad and as good a manager as anyone.

Injury prone key players are a concern, and so far youngster Sandro is the only reinforcement made by the club this season. A deadly group of Gareth Bale, Jermain Defoe, Michael Dawson and Aaron Lennon form the British core of this team.

Key Signing: Sandro
Key Man: Gareth Bale
If they were a Hollywood movie: Love Actually; great British cast, pleasing to watch, ultimately lacking in substance or significance.

Verdict: Key thing is to stay among the top 4 and keep getting into the Champions League, that may prove too much for them.


WEST BROMWICH ALBION
Latest club news

Nickname: Baggies
Ground: The Hawthorns
Capacity: 26,500
Last season: Promoted (2nd)
Manager: Roberto DiMatteo (July 2009)

Promotion at the first attempt is a highly impressive start to Roberto DiMatteo's tenure at West Brom, but will face a far greater challenge to keep them up.

To reach this end, the club has strengthened well, adding Nicky Shorey, Boaz Myhill and Steven Reid to the squad, among others. But otherwise the squad looks pretty think in quality for a Premier League team.

Key Signing: Nicky Shorey
Key Man: Scott Carson
If they were a Hollywood movie: The Road; sometimes survival is the best one can hope for.

Verdict: Will struggle to stay up, likely to be involved in the relegation battle.


WEST HAM UNITED

Nickname: Hammers
Ground: Upton Park
Capacity: 35,056
Last season: 17th
Manager: Avram Grant (June 2010)

Survived last season by the skin of their teeth, largely due to the off the pitch disruptions caused by new owners. Naturally the manager got the blame and Zola was promptly sacked.

Avram Grant's stock has really come up in recent years following his bizarre stint at Chelsea and he is the man to take the reins for this season. He has his work cut out for him and has wasted no time in signing new players, including Hitzlsperger, Piquionne and Tal Ben-Haim, whilst strangely releasing Guillermo Franco for free after a strong World Cup.

Personally I can't wait to see arch rivals Chelsea and West Ham go to head this season, with Avram desperate to attain some victory against his old club who so unceremoniously ditched him.

Key Signing: Thomas Hitzlsperger
Key Man: Scott Parker
If they were a Hollywood movie: Are Wer There Yet?; constantly promising a future of great things, but always slipping back into familiar trappings.

Verdict: Should stay up, possibly pushing higher into midtable.


WIGAN ATHLETIC

Nickname: Latics
Ground: JJB Stadium
Capacity: 25,000
Last season: 16th
Manager: Roberto Martinez (June 2009)

Just about survived last season despite two record breaking defeats, 8-0 to Chelsea and 9-1 to Tottenham. That being said they also beat Chelsea in the reverse fixture along with Arsenal, so clearly this is a club where achieving some consistency will be key this season.

The team has strengthened, but it's also lost a few important players. Alarm bells should be ringing for any team that concedes more than 8 goals twice in one season, and I wonder if they've really been heeded here. Almost certain to be involved in the relegation battle, despite the goals of Hugo Rodallega.

Key Signing: Ronnie Stam
Key Man: Hugo Rodallega
If they were a Hollywood movie: 2012; a disaster waiting to happen in every sense.

Verdict: Will struggle to stay up.


WOLVERHAMPTON WANDERERS

Nickname: Wolves
Ground: Molineux Stadium
Capacity: 28,525
Last season: 15th
Manager: Mick McCarthy (July 2006)

Mick McCarthy, as expected, did a fantastic job with them last season and kept them in the top flight. Now it is time to consolidate the club's position in the first set of consecutive top flight seasons since the 1980s.

Hunt, Fletcher and Van Damme are all very good signings, and every indication is that McCarthy is preparing them well for the year ahead. However, there is always the danger of them suffering from the common affliction of second-season-itis.

Key Signing: Steven Fletcher
Key Man: Kevin Doyle
If they were a Hollywood movie: Dog soldiers; wolves are on the prowl, and just like the werewolf outbreak in the movie only gets minor headlines compared to bigger football news, the club's notoriety is likely to stay similarly shadowed.

Verdict: McCarthy will give it his best, but will it be enough?


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

song of the week: "Sprawl II (Mountains Beyond Mountains)" by "Arcade Fire"


thing that makes me smile today: Left 4 Dead 2.

pic of the day
IN:
Left 4 Dead 2
Chivas
Suburbs

OUT:
Left 4 Dead
Man United
Neon Bible

Directed by Thea Sharrock
Written by Terence Rattigan
Starring Benedict Cumberbatch
Theatre Lyttleton Theatre, National Theatre



Rattigan's "lost" play After the Dance spent decades languishing in obscurity until its rediscovery in the 1990s on a BBC2 production, when it became notable for being a lost play that was actually worthy of its author's reputation.

Critics often attribute the play's lackluster original run in 1939 to its darkness, providing an unwelcome reminder of the approaching global conflict. This quite poignantly mirrors the plot of the play itself, portraying a group of Mayfair hedonists who subscribe to a life of perpetual intoxication in order to blot out the looming prospect war as well as less tolerable aspects of their own lives.

One such escapist is David Scott-Fowler, who maintains a stiff upper lip in spite of all his inner conflict and unfulfilled ambitions, even as he slowly drinks himself to death. Without giving too much away David falls in love with his younger cousin's fiance Helen, who breaks down his practiced exterior with a rare spotlight of unfettered truth. David's thoughts stray from his wife of 12 years when Helen offers him something he never even imagined possible, a second chance. But is it really a second chance, or just a new fantasy?

It seems amazing to me that this play remained hidden for as long as it did, and it provides a fascinating portrayal of this unique period in time between the wars. Rattigan disturbingly captures the dark mood of the era, so much so in fact that hit too close to home for his audience.

The acting in this play is top notch in every role. Benedict Cumberbatch is having a very good summer in the wake of his recently debuted hit TV show Sherlock, but as enjoyable as that show was I never expected him to be this good an actor. His portrayal of David seamlessly conveys both the charm of his surface bravado and the tortured empty shell beneath.

High marks also go to Nancy Carroll as David's emotionally repressed wife Joan, a seemingly jolly lush who bottles up the extent of her real feelings for her husband. Joan's tale is at times heartbreaking as realization, and inevitably regret, sets in and the cracks begin to form in her facade. Carroll does a remarkable job of conveying her character's pain through very little action at all, in contrast to the flamboyance of her regular expression.

But the most praise has to go to Adrian Scarborough as John, a leeching wastrel who lives on David's couch and sustains himself seemingly exclusively on alcohol. Scarborough serves here as a dynamo in every scene he is in, energetic and funny while slowly revealing a deep touching and touching sense of morality and insight. In classic theatrical style, the court jester is usually the wisest of all characters.

Indeed there's very little wrong with the production at all, from the beautiful set design to the astute lighting work. But one can't help but wonder when it comes to the message that Rattigan tried to convey. At times sympathetic towards these fantasists and at other times contemptuous, the play feels riddled with indecisiveness. Clearly the narrative leans more towards the latter, but then presents the realists as less than endearing. Rattigan condemns the wastrels, but does not give us an alternative. Perhaps this absence is entirely the point.

Genre Indie rock
Label Merge
Producer Markus Dravs
Release Date August 2nd



Some bands struggle with the burden of expectation after a successful debut album; some withdraw, produce underwhelming followups, and some don't even try. Then there's Arcade Fire who followed up their massively acclaimed debut Funeral with Neon Bible, which was an even bigger commercial success, if not as warmly received by the critics. Their latest offering dials down the ambitious larger than life undertones from their earlier work in favour of more grounded and emotionally resonant meaning. Read on for our review of The Suburbs.

Arcade Fire are known for being one of the most creative and undeniably talented bands around; the band plays 13 instruments between them and dabbles in many genres and styles. But I'm going to be honest here for a minute and say that although I liked both their first two albums when experienced as a whole, there were only a couple of songs that I would describe as great in their own right. I would also say that previously I was not such a fan of Régine Chassagne's vocal stylings, and preferred the songs where husband/frontman Win Butler took the lead. After listening to the first EP released from this album featuring the decent but underwhelming title track and an instantly forgettable b-side, I can't say I was especially optimistic for this one.

Well the band have done something that doesn't happen very often and convinced me to take back all those criticisms I may have had. Their third album The Suburbs is their best work yet with a number of very good songs that range in style from the familiar to the completely different.

As the name implies, this album is an ode to the middle class grind. Now this is hardly a groundbreaking concept, but few bands have managed to hit the nail so cleanly on the head. Not since Springsteen has an album so finely captured the angst and frustration of mediocrity, of untapped potential and repressed emotion, and the ever present need to simply escape.

This feeling of ennui is embodied by the eponymous opening track The Suburbs, a song full of desperation and jangly pianos. The album takes an introspective turn next with Ready to Start, a song awash with cynicism and contempt for the weight of expectation (something Arcade Fire know all too much about).

One of the best songs on the album, Modern Man, completes the strong start to the album. This song takes the energy level down a notch and achieves something that Arcade Fire have never been particularly fond for in the past, understatement. Sounding more like a lost Tom Petty single, Modern Man combines gentle folk-rock with a seething angsty undertone which only intermittently pokes it's head out to breath.

The album drops in quality somewhat through the middle of the album with songs that are decent but mostly non noteworthy. That being said, Half Light II, Wasted Hours, and Deep Blue are all worth a listen. Fortunately things pick up towards the end again in a big way with We Used to Wait. This is classic Arcade Fire, dark and brooding, full of complex melodies and staccato chords.

Up until this point the Suburbs has been quietly building. We've been taken on a tour of a world full of pent up frustration, crushed dreams and repressed longing, a world where the yearning for escape keeps simmering and bubbling until it simply can't take anymore. The penultimate song on the album, Sprawl II, is the big release. An explosive and brilliant track, Sprawl II carries a strong 1980s Blondie vibe and takes Chassagne's vocals to a level of excellence I never thought possible. This is an absolutely perfectly pitched climax for the thematic undercurrents pervasive throughout this album, and arguably the best song of the bunch.

If I have one major criticism with this album it's that it's too long. While there are a number of good songs, there is also a lot of filler. At a time when most bands these days have opted to release their albums at around 10 or 11 songs long, cutting out the chaff, one wonders if they couldn't have streamlined experience by removing a few of the less notable tracks, as indeed they did with their first two albums.

Overall, this is perhaps the best Arcade Fire album yet, with as many good songs as the first two albums had put together, and songs which rank up there with previous classics like Rebellion and Wake up.


Must Listen
Sprawl II


Modern Man


We Used to Wait

Directed by Christopher Nolan
Written by Christopher Nolan
Starring Leonardo DiCaprio, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page
Release date(s) Out Now
Running time 148 minutes

Christopher Nolan is one of the hottest names in cinema right now following his reinvention of the Batman franchise, a hype which has reached fever pitch in the wake of the Oscar winning The Dark Knight. This summer he intends to conquer Hollywood again with his most ambitious project to date, Inception.



I have been waiting for this one for a long time, ever since I first heard about it at around the time that the Dark Knight hit the cinemas. But for writer/director Chris Nolan the wait has been far longer, apparently 10 years in the making. What began as a random musing for Nolan while filming underrated classic Memento has blossomed into what is easily the must see film of summer 2010, and after his recent success the anticipation is great.

In the run up to this film's release I had been actively trying to avoid information about the plot. So if you follow a similar practice then skip past this paragraph, where I will be detailing the story and concept. Nolan crafts for us a world where dreams can be picked like any safe and secrets stolen from within, and the battleground for corporate warfare has shifted into the realm of the mind. Dom Cobb (DiCaprio) plays one such "extractor", a man with a deceptively complicated past much like the role DiCaprio played in Shutter Island earlier this year. Cobb and his team are hired to pull off something that's never been done before (or has it?), planting an idea into someone's mind.

Now I have to admit, after the first 15 minutes or so I was worried. The opening scenes felt very weak to me, lacking in heart and throwing an awful lot at you. I don't mean this in the sense that it was difficult to follow, more that it just felt rushed with quick disorienting shots and an overabundance of action right from the off without really giving us any sense of character. It also didn't help that they jumped straight into the "Is it a dream? Is it a dream within a dream? Is it me dreaming or him dreaming?" twists, it was laid on very heavily and at first I was pretty worried that I was going to be watching a very long episode of the Outer Limits. Clearly I should have had more faith in the gifted film maker/writer that is Christopher Nolan, and for that I apologise profusely. As soon as this opening sequence is over the film really gets started and from then on it just gets better and better.

The mythology can at first seem pretty daunting, but the film does a very good job of getting you up to speed and making it an entertaining learning process on the mechanics of the dream extraction process. These scenes and the internal logic of this world flow surprisingly well and really does hold up to scrutiny (in most cases) and it quickly becomes clear that the intention here is to make you think, more than to simply dazzle you with confusing concepts and arbitrary twists.

Equally impressive are the visuals at work here. Some shots are really quite spectacular, like the twisting, constantly changing streets of Paris, or the crumbling ruins of the inner recesses of DiCaprio's mind. Combine this with some fantastic action set pieces, notably a skiing chase scene and a zero gravity fight, and you have all the ingredients for a summer blockbuster. But once again, Nolan's true gift is how he manages to combine the visceral with the cerebral. The plot is crafted in such a meticulously thought provoking and intentionally ambiguous way (in particular the astoundingly perfect ending) that it is sure to provoke debate and discussion for months and maybe years.

In this regard, Inception really goes above and beyond the call of duty. The concept of dream invasion is not new for sci-fi, but Nolan manages to make it seem fresh and unique. One expects the inevitable philosophical discussion over the nature of reality vs dream that comes with the territory, but Nolan adds another angle to it, one that's personal and emotionally engaging.

At it's core this is a film that's as much about human nature and subconscious repression as about dreams and reality. We learn what really drives the protagonist, Cobb, and delve deeper into the baggage that simultaneously holds him back and serves as his one constant in a world that's constantly changing.

For this to work as well as it does, a lot of credit must go to Leonardo DiCaprio who delivers his finest performance yet in a career that continues to rise. DiCaprio drives everything about this film, it is the depth of feeling in his performance that allows the audience to become absorbed in what is otherwise hardcore science fiction. He needed to provide the emotional investment in order for this movie to succeed, and he has. It's not an ostentatious or hammy enough performance to earn the attention of the Academy, but it's perfect for the purpose of this movie.

DiCaprio is the star, but special credit really needs to be given to the rest of the cast. One of the first things that attracted my attention to this film was the lineup of quality actors, and they really produce a remarkable ensemble performance.

Oscar winner Marion Cotillard gives a haunting and beautiful performance as Cobb's wife Mal, and is never anything other than spellbinding when on screen.

Joseph Gordon-Levitt, who you may remember as the kid from 10 Things I Hate About you and 500 Days of Summer, takes an unexpected turn as an action star. This takes a bit of time to get used to for anyone who recognises him, but he actually pulls it off, and is dependable as what is essentially a sidekick.

Fresh from her Oscar nomination for Juno, Ellen Page reminds us that she really is a talented young actress, as well as extremely cute. Anyone who has ever seen the likes of Hard Candy knows that Page has never been afraid to step outside of her comfort zone, and she does so once again here in a genre with which she is unfamiliar.

I make a note of these four in particular, but really every role is performed to an extremely high quality. The likes of Michael Caine, the always watchable Cillian Murphy and yet another previous Oscar nominee in Ken Watanabe, all deserve massive praise. Tom Hardy finds his breakthrough role playing the closest this film has to a comic relief character, and carrying it off with aplomb. Really this is the best ensemble cast I've seen in many many years, and they all deserve credit for it.

The cast is indeed fantastic, and as has already been said, the film is spectacularly well made by Chris Nolan. But additional praise needs to be given to a key part of this top notch production, Hans Zimmer and his brilliant score. Zimmer has a great many noteworthy films to his name in his long and illustrious career as a composer, but this is arguably his most complete production yet. Not just aurally, but thematically. For example this score quite brilliantly uses elements from a certain Édith Piaf song which has a significant role in the film that I won't spoil here. At times beautiful, melancholy and powerful, the score is an integral factor in drawing the audience into the emotion of the story, and the climactic finish to the film provides an example of some of his finest work.

But this is not a perfect film. As I mentioned the opening scenes were weak at best, silly at worst although it wouldn't surprise me if they were more palatable on repeat viewing. While the script is generally good, at times I found it very lacking in subtlety, particularly in the scenes where Page's Ariadne pushes Cobb for details on his past. These scenes just don't flow, they don't feel like real conversations, and the characters often just blurt out detailed analyses of their deepest thoughts. These scenes are largely aberrant, however, and for the most part dialogue is deftly put together, especially as the film goes on.

Another slightly nitpicky annoyance for me as a man who spent 4 years at medical school is that much of the mechanics of the plot seems to be based around a woeful misconception on how that "kick" feeling when you're on the verge of sleep actually works. Long story short it's not really anything to do with balance and more related to breathing and oxygen intake. But this is a film, so i'll let it go.

Rarely does a film take me from extreme disappointment to extreme joy in two and a half hours, even rarer is it for the film to fully vindicate all its weaknesses (which are few in this film) with such a fantastic total package. Inception is easily the best movie so far this year, and probably the best yet from Nolan. You have to see this.


Loves:
Great cast
Great production and score
Chris Nolan, awesome

Hates:
Occasionally weak script
Poorly handled opening

If you live in America, you've no doubt noticed something quite frightening. People are frothing at the mouth over universal health care, protesting non-existant tax hikes, and cursing the presence of smarty pants intellectual elites in the Government who think they're better than others because they can use big long words. Suddenly after a hundred years, "torture" has become a legitimate debate again, and evolution has joined climate change as a "fringe theory". Any objective outsider could be forgiven for thinking that some kind of time-warp has somehow sent America back to the 1800s, but in reality we are simply witnessing the rise of Idiot America.



So what is idiot America I hear you ask? Well let me give you a few examples.

I recently had a conversation with a politically enthusiastic friend of mine, let's call him Mr. B, a centrist sort who typically votes Democratic on the national level, but Republican on the local stage. He would describe these lively debates he used to have with a more conservative friend of his where they would discuss the role of government and human rights, and even though they seldom agreed with one another they would enjoy the civilised discourse and often exchange books and articles to read and discuss.

Well following the election of Barack Obama, he seems to have lost his mind. Apparently this friend posted some comment on Mr. B's Facebook wall about how the Affordable Care for America bill was "a holocaust for America". Now Mr. B is Jewish so understandably he points out how offensive such an off the wall comment can be interpreted and presses his friend to explain his issue with the bill. The friend's response? "Fuck you and your muslim President. This is the end of this country." De-friended.

A different friend of mine, Mr. F, has a similar story. He had a friend on twitter who was posting the same one liner about "Obummer and libtards" and how she prays for someone to murder them, every few minutes all day long. Apparently it was because they are "destroying America", and when Mr. F asked why, all he got in response was "with all the taxes". Now unless this friend of his earns over $300,000 dollars per year, she's had her taxes lowered, so this is the equivalent of the French peasantry in 1789 taking to the streets of Paris and shouting "Marie Antoinette must have more cake!" Upon pointing out the statistic of people who have had taxes lowered, this friend proceeded to change the subject to personal insults about Mr. F's education and background, and accused Mr. F of simply not understanding (with no further elaboration).

I had a personal friend, a college educated man, who was positively enraged at Obama's description of Al Qaeda as terrorists rather than "Islamo-fascists". When I explained the quite rational reason why Obama, along with every other western Government, liberal or conservative, is trying to disassociate terrorism from Islam, he blocked me amid a fury of epithets and personal insults and called Obama a "retarded terrorist sympathiser".

Another example I would like to point out is this video of Congressman Alan Grayson responding to the protests of a clearly out of her depth tea partier. Note how as soon as he rationally and calmly responds to each one of her talking points, she immediately jumps to a completely different topic rather than respond.

I've got an acquaintance who does this all the time as well. (S)he'll make some unsubstantiated claim like the often quoted falsehood that Obama had the lowest first year approval ratings of any President. Of course you don't have to look very hard to see that Ford, Reagan and Clinton all had worse and Carter and Truman had very similar approval ratings. But i'll send him/her a link of historical approval ratings showing Obama with relatively decent approval, and half of the time, without missing a beat (s)he'll immediately change the topic to torture, when I refute that (s)he'll immediately jump to the economy, never following up a statement (s)he makes with any kind of elaboration. The other half of the time his/her response will just be name calling and spitting anger, because apparently facts and numbers are part of some elitist east coast intellectual conspiracy (yes, I've heard people claim exactly that).

This is not just an isolated number of incidents, it's a phenomenon that has been widely discussed by pundits on both ends of the political spectrum. A range of politicians on the right, from Lindsey Graham to Bob Bennett to Bob Inglis to David Frum, have spoken at length about the worrying disconnect between reality and those on the far right.

The scary thing is that these are not just fringe lunatics from some insulated rural state, these are reasonably educated, formerly sane people who have overnight turned into an irrational, incoherent bubbling pot of blind hatred and prejudice.

What's striking from these examples is the ignorance as well as the absurdly disproportionate rage and paranoia. And there is a LOT of ignorance; numerous polls have demonstrated that those who disapprove of the healthcare bill simply don't know what's in the bill, and another recent poll has shown that Obama's opponents mystifyingly believe that the bailout was passed under his Presidency.

But more interesting that simply being misinformed, there seems to be an unwillingness to adjust one's views even when presented with the truth. A 2008 study put this to the test by surveying groups of different ideological positions and feeding them incorrect evidence, for example the claim that Iraq had WMDs, and then refuting them with comprehensive evidence, for example the Duelfer report. It was found that while most people took the new information into their thinking, in some cases with conservatives presenting irrefutable evidence actually tended to strengthen their belief in the misinformation. A similar test involved people who believed that Obama passed the bailout being shown newspaper articles and official documentation that the bailout was passed months before Obama was elected, under Bush, after which they were even MORE adamant that the bailout had been passed under Obama.

This is called the "backfire" effect. It is the phenomenon of certain individuals who for whatever reason are so attached to their beliefs that even when they know they're wrong they will still cling to them even tighter. A bizarre trait that on the surface makes little sense to most of us.

So we have the disproportionate rage, the erratic incoherence, we have the denial of reality, but the last thing that strikes me as bizarre about these reactions is the pure childishness. You may have picked up on the puns and childish name calling like "libtards" and "Obummer" and the tendency to resort to personal and irrelevant insults in the absence of the understanding that is required to engage in the conversation.

So what is happening here? It would seem that some kind of temporary insanity has gripped a good portion of the country, David Horowitz describes it as "Obama derangement syndrome", a term which has since been used by a number of pundits, but what is the cause?

Is it a question of ideology? Certainly not in itself, as I know many conservatives and even some Republicans who don't subscribe to this absurdity and are generally quite embarrassed by the behaviour of fellow conservatives. For that matter a lot of people think of me as reasonably conservative on a number of issues. Is it a matter of racism as many seem to claim? Certainly in some cases racism plays a part, particularly with the racially charged tea party protests, but that's not it; I know conservatives who have taken up the art of insanity without ever muttering a racist remark, instead one gets the impression that many of the racist epithets are merely a byproduct of anger/fear with an inability to better verbalise said emotions. Is it a question of stupidity then? Well partly, there certainly seems to be a distinct anti-intellectual angle to the mayhem, but it's more complicated than that.

A lot of people blame outlets like Fox News, who have become so noted for taking propaganda to new heights that they no longer even refer to themselves as a "news" network. But misleading infotainment like Fox News is not the cause, it's merely a symptom of the larger problem.

You see, Fox News operates on the basic principles that perception is reality, that if you say something loudly and frequently enough it becomes true, and that truth is determined by what the majority believes. Of course this is not how the real world works, but none of that matters to the viewers of Fox. They realise they can't control reality, but believe by being noisy and over the top they can control perception.

The reality is that people don't tune into Fox for the news, they don't watch to find out what's happening in the world. They tune in for self validation, to have someone parrot back their worldview to them and feel just a little bit better about themselves. Ultimately all this anger and hate is an issue of fear and insecurity. There is only one "news" network in America that caters to this fringe demographic, which means they pretty much have a monopoly, guaranteeing high TV ratings and lots of advertising revenue.

So let's look at this from the start. You have this person, likely someone of moderate intelligence at best who has been raised all his life by his parents to believe one thing. He's been picked on at school, he's not achieved much in life, and deep down he feels inferior to others, whether or not it's deserved. He tries to rationalise it all, he's a victim of circumstance, he's unlucky, he could do more if he wanted to, but people won't give him a chance, and those people are all wrong.

He feels unfairly persecuted every time someone tells him he's wrong or mistaken. The world is full of arrogant privileged people who think they're better than him and are just waiting for him to slip up or make a mistake so they can rub it in his face and make themselves feel smarter. For this reason he can't afford to be wrong about anything, and he clings to those beliefs with every fabric of his being. They become so ingrained into his core that to question any of them is to challenge his very identity, his sense of self. So anything that even slightly contradicts one of his beliefs is taken personally and must be fought and argued against like his life depended upon it.

On a fundamental basis, who we are and how we interpret the world is governed by these schemata, clustered ideas of pre-conceived notions. If something contradicts these ideas, the natural reaction is to reject them and push them away until they can no longer be ignored, in which case existing schemata must be modified.

But when these schemata are built around faulty assumptions problems can develop, and inevitably these ideas will be challenged. For these people, self esteem is so non existent that to admit fault is the most offensive notion imaginable, so what they do is build a new set of faulty schemata to try and justify their previous notions. This process repeats itself over and over until these people are nothing but a tangled mess of contradictory, interlocked schemata, one that even a gifted psychologist would take years to unravel. All of this is based around the central self concept that the individual is smarter than others, and that all the people who have looked down upon him their entire lives are wrong. To accept one's own shortcomings would cast doubt upon a worldview that has been designed to rationalise the harshness of reality in such a way that it reassures the individual.

At this point it is impossible to question even one of these preconceived notions without risking the whole damn construct tumbling down around it, their entire interpretation of the world teetering on the edge of collapse. If these people overreact to even the tiniest issues as if the world were coming to an end, it's because to them that's quite literally the case.

So look back at the type of discourse we've been seeing. Complete incoherence, these people rarely seem able to delve deeper into an issue than the one liner they get from the Fox News round up. Name calling and inappropriate anger, because they have no rational complaints to verbalise, only the fear and insecurity that governs these emotions (and for some reason they seem to think that the 'clever' puns make them sound smarter and more authoritative in the absence of any real understanding of the issues). Lastly the denial in the face of even the most concrete of facts, because when you get right down to it, truth is simply not relevant and perception is reality. If it seems like these extremists are adopting astonishingly indefensible talking points, like justified torture, then don't worry because they don't really believe a word of it.

The unavoidable reality is that these ranting, foaming at the mouth protesters don't care about what's true or what's real. They simply want the perception, and in their minds therefore the reality, to be that they are right and have always been right so that they can defend their identity and permit their tangled worldview to make sense.

In case you're wondering how America has become a country dominated by people with psychological issues the answer is simple. It hasn't. The tea party simply isn't as numerous as they would have you believe. Anti-intellectualism may be noisy, but don't confuse that with mainstream. Most polls show that a plurality now approves of the Affordable Care for America act, while tea party candidates are starting to flounder in the polls even in states they should be winning easily this November. Make no mistake, these hysterical fantasists are firmly in the minority, and few people would even pretend otherwise anymore.

So next time you hear a formerly sane Republican devolve into a ludicrous fit of expletives and racist epithets over the colour of Obama's tie, don't get annoyed, feel sorry for them. Ultimately it's the only way they know how to cope with reality.


Check back soon for my full preview to this year's midterm elections, including the key races to watch.