What I've Been Watching (December 2011)

SOME SPOILERS AHEAD

‘What I’ve Been Watching’ returns full force after a couple of months off from the reviews, including the conclusions to some of the biggest and best TV shows of the year, some award worthy and critically acclaimed new films, and as usual, some utter shit.

50/50 (2011)

Joseph Gordon-Levitt seems to have his pick of roles at the moment and with 2012 beckoning he is set to star in two of the most anticipated movies of the year (‘Looper’ and ‘The Dark Knight Rises’). His quick ascent to the top of the movie game is well deserved, and his leading role in ‘50/50’, an inspired by true events story about a young man’s battle with cancer, proves that he has the talent and likeability factor that is needed to draw in the crowds (even when starring opposite the ever popular Seth Rogen). Humour takes centre stage in what has the potential to be a depressing story of terminal illness, putting the main character in situations that perhaps haven’t been explored in previous movies about the struggles of somebody diagnosed with such a disease. How many of us actually know what it’s like for somebody with cancer to go to a bar and try and hook up with a girl? It is heart wrenching as well as heartfelt, which is a good combination for a comedy/drama, and is also the reason why ‘50/50’ is one of my films of the year. 8.5/10.

Total Recall (1990)

With the remake of this cult classic being released later this year, I decided to revisit one of the defining moments of both my childhood and Arnold Schwarzenegger’s career. For me, it was the first film I had seen which both terrified and confused me, with the use of early CGI and animatronics creating a baffling alternate world and the appearance of a triple-breasted woman making me feel oddly intrigued, especially during pre-adolescence. Total Recall is an over-the-top thrill ride and certainly loses none of its charm after 20 plus years. Is a remake warranted? Probably not, but I’ll be willing to see what a new generation makes of a take on one of the best science fiction action flicks of the 90s. 8/10.

Our Idiot Brother (2011)

Paul Rudd can do no wrong with fans of mainstream American comedies, and I am one of those that enjoys the movies of the nice-guy actor no end. ‘I Love You, man’ has been revisited many times and this year will see him again team up with Jennifer Aniston in ‘Wanderlust’ and Leslie Mann in Judd Apatow’s ‘Knocked Up’ spin-off ‘This Is 40’. ‘Our Idiot Brother’ brings more familiar faces together to tell the story of a positive idealist who barges into the lives of his three sisters after a stint in jail for selling marijuana to a police officer (see where the keyword ‘Idiot’ hits home?). The movie is enjoyable and jaunts along with some genuine laughs and well executed family situations, making the whole experience rather sweet but not saccharine. 7.5/10.

The Walking Dead – Season 2 (Up to Mid-Season Finale) (2011)

‘The Walking Dead’ second season started with a lot of momentum after a popular and critically acclaimed first run (albeit with a weak and weird finale episode), and while there is a lot of good character work and key plot points from the graphic novel it is adapted from here in the first 7 episodes, I can’t help but feel disappointed. Sometimes the show has real promise, with a series of events from certain episodes getting me excited and fully interested, but then a lot of the good work is ruined by what seems like ‘filler’ episodes where not much happens and characters seem to repeat lines they’ve said over and over again. I really want to like it, but the story needs to move from Hershel’s farm as soon as possible to avoid getting stuck in a rut, where the characters look for another lost child for the entirety of the run of episodes (by far the most bland plotline the show has followed). The shock factor from the graphic novels isn’t addressed when it needs to be, the cliffhangers are boring and predictable, and some of the characters are infuriating at times.  Season 2 returns in February, hopefully with some more creative ideas and the will not to get cancelled. Some major characters need to be killed off and some shit needs to start going down for ‘The Walking Dead’ to remain on our screens. 5/10.

Rare Exports – A Christmas Tale (2010)

An alternative take on Christmas stories, Finnish movie ‘Rare Exports – A Christmas Tale’ injects fear and mystery to the magic of Santa Claus. It’s strange at times, but is driven ahead with the leading character of a young boy convinced that he knows more about the situations than his adult counterparts. The ending is quite ridiculous, but I enjoyed the movie for the running time and recommend it for anybody wanting to avoid the obvious movie choices at Christmas time. 6/10.

Boardwalk Empire – Season 2 (2011)

Not only the best show on TV at the moment, but perhaps the best TV show of all time, Boardwalk Empire’s second season grows from the first time around and already, after 24 episodes, it feels as though it has reached the point of ‘small screen classic’ just like The Sopranos and The Wire. The lead performances of Steve Buscemi, Michael Pitt and Kelly Macdonald are second to none and the writing on this series has reached such levels of perfection that it has to win every award it is nominated for. The situations are poignant, tense and executed like the best gangster flicks of all time, providing ultra-violent moments that are as unforgettable as the vice scene in Scorsese’s ‘Casino’ and the ‘do I amuse you?’ scene in ‘Goodfellas’.

‘Boardwalk Empire’ is paced perfectly as it builds to what is the biggest and most shocking twist I have ever scene in a drama series of this magnitude. I cannot wait for season 3. 9.5/10.

Life’s Too Short – Season 1 (2011)

The latest Ricky Gervais and Stephen Merchant helmed series saw showbiz dwarf Warwick Davis (star of ‘Willow’, ‘Star Wars’ and ‘Harry Potter’) as the focus of a ‘mockumentary’ style show, following the actor in his day to day life as he struggles with finding work during a very ungracious fall from the big time. It makes use of the same awkward comedy explored in Gervais’ previous shows ‘The Office’ and ‘Extras’, and although it does feel watered down at times, there are some truly cringe worthy and hilarious moments. Gervais makes use of his A-List contact book with appearances of Johnny Depp, Steve Carell and Liam Neeson (plus others) but Warwick really is the star of the show (along with his hapless assistant, played by Rosamund Hanson – Smell in ‘This Is England’). 8/10.

Misfits – Season 3 (2011)

Misfits had a Nathan shaped hole to fill when it returned at the end of 2011, with the hilarious (and perhaps main draw of the show) Robert Sheehan leaving for pastures new. Joseph Gilgun (another ‘This Is England’ prodigy) had a big job, but really did great with his dual personality character of Rudy coming into the group in this super-power driven comedy drama. This series had more stand-alone episodes than a constant driving narrative (which made the previous two series’ so addictive), but it’s a fun show, which has too many likeable characters to let that become a problem. A zombie episode, a Nazi time-travelling episode and an episode centred on the risks of sexually transmitted disease lets you know what you’re in for this time around, with a lot of well written tongue-in-cheek moments and homages to popular culture. Not the best series, but a solid group of episodes in what is (perhaps) the final time we’ll share with Misfits. 7/10.

Gran Torino (2008)

Race, age and prejudice is explored in Clint Eastwood’s directing and acting combo ‘Gran Torino’ where Clint plays a disgruntled Korean war veteran and widower who deals with the influx of immigrants and the uprising of gang warfare on his neighbourhood. It’s played out to tug on the heartstrings in a way that isn’t overly contrived, and the violence is sparse, especially with the overwhelming tension that hangs over the whole movie. It’s in the same ‘elderly man versus young hoodlums’ vein as gritty Brit thriller ‘Harry Brown’ but ‘Gran Torino’ is a much more understated experience. 7/10.

Prince of Persia – The Sands of Time (2010)

The adaptation of the video game of the same name has Disney’s stamp all over it, when really the only way to make this story enjoyable was to stick closely to the fantastic source material where terrifying sand monsters, exciting acrobatics and bold fight sequences were common place. Unfortunately this is a watered down, CGI rich version of the tale, bringing the romantic elements to the forefront and forgetting that for an adventure story to really work, we have to root for the protagonist. Jake Gyllenhaal’s Prince is a little too self-absorbed for me to get on board with and the tricks he pulls off with the time rewinding sands are nowhere near as clever as they could be. Utterly forgettable and certainly doesn’t warrant a sequel. 4/10.

This Is England ’88 (2011)

The gang return in Shane Meadows’ third delve into 80s northern England, and ‘This Is England ‘88’ had a lot to follow after the devastating and achingly real ‘This Is England ‘86’. This time around it is a lot more of a slow build, focusing on Lol’s descent into depression following the murder of her rapist father and tensions between the rest of the group following the falling out of Woody and Milky (after the fathers Lol’s child). The drama is set as Christmas and although moves slowly most of the time, the performances are great and the issues addressed both relevant and powerful. Again wonderfully shot by Meadows with an elegant score, ‘This Is England ‘88’ is as popular as it’s predecessors and will surely warrant another follow-up. 8/10.

Shark Night (2011)

Pretty sure I should have known what I was getting myself in for when I signed up for ‘Shark Night’, but I’m a sucker for a movie about a sea monster, no matter how trashy or corny it ends up being. But this really does take the prize for worst shark film I’ve seen in a long, long time (so bad it even convinced me to get hold of a copy of ‘Jaws – The Revenge’ to wipe my memory of this clean). Bad acting, bad CGI and a half-assed plot full of gaping holes. Oh yeah, and one of the victims of the shark tries to kill it by wading in to waist deep water holding a spear. And succeeds. A tremendous SHIT MOVIE OF THE MONTH with 2/10.

Limitless (2011)

I’ve heard a lot of good things about Bradley Cooper’s leading role in ‘Limitless’, the story of a struggling writer who discovers a drug that improves brainpower to increase the potential of whoever takes the pill. Of course, there are complications, and the movie does well at showing the rise and eventual downfall of somebody driven by the fear of failing. Cooper’s performance is solid, as is a role for Robert DeNiro, but the story is fairly linear and doesn’t veer off into exciting territory all that often. A decent thriller, however, and definitely worth a watch. 6/10.

Warrior (2011)

Last year had ‘The Fighter’, which combined family drama with sporting action to such a degree that it did incredibly well at the Academy Awards and has even been touted for a sequel. This year it’s ‘Warrior’, the tale of two rival MMA fighting brothers (played by Tom Hardy and Joel Edgerton) who enter the same competition after years without seeing or hearing a word from each other. Nick Nolte plays their father, and it’s a great performance, his wounded man feeling just as honest as Mickey Rourke’s in ‘The Wrestler.’ The family drama isn’t as intense as that from ‘The Fighter’, but the fight sequences are much better, making them both tense and exciting as you root for both leading men, although their characters are very different. I enjoyed ‘Warrior’ a great deal, and it makes my list of top 10 movies of 2011 (quite near the top, to be precise). It’s definitely my MOVIE OF THE MONTH (although ‘Boardwalk Empire’ was the best thing I saw in December) with 8.5/10.

Red State (2011)

Another movie to make my favourite 10 of 2011 is also the last film I saw that year. Kevin Smith’s ‘Red State’ is a complete departure for him, stepping away from comedy/action and moving seamlessly into thriller/horror territory with the story of religious extremists who kidnap some teenage boys they believe as ‘sinners’ and withstand a siege from armed forces who become aware of the crimes they are committing in their church. It’s streaked with black comedy, but ultimately, it’s an exploration of a very real problem in the US. Sure, the ending is quite disappointing and brings up more questions than answers, but the movie is a thrilling ride that I found it hard to look away from. And when the ‘villain’ is as despicable as the one in ‘Red State’, it’s clear than not even John Goodman can take him down without a fight. 8/10.

Top Ten Albums of 2011

1.      Mastodon – The Hunter

Mastodon’s fifth studio album is a real grower of a record, but when it grows it becomes monumental, channelling progressive thunderous riffs, space-age soundscapes and mythical story telling. Rarely would I describe an album as an adventure, but ‘The Hunter’ really is, and it’s arguably the best work from one of the biggest metal bands in the world right now.

2.      Architects – The Here & Now

A measured and thoughtful release from Brighton’s best, delivering their fourth album in diverse fashion that both splits current fans and drags in new ones. Many would call it far more ‘mainstream’ than Architects should be, but that’s not a bad thing. The band can only move onto bigger and better things after this, because it keeps the brutality but introduces their softer side, which will open more doors than it closes.

3.      Heart in Hand – Only Memories

Probably the best new band of the year for me, I discovered Heart in Hand by accident and have barely been able to stop listening to ‘Only Memories’ since. British melodic hardcore with a definitive edge, this honest and passionate album sets up the band for big things in 2012.

4.      Protest the Hero – Scurrilous

One of my favourite bands of the last few years release their third album with not much of a fanfare, building their fan base with solid hard work and a musical style that is equally technically efficient and boundary expanding. It’s exciting, insane and completely visceral in style and substance. Musical porn if it ever existed.

5.      Radiohead – The King of Limbs

A haunting and glorious group of songs, Radiohead’s latest release twists the beats of their sound into shapes that never forget how the band started and progressed in the past. They are the only band of their status that really seem to be trying to put out music that provokes thought and emotion without compromising of conspiring to what is popular with modern guitar bands. The songs are put together fantastically and convince me that this band will never release a bad album.

6.      Frank Turner – England Keep My Bones

Frank Turner, the humble, impassioned and determined singer-songwriter, has released an album that displays both his displeasures and pleasures in life, never feeling overdone or melodramatic. It’s both witty and heartfelt, which makes Turner a genuinely likeable artist and his songs instant classics even after just a few listens.

7.      The Devil Wears Prada – Dead Throne

A devastating album where the songs are short and snappy, combining hostile vocals and soaring choruses with chugging riffs and massive drums. ‘Dead Throne’ is a storming release from a band that are pushing their way to the top of festival line-ups.

8.      Trivium – In Waves 

‘In Waves’ hits the heights that previous album ‘Shogun’ didn’t, throwing back to the classic Trivium sound with huge songs, albeit with a tinge of slightly more of accessible clean vocals and catchier tunes. Epic aggressive tunes and sweeping instrumentals prove that the band have a lot of legs in them yet.

9.      Born of Osiris – The Discovery

An original and unique album that stands out from the crowd of the modern spew of metalcore. It’s one of the heaviest albums of the year while also being one of the most audacious and spirited. Truly amazing.

10.  Heights – Dead Ends

One of the most exciting new bands of UKHC, Heights’ ‘Dead Ends’ is intense and oddly beautiful at times. The vocals are raw and aggressive, but sound unique and recognisable. It hits the sweet spot between heaviness and melody with driving riffs and rounded musical interludes.

Album Review - Brigade : Will Be Will Be (2011)

After 2 EPs and 2 studio albums, hardworking Brit rock four-piece Brigade release brand new album ‘Will Be Will Be’. Despite achieving moderate commercial suggest, the band have struggled in recent times to keep the dream alive, with the departure of bassist Naoto Hori just before the summer of 2011 and the need to have fans help fund the latest release in conjunction with PledgeMusic. 

The album is homage to the band’s early sounds, such as those that appear on their debut full-length ‘Lights’, with areas of experimentation that are perhaps enforced to broaden the scope for new fans. This could be the last throw of the dice for Brigade, without wanting to sound overly cynical, and opener ‘200 Scratches’ starts with promise, each instrument frenetic with positive energy, but unfortunately this soon falls off and vocals struggle to be heard over the messy riffs, which lack direct intensity. It soon settles into a solid and rhythmic track, but lacks the punch to make it in any way memorable. Already it can be heard what influences filter into Brigade’s sound, with the tones of Muse, distortion of Queens of the Stone Age and melodrama of Smashing Pumpkins. 

‘A Heinous Crime With Draconian Consequences’ has a slower start before switching to beautiful heavy guitars, but again the vocals struggle, feeling too weak for the music they accompany. They could do with having a more brutal edge to counteract the guitars, and it would provide an awesome balance, as the melodic chorus offers a delightful change. The drums are superbly executed alongside the thick chords, but more work on layering and harmonies would do this song the world of good. ‘Eden’ immediately has a different feel, with American pop-punk sounds, proving that Brigade blur the boundaries of the alternative rock genre. It’s easy listening, melodic rock, which is safe, but not in a way that makes you want to fall asleep from the levels of boredom. It’s urgent, eager and emotive, with the vocals seeming more suited to this style, the notes soaring rather than falling flat. 

‘Adieu’ has a post-hardcore sound, with glorious melodies and astute musicianship. Essentially it’s another pop song, sounding at times like The Cure and at others like it could have strived during the Brit-pop revolution. The album so far doesn’t have misplaced identity, just a lot of different ideas that seem to be struggling to find common ground. ‘The Beating’ is a standard rock song but not much else. It’s utterly forgettable and feels like a light Placebo tribute, with rolling riffs that have no real direction and a repetitive droning chorus. ‘From Nothing Something Comes’ shifts from haunting to pressing, yet feels unimaginative when it gets going. ‘Sting Sting’ judders and builds but never gets where it wants to go. It echoes early Biffy Clyro but aspires to be more than what it is capable of. 

‘Laughter Lines’ is a much more subdued affair, and here’s where things start to finally pay off. It shows off the delicate nature of the band when a knack for solid song writing takes centre stage. It’s dramatic, brooding, cautious and intimate, with strings and piano creating a gentle sweeping backdrop. ‘It’s A Mess (If It Ain’t, It’ll Do Till A Mess Gets Here)’ is a positive, uplifting and bouncing track with welcome shifts in tempo and a roaring chorus. It’s possibility the best song on the album due to the lack of complicated ideas and the no-nonsense method in which the simplicity is executed. ‘Tiny Pieces’ continues the high quality with a pulsating song, which builds to a head (in a way that previous songs didn’t). The lyrics have heart and soul and by the time the final track arrives, much of what came before and didn’t work is long forgotten. ‘Find Your Own Way Home’ is a fitting finale, starting with every ounce of energy the band have. Guitars screech, drums pound and progressive rhythms rumble. After almost 3 minutes the song drops into understated mode, showcasing quiet melody with attention to detail. It builds slowly, layers of vocals and instruments simmering with distorted chants, creating a monumental wall of sound that brings the album to an end.

‘Will Be Will Be’ is weak in places but really comes into its own with the final act. It feels lost at times but when it begins to feel like a lost cause it soon finds its feet. Brigade are a band with a lot of potential, but they need to get the right elements into the right places if they have any chance of truly hitting the big time. They need to find a sound that is unmistakably theirs. This album is worth a listen but if you haven’t checked out Brigade, start with the first two albums, as they are a lot more rounded and exciting.