What I've Been Watching (September 2011)

SPOILERS AHEAD


Animal Kingdom (2010)

Animal Kingdom is a solid Australian crime thriller, which is both perfectly paced and astoundingly acted. It tells the story of teenager 'J' Cody moving in with his Melbourne based extended family after the death of his mother, a family up to their necks in trouble after their involvement in everything from armed robbery to drug pushing. It's J's Grandmother (played by Jackie Weaver) and his Uncles who provide much of the drama in this dark and sizzling movie, with a fantastic turn from Guy Pearce as a detective investigating the family's dealings. It's violent, but those moments are used sparingly to keep us on our toes. James Frecheville, who plays J, is a revelation, who delivers an accomplished performance despite this being his feature film debut. Animal Kingdom is critically acclaimed, and for good reason. It's tense in places, which is often hard to bear, and a compelling watch. 8 / 10.

Tangled (2010)

The second occasion of my regular movie night with my 4 year old sister, Scarlett, had us watching Tangled, a Disney movie that ticks all of the boxes for a classic, princess themed animation (songs, romance, etc). Having grown up with Disney, it's safe to say that this movie is an attempt to recreate the atmosphere of old, but it just didn't work for me. I'd much prefer to re-watch The Little Mermaid, perhaps for nostalgic value. Maybe I'm being stubborn, but I just couldn't get into Tangled. It was refreshing to see Disney putting something out that wasn't a collaboration with Pixar, because I still feel like there is a place in the industry for these cutesy movies that are mainly aimed at the young ladies. Scarlett seemed to enjoy it though, especially the musical moments, which bumps up my score to 6 / 10

Scott Pilgrim Vs The World (2010)

Edgar Wright has directed two movies that are without a doubt up there with my favourite British films of the past 10 years, the impeccable Shaun of the Dead and the hilarious Hot Fuzz. His latest outing, Scott Pilgrim Vs The World, is a comic book adaptation that channels geekery in a way nothing else has, interweaving many comic book, movie, TV show, video game and pop culture references into a wacky love story where the titular character has to defeat the 7 evil exes of his new love interest Ramona before he can be with her. It's fun, with a lot of quirky additions that will satisfy fan boys (the Universal logo and theme at the very beginning is in 8-bit) and an easy to follow story that will entertain even the most casual of moviegoer. The Blu-Ray edition I purchased shows off the movie in the best way possible, with everything from the spellbinding effects to the intense editing being put in the spotlight. Michael Cera is his usual self for the title role, but the supporting cast are good enough to not single out his performance as a negative. I loved it, and I hope for a follow up because the movie industry needs films like this. 8 / 10.

Blue Valentine (2010)

I'm not much of a fan of romance on film. I feel like much of the time it follows the fairy tale route. The happy ever after, soul mate, meant to be together, love is beautiful direction that's been done over and over but always seems like the easiest route for romantic comedies, serious romantic dramas or the like. Every once in a while comes a film that takes the more believable, and unfortunately for us, the more truthful version of love and tells a story that is both understandable and uncomfortable at times. In Blue Valentine, it's that latter feeling that comes from feeling like a voyeur as we watch the relationship between a young couple fluctuate from comfortable happiness to pettiness, paranoia and in the end, sheer hatred. The film jumps back and forth, showing these scenes in a jumbled order, but this doesn't take away from the story it is trying to tell. The interaction between the main actors, Ryan Gosling and Michelle Williams, is frank and sincere. I can't remember the last time I believed in an on screen relationship so much. Some may see this movie as miserable and over-dramatic, but it really isn't. If anything, it's just conformation that even when two people want to make things work and be happy, it doesn't always work out that way. An honest account of young love and the trials that face it, Blue Valentine should have won more awards than it did. 8.5 / 10.

Appropriate Adult (2011)

ITV1's 2 part adaptation of the true story of serial killers Fred and Rose West and how they were brought to justice was eerie, intense and told a different point of view on events to previous tellings I had seen. Instead of trying to give a view from the murderers themselves, or the victims, Appropriate Adult centres on Janet Leach, a woman brought by Gloucester Police during their interrogation of Fred to provide support for the accused. It's an exploration into the mind of a killer, but also explains the trials somebody like Janet, a volunteer as said 'appropriate adult' can go through when the grisly details and intensity of the situation gets too much for her to handle. Dominic West was believable and uncanny as Fred, certainly taking centre stage in the drama, driving each scene forwards with his unhinged and baffling attitude towards the girls he killed. Emily Watson's performance as Janet Leach was a bit wet, the same look rarely leaving her face, but I find that with much of her work. This made the second half of the second episode a bit of a bore, as Fred's death left Janet feeling lost and almost unable to go on with giving evidence in Rose's trial. It was intriguing enough and riveting in places, 6.5 / 10.

Green Lantern (2011)

Green Lantern has the potential to be another great movie adaptation from DC, with a talented leading man in Ryan Reynolds and what appears to be a huge budget, but unfortunately it falls flat due to a bad script and a lack of risk taking. It was an enjoyable ride at times but never really went in the direction I wanted it too, and the threat from the main villain (a cloud of energy that eats planets or something, the Paralax) just felt a bit empty. The comedy elements were okay, as were the action sequences, but even the special effects (which were clearly what most of the budget went on) seemed slightly poor in comparison to much of the other superhero movies we've seen this summer (Thor, X-Men First Class, Captain America). I won't be calling out for a sequel! 6 / 10.

The Blair Witch Project (1999)

After some recent discussion with friends about our most memorable horror movie experiences, I had the urge to revisit a movie I haven't seen for a number of years, The Blair Witch Project. On its release, it rode a wave of notoriety due to the question marks surrounding the possible genuine nature of the footage, which showed 3 members of a documentary film crew lost in the woods and being terrorised by an unknown force. Since then it's been made clear that it is a work of fiction, but that doesn't take away from the real fear that grips you when you watch certain scenes. Sure, in a world populated by the manufactured scares of Paranormal Activity, the Saw series and the like, many people will find The Blair Witch Project unappealing, but I still really enjoy the atmosphere it creates, despite the fact that there is never a 'big reveal' or defining money shot. 7 / 10.
 

Grave Encounters (2011)

Talking of manufactured scares, Grave Encounters pulls off every cheap trick in the book to make the viewer terrified, from loud noises and spooky grainy images, which works on a basic level but doesn't strike me as something that will become a part of mainstream culture, like the previously mentioned Blair Witch. That's because it's all been done before. This is just another 'ghost hunting gone wrong' set up, with a documentary crew spending a night in a haunted abandoned mental institute before things take a sinister turn. Sure, I jumped out of my skin a few times, but mainly because the editing was done well enough (along with some soundtrack additions) to create the scares. The direction which the movie took was a simple route and ended up feeling very unoriginal. Enjoyable at the time (in places) but in hindsight, not very good at all, earning it the SHIT MOVIE OF THE MONTH award with a 4.5 / 10.  
 

Drive (2011)

I will be posting a separate blog post for my thoughts on Drive, including a deconstruction of the themes of the movie which is one of my favourites of 2011 so far. Keep an eye out for that, but for now my score for the movie is 9 / 10 and it is my MOVIE OF THE MONTH.

Album Review - Blink 182 : Neighbourhoods

Blink 182 grew up a long time ago with 2003's self-titled release, which was, as controversial as it may be to say it, my favourite album from the band. It was emotionally genuine, an honest look back on their career and struck me as the album the band always wanted to make. For me, it is the album they will never be able to beat, as much as they will continue to try. After a long hiatus, Blink are back with their new release, 'Neighbourhoods', which is an attempt to better what has come before. Unfortunately for them, and for Blink fans, the record falls flat, and I can't quite put my finger on why that is. The pop punkers stick to the heavy subject matter that the 2003 album addressed and don't return to the jokes and playful style of earlier albums, as perhaps many of us thought they would this time around. It just feels like a group of songs zapped of much of their energy, meaning the album feels at times like it isn't working as hard as it could be to get us to love it. As each track goes by, there is hope for something to make an impact, but it just doesn't arrive. There are flashes of the old brilliance but not enough of it to make any one track stand out as something that will become a future Blink 182 hit.

'Ghost on the Dance Floor' kicks off the album with keyboard ambience, buzz saw guitars, full throttle snares and brash bass. The three chord blasts promise something wonderful, but as we snap from the opener into 'Natives', already I can feel the doubt begin to set in. In places, it's a good track, with machine-gun drums and a melodramatic yet memorable chorus, but it all feels a bit shoved together. The first single from the album, 'Up All Night' is a bit better, but as it switches and progresses, it starts to get confused. More vocals from bass player Mark Hoppus here would have done well, as at many times the lead vocals of guitarist Tom DeLonge feel very much like whining (which was a big problem on both albums from his other project, Angels & Airwaves).

As the album continues, many of the songs lack substance, especially 'After Midnight', which is an easy listen but not much more. It feels as if the band are just going through the motions, which is obvious with 'Snake Charmer' which doesn't feel like the best this band can produce. They should be at the top of their game, using their skill at including emotional narrative in well crafted songs, but much of what is heard on 'Neighbourhoods' crosses the line from fresh to 'heard it all before' way too often. 'Heart's All Gone', which includes a stripped down interlude, is a solid song which blends much of the band’s early career with the song-writing experience they have gained throughout the years.

‘Wishing Well’ has wonderful pop hooks, with DeLonge’s lyrics shining through due to the visuals they create. ‘Mh 4.18.2011’ is a garage rock song with pulsating beats and a soaring chorus, but as the album reaches its climax, much of the tracks stray back into the forgettable area. ‘Love Is Dangerous’ feel a lot like an Angels & Airwaves (Tom DeLonge’s other band during the Blink 182 hiatus), which really isn’t a good thing. The production values take over and make this song a badly executed and over-dramatic experience. The 2 tracks added for the Deluxe Version of the album are just as bad, although Travis Barker’s drums are enjoyable on ‘Fighting the Gravity’, but ‘Even If She Falls’ is a bore.

All in all, the album is mostly a failure, despite the odd moments of brilliance. I will give several of the tracks another listen but much of ‘Neighbourhoods’ is bland and forgettable, feeling rushed at times. It definitely isn’t a ‘we’re back!’ sort of album, which it really should be. Disappointing.

What I’ve Been Watching (August 2011)

Catching up with the reviews now, kicking off with August and soon to be followed by everything from September. This month includes several cinema visits as the blockbuster season gets up and running!

SPOILERS AHEAD

Captain America – The First Avenger (2011)

Captain America - The First Avenger is the last of the Marvel Studios movies that will set the scene for next year's superhero team-up extravaganza, The Avengers. Chris Evans stars as the title character in the summer blockbuster set in 1942, where weedy yet determined soldier Steve Rogers is selected to take part in a 'Super Soldier' program where he is experimented on with a body-enhancing serum, giving him increased speed, agility and strength. Hugo Weaving stars opposite Cap as the head of Nazi division HYDRA, a murderous and twisted individual named the Red Skull (for good reason). It's a good summer romp, a fun movie that is camp is places but it certainly knows its identity, so it doesn't feel ridiculous. Evans is solid as Cap, representing the courage and honesty of one of Marvel's most clean-cut and respectable heroes. There are times when the action sequences feel a little bit like heavily altered montages instead of choreographed and well-thought out scenes, but apart from that I had little problem with the whole affair. It proves, along with the likes of Thor which was released earlier this year, that Marvel Studios aren't just bashing out these movies in order to rush to the pay packet which The Avengers will undoubtedly bring. The short teaser for that mentioned movie at the end of The First Avenger really got me excited and I'll be sure maintain that excitement until the release date. Cap gets a 7.5 / 10.

Arthur (2011)

I am big fan of Russell Brand, but his first Hollywood vehicle in the shape of Arthur, a remake of the 1981 movie of the same name starring Dudley Moore, is disappointing and lacklustre. It doesn't channel everything that makes Russell Brand witty and hilarious, perhaps on purpose to some extent, and ultimately it's the movie's downfall. Brand's performance is odd and at times, a bit clunky, perhaps because he has calmed down his usual over the top self. I won't go into the plot, which is the tale of a rich and spoiled man come good, but I will highlight the performance of Helen Mirren as a saving grace for Arthur. Other than that, that's not much else to love. And unfortunately, because much of everything else I have seen this month has been better than this, it gets the SHIT MOVIE OF THE MONTH award with 4.5 / 10.
 

Rise of the Planet of the Apes (2011)

The summer blockbuster season carried on being one to remember (after a superb turn from Captain America) with Rise of the Planet of the Apes, a prequel of sorts to the original Apes movies charting the changes in society and turn of events that eventually lead to apes gaining increased intelligence and ultimately replacing humans as the dominant species. Much of the movie focuses on Caesar, a curious and smart ape, who is raised from birth by Dr Will Rodman (played by James Franco), a man who has dedicated much of his life to finding a cure for Alzheimer's disease. Experiments for this cause have lead to Caesar's increased brain power, and the movie begins a slow burn from the ape's young life to his tentative older years, as he begins to see the world for what it is and plans a better life for not just himself, but for other apes. It's a great movie, a thrill ride of sorts, with top performances (especially Andy Serkis, who delivers another motion-captured performance for Caesar) and fantastic special effects. 7.5 / 10.
 

Hanna (2011)

Hanna is the story of a 16-year-old girl (Saoirse Ronan) who was raised by her father (Eric Banna) in the wilderness to be the perfect assassin, and once her training is complete she is dispatched on a mission across Europe, but is tracked by a ruthless intelligence agent and her operatives. It's a coming of age story, charting Hanna's first experiences with people of her own age and her first forays into love and lust. The kick-ass style of ultra-violence and increased tension is just a back drop for the absorbing and often heart-wrenching tale, which is both brilliantly acted and beautifully shot, with some wonderful cinematography and an engaging soundtrack from The Chemical Brothers. It exudes cool and is definitely worth a watch, especially for fans of an edgy and visceral directorial style. 7 / 10.
 

Despicable Me (2010)

I have recently started a weekly movie night with my 4 year old sister, which gives me a good chance to see recently released and popular animated films and helps with the review process when I can assess her reaction to how good the movies are affective as entertainment for both kids and adults. We started off with Despicable Me, the Steve Carrell fronted tale of a criminal mastermind who uses a trio of orphan girls as pawns for a grand scheme, but soon finds out that their love is profoundly changing him for the better. It all sounds very similar to the recent Will Ferrell voiced Megamind, but it manages to stand apart from that due to its heart-warming core storyline and incredibly slapstick humour. Visually, it's colourful and explosive, which is a joy to watch. It didn't keep me as gripped as some Pixar animated pictures do, but it was fun none-the-less. 6 / 10.

The Inbetweeners Movie (2011)

The Inbetweeners has been on our screens for several years and three series, and due to its unrivalled popularity in the mainstream comedy world, warranted a movie release and unlike many shows on TV currently, had the legs to make it to the big screen. The Inbetweeners movie carries on where the TV show left off, with the 4 hapless and socially troubled teenage boys leaving school and going on a lads holiday to the Greek island of Malia. The crude and rude humour remains, but for me it didn't seem much more than a longer TV episode. I expected something bigger and bolder, with perhaps some money shots that made it appear more of a blockbuster than just a standard episode on a larger screen. But don't get me wrong, I found it hilarious and was sometimes in tears of laughter due to the situations the boys find themselves in, which all in all makes this movie a success, because all I really wanted it to do was make me laugh. Maybe I just kept expected it to kick into a higher gear and it never really did. Still, worth a watch for fans of the TV show and British comedy in general. 6.5 / 10.

Super 8 (2011)

The mysterious Super 8 has been creating buzz on the internet since the wonderful teaser trailer hit, and seeing it on the big screen was both a nostalgic and exciting experience. It was a throwback to the classic 80s movies of Steven Spielberg (who produces on this movie while J.J Abrams directs) and captured the magical and innocent feel those pictures created. After a group of kids making a movie witness a train crash, bizarre happenings begin to occur and the armed forces make their way into their hometown, leading the youngsters to begin to investigate the phenomenon themselves to find answers. It's very suspenseful and thrilling, despite not being very original in much of what it does. The performances are decent, especially from the kids, whose chemistry on screen is believable and amusing. I won't spoil anything here, because that will ruin much of what makes this movie great. But there is a big reveal, and from what I've heard from friends and online reviews, it isn't as amazing as expected, but for me, it was just right. You see just enough of what you want to see for the right amount of time. I, for one, was much more happy with this reveal than that of Cloverfield, which felt way too hyped. I really liked Super 8, possibly because it made me feel 10 years old again, but also because it proved that J.J Abrams is one of the best modern blockbuster directors out there. It’s a MOVIE OF THE MONTH winning 8 / 10.
 

Friends With Benefits (2011)

I have no idea what drew me in to watching Friends With Benefits, but I think it may have just been the inclusion of Mila Kunis as the leading lady. She stars alongside Justin Timberlake (whose acting credentials have gone up after a decent turn in The Social Network) as two recently dumped friends who decide to get involved with each other just for the sex, which ultimately leads to complications and the standard route a romantic comedy these days decides to follow. It kept shouting that it wanted to avoid those rom-com clichés, but in the end it felt a little bit like it was trying too hard to be something it evidently always would be. It had a few laughs in places, but it wasn't anything special, although it does include a wonderful turn from Woody Harrelson which was good fun. 6 / 10.

Album Review - Mastodon : The Hunter (2011)

Mastodon's fifth studio album 'The Hunter' has been on the horizon for a long time, the two years since 2009's 'Crack the Skye' feeling like nothing short of an age. Now the album is here, and it doesn't disappoint in the slightest, the wait having been most definitely worth it. It's a throwback to the past achievements of the Georgia metal quartet's earlier releases 'Remission' and 'Leviathan' while taking a step in an entirely new direction, with the space-age sound that was dabbled with on both 'Blood Mountain' and 'Crack the Skye' now becoming a recognisable element to the overall Mastodon experience. The songs on 'The Hunter' stand out on their own as wonderful additions to the Mastodon catalogue, but as an album they work even better, despite the album being the first since 'Remission' that has no collective concept.

'Black Tongue' kicks off the album with recognisable chords (if you are at all familiar with Mastodon's previous works), jazzy drum fills and spectacular riffing. The vocals are achingly brilliant and passionate, giving the opening track an epic feel with the addition of various vocal effects, dual guitar parts and sweeping solos. 'Curl of the Burl' has a funky element that although strange in a Mastodon song, doesn't feel alien or out of place. The riffs here are groovy and cite the Drop A sludge of the band's debut full-length 'Remission', which gives the song a monumental feel and allows the next track, 'Blasteroid' to hit us with its bombastic appeal in a way that is both a shock to the system and a head-nodding delight. The song is good fun, feeling very classic rock in places, which is a sound Mastodon rarely experiment with. 

'The Hunter' continues its journey science-fiction with 'Stargasm', where jangly guitars give the track an eerie ambience and otherworldly hum. It switches from magical to terrifying regularly, which keeps you on your toes until the odd (yet exciting) experience is over. 'Octopus Has No Friends' is by far the best named song on an album of fantastic song names, but unfortunately is also one of the most forgettable. The guitars drive ahead, the rhythms dance around and the melodies are well thought out but it lacks the punch of the rest of the album and feels stretched at times. It again channels a classic rock feel but doesn't do it nearly as well as 'Blasteroid', which makes it feel rather distant and impersonal. 'All The Heavy Lifting' is homage to the sound of the album 'Blood Mountain', putting fire in the belly with a heartfelt chorus surrounded by the rest of the song which is nothing short of a growling beast. 

The album's title track 'The Hunter' anchors the album with the rest of the songs hanging from its limbs like bloodthirsty leeches, feeding from its ideas and melodies. It's the highlight for me and I can understand why it is the title track, with mysterious layered guitars and a theme that suggests fantasy, swords and sorcery. It strays into rarely visited territory for the band before reverting to something that would sound out of place on previous album 'Crack the Skye'. It builds with soothing solos into a big finish. Next up is 'Dry Bone Valley', which is somewhat of the beginning of the second act for the album. This ticks all of the boxes of what to expect from a standard Mastodon song, again including a funky edge that was heard in 'Curl of the Burl'. 'Thickening' is another album highlight, including a 90 second instrumental introduction before a psychedelic tempo change, drowning vocals and screeching guitars. A horror element is clear here as the track channels an evil sound. 

'Creature Lives' is probably the most grand-scale song Mastodon have ever done. It's a space-age experiment, echoing the soundtrack to Stanley Kubrick's '2001: A Space Odyssey' at the beginning before building slowly and steadily. As vocals arrive, we are told the story of a mythical beast, as choirs and other instruments chime in, taking us on a medieval journey of bravery and adversity. After such an enormous track that affects you both emotionally and physically, the final few songs on 'The Hunter' feel less strong than they perhaps would have if they had been included earlier. 'Spectrelight' is thunderous, with guest vocals from Scott Kelly of Neurosis, but never really gets going. 'Bedazzled Fingernails' is odd and disorientating, sounding at times like a made for TV movie from the 60s telling tales of aliens invading. The whole affair ends with 'The Sparrow', which is swaying and attentive, the melodic detail coming from a dreamlike soundscape that is created. Once the song builds, everything soars into the sky and you feel as if you are gripping tightly to the wings of an enormous eagle as the wind beats against your face. 

'The Hunter' is an accomplished album from an accomplished band, perfectly balancing all of the elements of Mastodon's style in an album that is progressive and thought-provoking. This one is not to be missed!  

Album Review - Aliases : Safer Than Reality (2011)

Aliases, a tech-metal five piece with balls in abundance, have released an 8 track mini album of head-scrambling insanity entitled 'Safer Than Reality' through pioneering metal label, Basick Records. The band are made up of ex SikTh guitarist Graham 'Pin' Pinney, ex Veils members Darren Pugh and Joe Heaton (drums and bass respectively), guitarist Leah Woodward and Paris-based vocalist Jay Berast, and already they are making waves despite having formed just a year ago. After recently completing a tour with Visions, another Basick Records band, this release hits the shelves and download market with a complex and exciting intensity which shows that Aliases, although a band that no doubt conform to the hardcore sound of their label-mates, can stand their own as a fresh-sounding metal band. The music on this album is honest, animal and awe-inspiring. 

'Safer Than Reality' opens with 'What's Left For Us?’, the lead single from the release and for good reason. It's a tech-metal behemoth with swaying and swaggering time signatures. It has math-rock tendencies, but in places it's a real easy-listener, as the chorus is an impressive and layered harmony, which is an interesting change from the thundering juggernaut that is made up from the rest of the song. The guitars are sweeping and crazed and they leave a more lasting impression than the vocals, which tend to get lost at times. 'The Reality of Beliefs' is a groove-laden progressive track and it gives the screaming vocals a chance to shine whereas on the previous track it didn't. The mid-range melodies combine well with the harmonies, making you realise just what range Berast has. Aliases have a sound that is addictive, that is already clear just two tracks in. The guitars are in overload, but it never feels too much. 

Spasming drums bring in 'We Never Should Have Met', which is a brutal twisting song. The complex instrumentals weave beneath the vocals as it drives ahead, juddering and changing course but not once stalling. Next up is a guitar instrumental interlude entitled 'Refraction', which although enjoyable feels a little out of place. It's a shelter from the storm, but I don't really want it. The wall of sound returns with 'All That Glitters Is Gold', which is a masterful and technical beast. The mind-melting rhythms come in abundance but there is also a streak of beautiful majesty in some of the sections. These awesome contrasts show the energy and emotions that Aliases have put into these songs. 'While I Drown' is one of the heaviest sounding songs on the mini-album, mainly because some of that technical edge is stripped away, leaving a punchy drone below the howls. Another interlude arrives with 'The Beginning Has No End', a soulful piano piece, but I feel the same about it. It's great, but feels out of place. If this was a full length release I could understand the need for interludes, but here they feel like they aren't needed to break up just 6 full length tracks. Album closer 'Sirens' is a song that flexes its muscles as well as its melodies, both of these aspects interweaving seamlessly. It's a good examples of what Aliases are about if any one song from 'Safer Than Reality' is to be recommended, ending this release on a high.