Sabtu, 30 Oktober 2010

Top Thirteen Ghost Songs



I celebrated Halloween earlier this week with my Top Twenty Horror Films, but I also wanted to do something to mark the day itself so I started collecting ghost songs with the aim of compiling a Top Ten. Then I realised there were more than 10 essential ghost songs, so I bumped it up to 13 in honour of the day. As mentioned previously, I'm a supreme triskaidekaphobic, but this is the one day of the year that such bad luck cancels itself out. You remember how on Buffy, no self-respecting vamp or ghoul would be seen dead causing trouble on Halloween? It's the same principle.

Even with 13 positions in my Top Ten, I still had to leave out a bunch of great ghost songs, including haunted offerings by Aimee Mann, Gene, Tom Waits, Prefab Sprout, the Manics, Richard Thompson, The White Stripes and others. Not to mention Cherry Ghost, the Ghosts and Phil... Spector.

If you're interested in Ghost Rider songs, I suggest you click here.




13. The Beautiful South - Woman In The Wall

A man murders his wife and plasters her into the bedroom wall... but the wife gets her revenge, driving him mad with ghostly screams and a wall that drips blood. If only all relationships were that simple.

12. Orange Juice - What Presence?

In the moth eaten gloom of his shabby room, Edwyn Collins sees the strangest manifestiation...

It may just be his imagination.

11. The Smiths - A Rush And A Push And The Land Is Ours

In which Morrissey becomes the Ghost of Troubled Joe, hung by his pretty white neck some 18 months ago, then travels to a mystical time zone...
There's too much caffeine in your bloodstream
And a lack of real spice in your life

Yeah, man, I know how that goes...

10. Stan Ridgway - Camouflage

In which a young soldier in Vietnam is saved from an ambush by an awfully big marine who cries "Semper Fi!" and then turns out to have died the previous evening.

He was an awfully strange marine.

9. Bruce Springsteen - The Ghost Of Tom Joad

In which Bruce calls upon the spirit of Steinbeck's classic hero to stand up for the disenfranchised of modern day America. Not so much a ghost story as a requiem for an age long gone...

8. Godley & Creme - Under Your Thumb

A man takes refuge from a storm in the last compartment of a stationary train... but someone follows him on board... the spirit of a woman whose only escape from an oppressive relationship was to take her own life...

7. Laura Marling - Ghosts

These are just ghosts that broke my heart before I met you.

6. Jellyfish - The Ghost At Number One

I will defend Jellyfish as a great 90s rock-pop institution, but on reflection the lyrics to this song are very silly.

5. Ray Parker Jr. - Ghostbusters

I ain't 'fraid of no ghosts

4. John Leyton - Johnny Remember Me

Joe Meek's finest 2 minutes 38 seconds?

One of many so-called "death discs" from the 60s (see also Leader Of The Pack, Dead Man's Curve, Last Kiss et al. ... I've got a whole album of them at home), although this is one of the few wherein the crash victim comes back, with haunting consequences.

3. R Dean Taylor - There's A Ghost In My House

Another rave from the grave by Holland Dozier Holland.

See also The Fall's version.

2. Kate Bush - Wuthering Heights

Heathcliff - it's me, Cathy, I've come home... let me in your window...

1. The Specials - Ghost Town

Not a town full of ghosts, but a town that's a ghost of its former self... this is still one of the spookiest records you'll ever hear...



Kamis, 28 Oktober 2010

Top Twenty Horror Films (Part 2)



(Click here for 20-11.)

OK, we're back with my Top Ten... and I'm sure it'll have you screaming at your computer screens. "WHAT - NO DRACULA 2001? ARE YOU AN IDIOT?" Etc. Etc.



10. Paranormal Activity


9. The Amityville Horror


I still remember watching this on TV late one night when I was a kid and not being able to sleep afterwards. For a long time. I became obsessed with the Amityville story and read the three novels and anything else I could find on it. Marketed as a true story, I still hate the idea that it was all a giant scam. I want to believe!

The movie doesn't have a great reputation among horror fans, but I think it stands up well, with excellent performances from James Brolin, Margot Kidder and (especially) Rod Steiger and a creepy score by Lalo Schifrin. The sequels are a waste of time and the remake misses the point, despite a half-decent cast... but then, it does suffer the stench of Michael Bay.

8. The Exorcist


Another movie that could have sunk under the weight of expectation once I was finally allowed to watch it, but thankfully didn't. A much better film than Texas Chainsaw Massacre, though not quite as shocking. Still, it's Mark Kermode's favourite flick, so it deserves its position here.

The sequels are drivel, particularly the recent, supremely dreary prequels.

Your mother cooks socks in hell.

7. The Descent


Crammed with twists, claustrophobic tension and genuine jumpy bits, Neil Marshall's best film delivers - as long as you're watching the original UK version. The "it was all a dream, happily ever after" ending grafted onto the US version was a kick in the horror-nads. And it led to the sequel, which was worse than pointless.

6. The Haunting


The movie that showed Paranormal Activity how frightening a few slamming doors could actually be, this is essential viewing for anyone who ever plans to direct a horror flick.

The Jan De Bont remake from the 90s is essential viewing for anyone who ever plans to ruin a horror flick. Truly ghastly.

5. Jaws


Part of me didn't want to include Jaws in this list, because part of me doesn't think of it as a horror film. Part of me thinks it's too good a movie to be considered horror. Which is snobbish and silly. Chief Brody rules.

I actually like Jaws 2. 3D and The Revenge are bobbins though. Were there any more? I'm sure they were offal too.

4. Halloween


Ah, John Carpenter. The man responsible for two of my top five horror flicks. The man who invented the handheld camera following you down the street routine. The man whose weird, self-composed synth music was more effective at delivering shivers than any big orchestral score. The man who created one of the truly great screen monsters... using a William Shatner mask.

Jamie Lee Curtis, Michael Myers, Donald Pleasence... what's not to like?

I think I probably liked more of the Halloween sequels than any other horror franchise. H20 was particularly good. Rob Zombie's remake was bobbins though.

3. Psycho


Alfred Hitchcock. Anthony Perkins. Janet Leigh. Bernard Herrmann. Who's the bigger star of Psycho?

Actually, the thing that impresses me most about this film is the way it changes direction in such a startling manner midway through. I guess that's down to Robert Bloch, who wrote the original novel, and Joseph Stefano who did the screenplay.

She wouldn't even harm a fly.

I like the sequels purely for Perkins' hammy performance. The Vince Vaughan / Anne Heche shot-by-shot remake was an exercise in utter futility though.

2. The Shining


Which is better, Stephen King's novel... or the vastly different Kubrick movie? The author obviously believes the former, but as much of a King fan as I am, and as much as I can take or leave just about everything else Kubrick's ever committed to celluloid... the atmosphere of this film is unrivalled. Jack's just-the-right-side-of-mental performance, Shelly Duvall's wonderfully insipid support, the creepiest horror movie kid ever, the scene in room 237, Scatman Crothers' botched rescue attempt, all that snow and isolation, Delbert Grady and Lloyd the bartender... a horror movie I never grow tired of. Hoping to watch it again this weekend on the big screen.

Heeeeere's Johnny!

1. The Thing


For anyone wondering why there's no room for Alien in this list, the answer is simple - everything Alien can do, The Thing can do better. All the crimes against horror committed by John Carpenter in the latter half of his career matter not one whit. This movie is perfect, I won't hear a word said against it.

I have low, low hopes for the upcoming prequel.


This week's Thoughtballoons strip features my tribute to The Thing, starring its more Fantastic namesake. You can read it here.


Rabu, 27 Oktober 2010

Top Twenty Horror Films (Part 1)


In preparation for Halloween, everyone's listing their favourite horror flicks. Well, Final Girl is, and Ryan 'Stinkbrown' Lindsay is too. I'm sure a bunch of other people are thinking about it. Show me a barrel and I'll scrape it...

Runners up included Evil Dead 2 and 3, Final Destination (any of the first three, not the rubbish 3D one), Rec (Spanish), The Fly (Goldblum), The Hitcher (Hauer) and The Ring (Japanese). Which should give you an idea of how bad my taste in horror films really is.

Here's 20-11 then... come back tomorrow for part 2. You just know it's gonna piss you off some more.


20. Friday The 13th


It's well over twenty years since I saw the original, and I'm sure it wouldn't stand up after all this time, but I still remember the impact this movie had on me - particularly the ending. Diluted to death by a dozen inferior sequels, this stuck a spike through my heart like an arrow through Kevin Bacon's throat. And Jason wasn't even the killer!

19. 28 Days Later


What if zombies could run really, really fast, Christopher Eccleston was a right hard bastard, and Manchester looked like LA from a distance...?

The sequel is... OK.

18. The Strangers


17. Cube


Some ignorami consider this to have invented the torture porn genre and spawned a million Saws, Hostels, et al. The difference being there's more invention, imagination and genuine tension in the first five minutes of Cube than there was in the whole Saw franchise.

The sequels are good too.

16. An American Werewolf In London


Another of those horror films that defined my youth, and not just for Jenny Agutter in the shower.

Keep off the moors and stay on the road.

The sequel is rubbish, despite Julie Delpy.

15. Them (Ils)


Because, it seems, only the French truly understand there's little scarier than a bunch of unruly hoodies. Inspired The Strangers, Eden Lake and a bunch of other "aren't kids bastards?" flicks, none of which were quite as efficiently brutal.

14. Frailty


The film that made Bill Paxton scary. That's some achievement! (He directed it too, so it was all his own doing.) Great twists and a black-as-pitch ending.

13. Duel


The horror film that reminds you you're not as indestructible as you think you are in that little tin box you drive about in every day. Dennis Weaver does the everyman routine perfectly, Spielberg's direction has never been grittier, and the fact we never see the trucker makes him the perfect boogeyman.

I was tempted to include copycat 70s movie The Car in this list, if only for the scenes where the eponymous driverless vehicle refuses to go onto consecrated ground... and then explodes in a fiery devil explosion at the end. In my memory, I often get the two films confused and have that devil explosion tear up the sky after the Duel lorry tumbles over the cliff too. I'm always vaguely disappointed when it doesn't happen.

12. The Blair Witch Project


All you people who hate Blair Witch, sorry, but you're wrong. It may just be a lot of silly running about in the woods, but woods are scary places... and that facing the wall ending haunted me for weeks.

The sequel is bollocks.

11. Texas Chainsaw Massacre


Since it was banned in the UK as a video nasty throughout my youth, I expected to be disappointed by TCM when I finally saw it. Disappointed, I was not. Disturbed, I was. Not by the expected scenes of chainsaw torture - which turned out to be mercifully few and actually quite restrained - but instead by the scene at the dinner table where Grandpa's corpse starts sucking the girls finger and she screams... and screams... and screams... and screams.

The remake was far too glossy.



Click here for part 2...



Selasa, 26 Oktober 2010

The Best In The West



The traditional Western hero is a loner. A man with no name, and few transparent emotions. He is as cold and hard and lonely as the country that shaped him. He strides into town, delivers justice, then rides off into the sunset... and rarely do we get any more than a glimmer of the man beneath the hat.

Andrew Cheverton and Tim Keable's Jerusalem West always appeared to be just such a man. Standing up to bandits, bank robbers, crooked politicians, werewolves and even the walking dead, he was a man of a few words and little outward emotion... yet Chev and Tim always hinted at a darker past for their lone stranger... and in Distance that past is finally revealed.

It's a gut-wrenching ride that packs a genuine emotional punch. Chev's script is pared to the bone, allowing Tim's moody artwork the chance to carry much of the narrative in a subtle yet powerful way. It's a comic that requires, nay demands, multiple readings, and rewards a dedicated audience with a haunting tale that really captures the imagination. I can't wait for episode three.

West: Distance #2 is now available from the Angry Candy shop. Mosey on over there and pick it up. Tell Chev a stranger recommended it...


Senin, 25 Oktober 2010

The Good, The Badly & The Ugly

In which I end up walking out of a gig after a blazing row over a mobile phone...


You know how most gigs start out a bit rubbish, with a lacklustre support act, then gradually improve as the artist you've come to see plays all their new songs before working up to an amazing greatest finale hits finale that sends you home on a high?

Friday night was a gig in reverse.

It began with the best support act I've seen in donkey's ages, The Candle Thieves, just two young lads with guitar and keyboard, yet they filled the venue with their quirky, Eels-influenced-but-poppier, songs and their big-hearted bravado. For one song, Stars, lead Thief Scott McEwan unplugged his guitar and walked around the quarter-full audience, singing as he went. After that, the Candle Thieves had us. I bet they sold a lot of CDs from the merch stand that night; I certainly bought one.

After this, the headliner had a lot to live up to. Badly Drawn Boy's whole act however is one of ramshackle can't-be-arsedness. This is amusing for a while, and certainly on his opening acoustic set wherein he played a number of his biggest songs (occasionally accompanied by his 10 year old daughter, which even I found sweet) he looked liked he was going to deliver the performance we'd all been revved up for. The problems began when he invited on the rest of his band. The whole "they'll wander on and start playing as they feel like it in the middle of the song" routine felt contrived, and the band brought little to his act. The new album is a slowburner, but too often its delicate tunes just turned to mud and even Mr. Gough himself seemed unhappy with the way it was sounding, eventually calling for a half-arsed "fag break" interval right when any other act would be switching up a gear to the show-stoppers. Maybe they came back on and tore the roof off... I'll never know.

Because, midway through BDB's act, I became distracted by the woman next to me who was having a long text conversation on her phone. I mean, a LONG text conversation - it went on for over two songs by the time I'd finally had enough. She had one of those phones that double as lighthouses when you switch them on and her texting was illuminating the whole row.

Finally, I couldn't take it any more. I turned to her and, polite as I could manage, asked if she wouldn't mind switching her phone off as all I could see was the light.

"I was just sending a very important text to someone who's in hospital," she tried to explain. I shrugged - if it's that important, why not take it outside the auditorium rather than disturb everyone else and disrespect the performer? - but as she acquiesced and turned the phone off I said nothing more and carried on watching the show. As far as I was concerned, the matter was settled.

I've watched enough Curb Your Enthusiasm to know things are rarely that simple...

As BDB called fag-break, we took a moment to stretch our legs and use the loo. On returning to our seats, the woman with the phone decided to have her say.

"You were very rude to me," she said, "are you going to apologise?"

I explained that as far as I was concerned it was far more rude to spend ten minutes lighting up the whole venue with a phone...

"It wasn't ten minutes."

"It was over two songs!"

"It was two songs. And I explained that I had to send an important message to someone in hospital. And I apologised. But you were rude and you didn't apologise."

I began telling her I didn't see how I had anything to apologise for...

...which is when her son turned up.

"Is there a problem here?"

"There's no problem," I told him.

"I DON'T CARE ABOUT YOUR OPINION!" he shouted, pointing an aggressive finger in my face, at which point they both started on me.

So we left. It seemed the easiest option, rather than trying to argue my case. It was after 10 and Badly hadn't built up enough good will for me to want to stick around and put up with this abuse. I was furious...

...but afterwards, I started to wonder: was I in the wrong? As hostile as he'd acted, I couldn't really blame the son. He'd come back in to see what he thought was me having another go at his mum. He wasn't to know that it was her who'd started the exchange. If I saw someone having a go at my mum, I'd probably have been similarly incensed. But did this woman really deserve an apology? I'd restrained my original request to a polite "would you mind...?" rather than the "TURN THAT FLIPPING THING OFF!" I'd been feeling, and I'd made no more of it after she finished her texting. She may well have been worried about a relative in hospital - but not worried enough to cancel her evening out, or even to step outside the auditorium to send her messages. And I wasn't the only one getting annoyed by the light from her phone. But should I have said nothing? Or should I have dropped to my knees in supplication at the very mention of a sick relative? Is it just me? Do you think I was in the wrong?



Minggu, 24 Oktober 2010

STEP UP 3D (2010)

MyRating: YYYY

Director: Jon Chu
Cast: Rick Malambri, Sharni Vinson, Adam G. Sevani, Alyson Stoner, Joe Slaughter, Keith Stallworth, Stephen Boss, Martín Lombard, Facundo Lombard, Oren Michaeli, Kendra Andrews
MPAA: Rated PG-13 for brief strong language

A group of young New York City underground street dancers named themselves House of Pirates, led by Luke (Malambri), faces tough times when their practice dance club in an old warehouse is put up for auction due to their overdue rents. The only way to keep their place is to win big money by competing in the World Jam dance contest, a high-stakes showdown competition followed by the world's best hip hop dancers, including their vicious rival, House of Samurai. While preparing his dance crew, Luke accidentally finds an incredible dancing talent from a first year electrical engineering graduate student named Moose (Sevani), who was born to dance. The only person who seems to understand how Moose loves to dance more than anything else in his life is Camille (Stoner), Moose's long time best friend, whom he secretly loves. Luke also meets another person who shares the same passion about dancing, a girl named Natalie (Vinson), whom he later falls in love. And they all team up together to rock the dance competition, the event so big that will change their lives forever. It's all about loves, friendships, and dancing!

I never know watching a dance movie could be so much fun until I watched the Step Up movies. I liked the first Step Up (2006) and Step Up 2: The Street (2008) for a very simple reason, they were fun. And this third installment of the franchise was a joyride and awesomely-fun. I never know how they will make 3D out of a dancing movie. A 3D dancing movie? Come'on! But they did it. And they did it seriously as they shot the film in real 3D cameras. And the result is a terrific eye-popping 3D experience.

Even though the plot is as thin as paper and the actings were just average, but it did not reduce the excitement of watching this movie, because the dances were just so good, that made the movie to become so enjoyable. It was a showcase of intense top-notch 5 stars dances with great and innovative choreographies. The dances will hook you again and again, never let you loose until the end of the movie. I even found myself tapping my feet and moving my head and shoulders, while watching the dances and enjoying the exciting soundtracks.

There were many amazing dancing moments in the movie. The energetic group dances in the competition were definitely the ones. All the actors, who mostly are real dancers, were really outstanding in showing their dancing capabilities. You will see all kind of hip-hop moves, from breakdancing with head spinning on the floor, crazily body popping, upto roboting moves. But the most outstanding performance was from one of the main characters, Adam G. Sevani, who played as Moose. At a glance, he looks like the geek type of guy, but you won't believe when you see him dance. He really shines and has many magical moments, including when he danced in the street with Alyson Stoner, to imitate Gene Kelly's memorable dance in his classic movie Singin' in the Rain. The most mindblowing one was when Moose splashing his moves on the stage flooded with water, following by other dancers. That was just brilliant! And the closing unison dance of the House of Pirates with LED lit costumes was a total knockdown. And to watch all these in 3D gave me a total thrill and satisfaction, that I never thought a dance movie could provide.

I was not interested to watch the original Step Up movie at all the first time it was released, because dancing movie was just not really my cup of tea. And I remember watching that movie only after a couple of years later. So, I never planned to like these movies. But I found myself to love them anyway. In my opinion, a good movie should not be narrowed into only an Oscar-like movie. I love Oscar-winning movies, as most of them were extremely good movies and the best movies ever made, and I enjoyed watching them very much. But there are also movies that you should not feel ashamed if you happened to like and cherish them. A good movie is good when you think it's good from your heart. I will even consider a fun movie as a good movie. Don't get me wrong! I will never consider a bad movie as a fun movie, as bad movies usually never entertain me. Not in my dictionary.

For me, Step Up 3D was an extremely fun movie, especially if you watch it in 3D. If you are a hater of this movie, then I will ask you one question. Have you watched it yourself? If yes, and you still hated it, then it's fine. That means this movie was indeed not your cup of tea. Liking a movie is about 'taste' anyway, not everybody will like and share the same opinion about a movie. But if you have not seen this movie (not the first nor the second one) and you slam it! Just because this movie is easy to be slammed. Then I suggest you to go see this movie. There is no point to judge a movie that we have not yet seen. And it is not a crime to sometimes let down our pride and like a movie that we feel too proud to like, as there are always people who tried too hard to be considered as a sophisticated movie-goer. I guarantee you, it will be a fun two-hours of your time at the theater. And it will be good for your health. Dancing did. Next time, I will cherich with you regarding an Oscar-winning movie. For now, enjoy the dances, as that was the reason this movie was made. (MJ)

Soundtracks from STEP UP 3D: (To not exit this page - open the songs in new windows with right click)
- Lauren Evans - Dream Awake
- Laza Morgan - This Girl
- Trey Songz - Already
- Benny Benassi Feat Channing - Come
- Flo Rida Feat Nelly Furtado - Jump

Jumat, 22 Oktober 2010

LEGEND OF THE FIST: THE RETURN OF CHEN ZHEN (2010)

MyRating: YY1/2

Director: Andrew Lau
Cast: Donnie Yen, Shu Qi, Anthony Wong, Huang Bo, Shawn Yue, Yasuaki Kurata, Ryu Kohata

Donnie Yen reprised his role as Chen Zhen, the role that he played in the 1995 Hong Kong TV series "Fist of Fury". This fictional martial artist and Chinese culture hero, created by the Hong Kong writer Ni Kuang, was first popularized by the legendary Bruce Lee in his 1972 martial arts movie, Jing Wu Men (Fist of Fury). Since then, this character has appeared in numerous remakes and adaptations of films and television series, including in the popular 1994 Jet Li's Hong Kong movie, Fist of Legend (which happened to be my most favorite Jet Li's movie of all time). The character of Chen Zhen is believed to be based on Liu Zhensheng, a real student of Huo Yuanjia, a Chinese martial artist and co-founder of the Chin Woo Athletic Association, a martial arts school in Shanghai. Huo Yuanjia's character has also been played by Jet Li in his 2006's Fearless. And the stories of Chen Zhen, even though varies in many different remakes and adaptations, usually have the same background, which is to avenge the death of his beloved teacher, Huo Yuanjia.

This movie is set in Shanghai during the Japanese invasion to China, seven years after the events of the 1995 "Fist of Fury" TV series, and seven years after the 'death' of Chen Zhen, who was shot after avenging his teacher's death. But he is not dead. He returns, changes his identity, and befriends with a local businessman and the owner of a prominent nightclub, Master Liu (Anthony Wong), with a grand plan to infiltrate and fight the Japanese. Chen also involves in a romantic relationship with the nightclub hostess and singer, Kiki (Shu Qi). When Tokyo sends a death list of 100 names of the influenced Chinese people to the ruthless Japanese Colonel in China, Colonel Chikaraishi (Ryu Kohata), all to be killed within one month, Chen knows that this is the time to act. Disguising himself as a masked fighter by night, Chen tries to save as many people in the list as possible before the time runs out. And all that leads into the final one on one brutal combat with the Colonel in the Japanese dojo.

If I have to sum up my review for this movie in one sentence, then it would be "a movie with great actions and martial arts, but with not so good story, that resulting in a mediocre feel-like movie". I will start with the story. I think the script was not well written, with messy sub-plots that made the story to become complicated, but actually with no substantial depth. The movie was less 'heart', as it was difficult to feel the characters. All this make the movie to become a bit mechanical, with many fight scenes, but no 'touching' moments. And watching Donnie Yen wearing a black suit with a mask (the same as that of Kato from The Green Hornet) was somehow laughable. It was just not comfortable to see him in that silly costume. This movie was also too noisy with many unnecessary loud background sounds. If compared with Ip Man 2 that was released earlier this year (also staring Donnie Yen), which was a great movie with a lot of heart, this movie was in a different league.

Putting aside the story, the action scenes were great though, with awesome martial arts fights. Donnie Yen was definitely one of the most exciting Hong Kong martial arts actors nowadays. He has been in the movie industry for so long (one generation with Jet Li), including playing in Hollywood movies (Blade II, Shanghai Knights), but his stardom is really rocketing to the sky after playing Yip Man in the hugely successful Ip Man in 2008, that makes him a hot commodity nowadays. And what great about Donnie Yen is, not only he is great in martial arts (as he actually knows kung fu, like Bruce Lee, Jackie Chan and Jet Li), but he also has a good acting capacity. I just love this actor. And Donnie Yen was the one who made this movie to become exciting, with his brilliant and fun to watch martial arts moves. The fighting choreography was top-notch, even though there were some impossible over-the-top actions. The final battle in the dojo where Donnie Yen fights against countless karate students was mind blowing, including the ultimate fight with the Japanese Colonel.

If you are a fan of Donnie Yen and martial arts, then you should probably watch this, but do not expect a good story. And I would like to add one more line, 'Even though the story will let you down, but Donnie Yen won't.' (MJ)

THE OTHER GUYS (2010)

MyRating: YY1/2

Director: Adam McKay
Cast: Will Ferrell, Mark Wahlberg, Eva Mendes, Michael Keaton, Steve Coogan, Damon Wayans Jr., Rob Riggle, Samuel L. Jackson, Dwayne Johnson
MPAA: Rated PG-13 for crude and sexual content, language, violence and some drug material

Allen Gamble (Ferrell) and Terry Hoitz (Wahlberg) are second grade New York City police detectives, who spend their times mostly behind their desks rather than having 'real' actions on the street. As a partner, they both have totally different personalities. Allen is an obedient guy, who does like his paperwork job. While Terry is an angry man, who hates his stupid tasks as well as his partner, and desperately wants to become a 'real' cop in the line of duty. When the two top cops and most beloved heroes of their town, Highsmith (Samuel L. Jackson) & Danson (Dwayne Johnson), are unable to perform their duties, Allen and Terry suddenly have to step up to fill the shoes of those great heroes, before others did, and to claim that they are not merely 'the other guys'. It's the opportunity of their lifetimes, but the case they face may also be the biggest crime they may never dream of.

I am not a big fan of Will Ferrell's comedies. Why? I found it difficult to digest most of his jokes. And I didn't enjoy much two of his blockbuster movies, Anchorman: The Legend of Ron Burgundy (2004) and Talladega Nights: The Ballad of Ricky Bobby (2006), which I have to finish them in several sittings when I watched those movies in dvd. I like the guy though, and I think he is funny. However I also think it is true, that even the Americans love his movies, but his jokes are not fitted very well with Asian countries. And if you noticed, those two movies did not perform well in the box office outside the U.S.

This is a quite funny buddy-cop movie (I still expected it to be funnier though). Will Ferrell was back in his favorite typical ignorant character, but sometimes can be so head-strong. This was definitely his zone. So, if you like his jokes, you will like this. Mark Wahlberg seemed to be successfully pulled his character himself as an angry cop, who was frustrated with his job and his partner. And together, as two different styles of actors, their chemistry was blending well. But the most interesting performance, I have to say, was Eva Mendes, who appeared solidly and spicy as Ferrell's sexy wife. Her appearance gave a refreshment to the whole movie. The sex talk between Ferrell and Mendes through the granny was hilarious. That was the funniest scene in this movie.

In overall, this movie was just okay for me. It's a decent one, but the story was just average. I actually expected more to happen in the movie, but nothing significant happened until the end of the movie. It was funny, but not as funny as what I expected. And I also expected more actions, which this movie seemed to lack. I watched this movie with an expectation to get 'punched', but the 'punches' were just not hard enough. That's the dangerous of having too much expectations.

This movie is the fourth collaboration between Will Ferrell and Adam McKay, following Anchorman (2004), Talladega Nights (2006), and Step Brothers (2008). They seem to make a movie together every two years. More will surely come. (MJ)


Friday Flash - The Man In The Barn



Almost didn't make the deadline for this week's Friday Flash. The idea came to me in a dream, as many of my best stories have, on Sunday night but I've struggled to make it work. Changing from a first person to third person narrative helped greatly; sometimes when writing more personal stories, the temptation is always to write first person. I've found that can make these kinds of stories a little too close for comfort though.

The truth is, I'm always more comfortable writing stories with an element of the incredible. Horror, sci-fi, magical realism... I rarely have any misgivings. When I leave those devices alone and write something straight instead, it's always harder to know whether it works.

Let me know what you think.


The Man In The Barn


There was a man in the barn.

It was the beginning of October, just after Ben had gone back to Afghanistan, and Joe was up early because he couldn’t sleep. This was the pattern now, no matter how tired he was or what time he went to bed, he always woke around four, five at the latest, and nothing could make him go back to sleep. He’d get up and write for a while, then go for a walk just before dawn, which broke about seven, seven thirty this time of year. He always set out in the dark, but he took his maglite with him. Besides, he knew those paths blindfold. He’d been walking them all his life.

Usually he’d go up past White Reaps then follow the path alongside the catchwater to the reservoir. By the time he got up there the dark was usually breaking and on a good day the sky would be turning a hundred different shades with the dawn. It’d been a dry autumn after another wet summer. Dad purposely left the haymaking late this year. Ben came home for it, to help bring the bales in. Dad still refused to buy one of those new machines that made huge, round, plastic-wrapped bales you could only lift with a tractor fork. There was nothing wrong with that old Fergie square baler he’d been using since Joe and Ben were kids. Well, nothing except every summer it took him and Ben ever longer to get that old wreck working again, and most years it broke down midway through the first field so Ben had to crawl underneath with his shirt off and tie something together, or reach into the guts while the tines were still moving and twist something back into place. Watching him do that, Joe always worried Ben was going to lose a hand or something. You heard about that sort of thing all the time, but Ben laughed it off. He said if he could handle being mortared by the Taliban, he could handle a few whirling spikes and spinning pistons.

“If I’m gonna lose an arm, Joey, it won’t be on Dad’s farm.”

“You pipe down now, Benjamin Cartwright,” Dad would tell him if he heard that, “no son of mine’s gonna lose anything anywhere anyhow. My boys are indestructible – we all are now, haven’t I told you that before? I made a deal with the bloke upstairs when we lost your mother. You just remember that. Nothing’s gonna hurt my lads while I’m still drawing breath, and I plan on doing that for a good time to come. Long as I can still lift one of these bales in each hand… now crack on, I want these in the barn before dark.”

Joe didn’t know if Dad really believed they were indestructible, or if that was just what he told himself to stop going after god with that old shotgun he kept in the cupboard by the electric meter. Maybe Ben believed it, but for Ben it was probably true. He’d walked away from that car bomb in Kabul with barely a scratch and when his helicopter was shot down outside Sangin he survived not only that, but three days walking alone through the desert as well.

Of the three of them, Joe was the one who felt the least indestructible. There was no question about that. Even at 27, he was still the one who went up on the trailer and stacked while Dad and Ben threw the bales up. Sometimes he had to ask them to hold up, slow down a bit so he could get them all in place before they threw any more up. If you didn’t stack them right, they’d fall off the trailer as soon as you started back to the barn.

“There’s an art to stacking a trailer,” he told them, “it’s not about brute force.”

“Good job,” said Ben, which made Dad laugh. But not in a nasty way. It’s not like he was comparing them.

“I’m proud of both my boys for what they’ve achieved.” Dad often told him. “Benny as a soldier, Joey as a scholar. You went out and used your brains, son. Got yourself a university degree, and one day you’ll be a great writer with it. I’m looking forward to strolling into Waterstones one Saturday afternoon and taking my son’s novel down off the shelf. Now I know what you’re gonna say, it’s not an easy thing getting published…” Dad knew this because Joe told him every time the subject came up. Every time another year went by with nothing to show for his writing but a rent-free room in his mate Andy’s attic and too much time spent fabricating ever more inventive excuses for why he couldn’t get a job. “But if anyone can do it, it’s my boy the university graduate.” It was only a 2:2, but that didn’t matter to the old man. It really didn’t.

Joe thought about this a lot on his early morning walks. That was the best time to think, when most everybody else was asleep. It’s like how you could get a clearer radio signal when there were no competing stations, or how the internet was always faster when everyone wasn’t on there downloading porn. Joe thought about Ben, so many thousand miles away in a foreign country that might as well have been an alien planet. It looked like Tatooine in the pictures. He’d sit on the reservoir wall and watch the underwater colours the sky turned just before daybreak and waited while the light spread slowly across the valley, colouring it in and rubbing out the shadows. Finally he’d set off back down, taking the other path this time, the one that took him right through Dad’s land. This was still home, even though he didn’t live here anymore. Most mornings he’d call in for a coffee, ask if Dad needed any help with anything. The answer was always the same.

“I’ll be fine, lad. More important things for you to be doing, I’m sure. Write another thousand for me!”

Joe had told him once how that was his goal. A thousand words a day. If he managed that, eventually he’d write so many that some of them would have to be readable.

This particular day in October, the sky was completely clear as Joe crossed the fields towards the farm. The woods were turning brown but the early sunlight cast them gold. There was a thick dew on the grass, but still no frost. A hare the size of a small dog broke from the bulrushes and sprinted towards the lane. Joe jumped at the suddenness of it, his heart thumping. What an idiot!

He climbed the gate that kept the cows out of the yard and crossed towards the house. The hen hut was still locked, as was the night ark where the ducks slept. Dad obviously hadn’t been out yet. The bathroom light was on and Ben could see the shadow in the window as Dad leaned over the sink shaving. If Dad knew Joe was here, he’d start rushing round making me coffee, asking if he wanted toast or eggs, the usual fuss. Let him finish, Joe thought, and walked instead over to the barn. He wanted to smell the hay. There wasn’t anything like the smell of hay. Warm and comforting, better than fresh baked bread. It was easy to understand why cows liked it so much. Maybe they weren’t as dumb as they looked.

There were two entrances to the barn: the huge, arched doors Ben reversed the tractor trailer through in late summer and a smaller side door which led either to the barn itself or the cow shed in the back. Neither were locked, but it was much easier to use the smaller door. Getting the big doors open involved hauling down on a rusty chain that squealed worse than a stuck pig. That would have woken up half the hillside. The side door was just one click. Barely enough to rouse a field mouse. Certainly not enough to wake the man in the barn.

The barn had three sections. At the front was a huge stack where Dad piled the loose hay he collected from the fields once baling was done. There was always loads left over that the baler didn’t pick up. You could get a good two weeks’ feed out of that if you could be bothered raking. Beyond that the bales began, piled high and crisscrossed together to hold them in place. You never stacked bales one on top of another. You locked them together – second layer at right angles to the first. There was an art to it, an art Joe knew. He may not be able to root out insurrectionists in a Helmand mosque, but he knew how to stack bales in a barn so they wouldn’t fall over halfway through the winter. He wasn’t completely useless.

Finally there was the loft. Set back from the rest of the barn, it was built over the cow shed for extra storage. The bales in there were first in, last out. Sometimes there’d be some left over from the previous year and they’d have to move them down before fetching the new ones in. Up in the loft: that was where the man was sleeping. There were no windows and Joe hadn’t turned on the light, but he knew the man was there. He could hear him snoring.

His heart was in his chest again. He’d thought he was alone. For a second, he felt like he should back out quietly so as not to wake the man. Then it hit him, like angry indigestion, the man shouldn’t be there. This wasn’t his barn, it wasn’t his land. He had no right!

It had happened occasionally while Joe and Ben were growing up. You’d get tramps every now and then, stopping off and using Dad’s barn as a hotel for the night. Dad told of finding empty bottles or crisp packets, of eggs stolen from the hen hut, maybe even a pint missing from where the milkman left it down the lane. The only time Dad got really angry was when he found the cigarette butts. Carelessly dropped, they might have burnt down the whole barn, maybe taken the rest of the farm with it. Joe remembered one time when Ben was 15, maybe 16, he’d caught some bloke in a scarecrow coat sneaking in there with a fag in his hand late one night. Ben had gone ballistic. Grabbed that guy by the lapels, dragged him all the way down the lane, threw him out onto the road. Really tore a strip off him. Joe was watching through the bedroom window when Ben came back up to the house.

“Good lad,” said Dad, laying a rare hand on Ben’s shoulder.

But Joe wasn’t his brother. This bloke sleeping in the loft now, he might have a knife or anything. If Joe went up there… Dad didn’t even know he was here. If he got stabbed and this guy just left him for dead, he could be lying there weeks before Dad even found his body. There was no reason for Dad to come in here till he brought the cows in for winter. No reason to go up in the loft till all the bales had been cleared from down on the floor.

So Joe backed out of the barn and pulled the door shut behind him. Slammed it shut, much louder than was needed. If he was smart, the man in the barn would be gone by the time they got back. That’d be best for everybody.

Joe crossed the yard to the kitchen. The back door was open and the dogs were racing round the yard. Brando and Eastwood, those two crazy border collies Dad was still trying to train. Five years and he’d just about got them to come back when he whistled. ‘Sit’ and ‘heel’ were way beyond them. Soon as he saw Joe, Brando tore across the yard, almost knocked him back on his arse. Eastwood followed and Joe took a few moments to fuss them both. He could see Dad through the kitchen window, filling the kettle from the tap. Dad waved and mouthed “coffee?” and Joe nodded back, steeling himself for what was ahead. He didn’t know why he was suddenly so nervous, it wasn’t his fault there was a man in the barn.

Then Brando’s ears pricked up. Eastwood’s followed suit and both animals lost all interest in Joe, running, barking, towards the barn. Joe turned to see the side door opening and the man stepping out into the yard He was blinking in the sunlight.

He wore a shabby grey suit that had seen better days (days not spent sleeping in barns) and there was hay in his hair. He ran a hand up his chin, scratching three days’ stubble, noticed Joe and dropped his eyes to the ground. He mumbled something Joe didn’t hear because the dogs were still barking. They kept their distance though. All bark, no bite, those dogs. If the man had made a sudden move or a loud boo, they’d have been back in the kitchen, hiding under the table. But the man didn’t know that, so he kept his distance, edging away along the front of the barn. Away from the dogs. Away from Joe. Out of the corner of his eye Joe could see Dad crossing the kitchen to find out what all the noise was about. Joev realised it was now or never.

“Oy!” he shouted, stepping forward and pointing an aggressive finger. “What the hell do you think you’re doing?”

“Sorry, mate—“ The man started, but Joe wasn’t about to give him the chance.

“This is private property!” Louder, feistier. He knew Dad was watching now. “You can’t just—“

“Listen,” the man said, raising his palms, but still backing away. “I don’t want—“

“No, you listen to me.” Oh yeah, Joe was on one now. He was the man. “You are trespassing - on private property - and we are well within our rights… there’s a shotgun in that house, and we’d be more than justified—“

“Please, mate, I don’t want no trouble—“

“Then you’ve got ten seconds to get off this land or I am calling the police.”

“You don’t need to--”

“I am calling. The. Police.”

“Please, if you’ll just let me—“

“Ten - nine…” This was great. Joe felt so good right now. Better than in months.

“My wife, she—“

“Five – four...” Oh, yeah, skip those numbers. He’d seen that trick in a Bruce Willis movie. Bruce Willis didn’t take no shit, why should Joe?

“OK, OK, I’m going, I’m sorry—“

“Two – one…”

The man started running and the dogs went after him, all the way down the lane and out onto the road. Dad had to whistle them back so they didn’t get run over.

Joe was buzzing now. He was glowing. They could have dropped him into Afghanistan and he’d have sorted the whole Middle East problem by teatime. He really was indestructible.

“Well,” said Dad, as the dogs came slowly back. “I’m not sure you need any coffee.”

Then he went back in the house, and they didn’t say another word about it.



Two nights later, Dad’s barn burned to the ground. The old man tried to stop it spreading to the house, but by the time the fire brigade arrived that was pretty much gutted too. Joe was awake when it happened. Soon as he saw the lights from the fire engines go past the attic window, he knew… he knew exactly what had happened.

At least Dad was OK. They took him to hospital with smoke inhalation and Joe had to find someone to look after the dogs before catching the bus across town to visit him. Andy said they could stay in the kitchen, but Joe knew that wouldn’t last. Andy was allergic to dog hair.

He sat at the side of Dad’s bed and waited while the nurse gave him more oxygen to breathe from a mask. When finally she let him take it off, Dad shrugged and tried a smile.

“I spoke to Benny,” was the first thing he said. “He’s coming home for… he’s taking his early leave or summat. I told him he didn’t have to, but…”

He went quiet as the first tear dripped off Joe’s chin. Joe ran a hand up his face to try and stop them.

“Come on, lad. It’s all right. I’m all right, you’re all right, none of the animals were hurt… I told you we were indestructible!”

“It’s my fault, Dad. It’s all my fault.”

“Don’t be daft,” Dad replied. He sat forward and laid a rare hand on Joe’s shoulder. That’s when Joe really started crying.


Kamis, 21 Oktober 2010

Under The Dome



It seems the pattern these days that a new Stephen King novel will be greeted by two wildly differing reactions from longterm fans. It's either "great - a real return to form" or "SO disappointing - not a patch on his old stuff!"

The problem is that I generally wait to read King's novels in paperback, so by the time I got round to Under The Dome I'd already read loads of reviews - by people whose opinions on such things I respect - telling me how much they either loved or hated it. And because I'm such a lily-livered milksop when it comes to voicing my own opinions, I'm filled with trepidation at the prospect of writing this review.

Ah, sod it.

I liked it. I'd almost go so far as to say 'loved'. If it was written by anyone other than King. It's just that after so many years as one of SK's biggest fans, we always expect a little more.

The high concept plot involves a small town in Maine (surprise!) that one day finds itself sealed off from the outside world by an impenetrable dome that appears from nowhere. While the US army tries to find a way to break through and rescue the townspeople trapped inside, the politicians and policeforce set up an independent state and refuse to co-operate with the outside world in an attempt to cover up their own crooked dealings.

Those who loved the book talked about King's mastery with a large cast of characters, and how fast and exciting he keeps the narrative - "whizzing from one cliffhanger to the next" says the Telegraph. I'd mostly agree. I felt the 800+ story sagged a little around the page 600 mark, but it certainly rallies for an explosive finale.

Those who hated it complained about the characters being far too black and white, and the rather heavy-handed nature of the allegory - the town becoming a microcosm representing the state of US politics in the 21st century. Well, yes, but I didn't feel it was any more clunky than many other sci fi metaphors, and more importantly it didn't hinder my enjoyment one bit. As to the lack of grey - hell, I read Dean Koontz novels, compared to him, King's got a million different shades in his palate.

Ah, make up your own mind. Opinions are like arseholes - everybody's got one. Mine rarely resembles anybody else's.


This week's Thoughtballoons character is Araña, the new Spider-Girl. I'm not too familiar with this character, although I was a big fan of Tom DeFalco's recently concluded "Daughter Of Spider-Man" incarnation. Still, give Anya a chance. Spidey is.

You can read my one-page Spider-Girl story here. I named it after a My Chemical Romance song, for any emo-kids in the audience.


Rabu, 20 Oktober 2010

Top Ten Self-Pity Songs (Volume 2)



Some guy on the net thinks I suck and he should know
He's got his own blog!


By popular demand, I'm back with another pathetic playlist of pity. Many thanks to everyone who suggested songs last time, some of which are included here, others will be featured in the future.

You know the drill by now... this is Radio I Hate Myself & Want To Die FM!

10. Skinny - Failure


"Why have I always been a failure?" asked Skinny in 1998. It must have been doubly galling for them when Moby was such a success.

9. Tom Jones - I (Who Have Nothing)


You know that Cee-Lo Green chart-topper I was raving about? Here's its 1970 predecessor courtesy of the Welsh warbler.

8.Superman Revenge Squad - Pupkin

This homage to Robert DeNiro's King of Comedy deserves a post all its own. I strongly urge you to read the lyrics below, and if they strike a chord, follow the link to Ben Parker's website and give him some money. He has a new record out now.

I've been looking through loads of books of old lyrics that I wrote,
I've been wondering if I have really developed at all,
I used to want to be Billy Corgan now I can't remember what I once saw in those sentimental, over-produced songs he used to sing to me,
I was at home and feeling lonely, he was out there making loads of cash...

Used to want to be a writer
But now I'd take a lighter to those stories
I thought I'd be changing people's lives
I thought I'd have the Booker Prize
Now I realise that they're just lies
People tell themselves because hey don't wanna get a job

What's the point of singing songs you don't believe in
Just 'cos people say they might make you money?
And is Robbie from Eastenders really sexy
Just 'cos people recognise him from the telly?
And if Newsnight Review look at everything you do
And they decide it's crap
Is it really time to pack it in?
And no matter how many times I do this thing
Will I still feel like Rupert Pupkin?

I used to wanna be in Iron Maiden
Now I can't imagine what I'd do
With the money that I'd come into
Just for playing shows and hanging out with Bruce
And spending my spare time with Mötley Crüe
I mean, would I really care
About the people that stare
And point at the spandex clothes that I wear
If it was something I really wanted to do?

What's the point of singing songs you don't believe in
Just 'cos people say they might make you money?
And is Robbie from Eastenders really sexy
Just 'cos people recognise him from the telly?
And if Newsnight Review look at everything you do
And they decide it's crap
Is it really time to pack it in?
And no matter how many times I do this thing
Will I still feel like Rupert Pupkin?

7. Bloodhound Gang - Why Is Everybody Always Picking On Me?

Juvenile in the extreme, like The Inbetweeners on record, yet I can't help but sympathise...

6. Gilbert O'Sullivan - Alone Again (Naturally)


A song that begins with Gilbert being jilted at the altar and ends with the death of both his parents - you can't really blame him for feeling sorry for himself.

See also Nothing Rhymed, a song so monumentally miserable that even Morrissey struggled to make it through to the end when covering it live.

5. Babybird - Unlovable


Speaking of Morrissey... there is, of course, a masterclass in self-pity from The Smiths that goes under the same title as this recent offering from Babybird - you know, it's the one where Moz declares "I wear black on the outside, black is how I feel on the inside". I'd have given my right arm for a T-shirt with that on the front when I was 15 (and it'd only have needed one sleeve).

Babybird's song isn't quite that tragic, but it is a fine example of the quality of work on Stephen Jones's 10th album, Ex-Maniac, released earlier this year. Plus the video was directed by Johnny Deep. Yes, that Johnny Depp.

4. Luxembourg - Single


"I wouldn't wish my life upon anyone else..." sings David Shah on this peerless ode to failing to bother the charts. "I can't spend another summer burning copies of my debut single in my bedroom," he continues, "I can't spend another Sunday crying on the sofa as another opportunity passes me by."

You can download the entire album free from their Last FM page. I'd highly recommend you do that. Now.

3. Nick Drake - Poor Boy

How did I get this far into an appreciation of supreme self-pity without any Nick Drake? Poor, poor Nick Drake - I'll weep for him forever.

2. Ben Folds / Nick Hornby - A Working Day

The opening track to the new Ben Folds / Nick Hornby collaboration. Seriously - Ben Folds and Nick Hornby made a record together. Ben on music and vocals, Nick on lyrics. Until Stephen King and Bruce Springsteen team up, or Morrissey and Douglas Coupland, this is my dream muso-author combo.

Some guy on the net thinks I suck and he should know
He's got his own blog!

I'm a loser
I'm a poser
Yeah really
It's over
I mean it and I quit
Everything I write is shit

Hey, hey
It's a working day
Hey, hey
It's a working day

Somehow it's reassuring to know that even Ben Folds and Nick Hornby have days like that.

1. Janis Ian - At Seventeen

A song I find almost too painful to listen to. And I'm a boy...

To those of us who knew the pain
Of valentines that never came
And those whose names were never called
When choosing sides for basketball
It was long ago and far away
The world was younger than today
And dreams were all they gave for free
To ugly duckling girls like me



Go on world - hurt each other, kill each other, do anything you want!

I just don't care any more.



Selasa, 19 Oktober 2010

The Social Network



A movie about Facebook starring the current king of loveable geeky losers and Justin Timberlake?

I'll pass.

A movie about Facebook written by Aaron Sorkin, directed by David Fincher, and also starring the new Peter Parker?

Oh, go on then.

Unlike Facebook creator Mark Zuckerberg himself, The Social Network rarely puts a foot wrong. In choosing Jesse Eisenberg to play Zucker, it gives welcome vulnerability to a role which otherwise would be hard to sympathise with. The fictionalized account of the legal squabbling, back-stabbing and bitterness surrounding the origins of the common people's favourite website (being a web-snob and misanthrope, I hate Facebook) allows Aaron Sorkin to do what Aaron Sorkin does best - take complex legal, business and even technology-based issues and weave a human story out of them, using his trademark snarky, fast-paced dialogue and oodles of sharp wit. David Fincher's direction, by contrast, is competent yet unshowy (apart from one rather tacked on boat race sequence set at Henley Regatta). He does present Harvard as a dark and gloomy place where you wouldn't be at all surprised to find Gwyneth Paltrow's head in a box, but apart from that he seems content to let the script and cast carry this story. Eisenberg does very well with his most difficult role to date, the Kid Who Would Be Spider-Man convinced me he's up for that part, and Justin Timberlake was a dick... perfect casting all round then.

The only question I have left is just HOW Facebook became a billion-pound business. I get the advertising potential, but I can't say I've found myself ever noticing the ads while I'm on that site. Admittedly, unlike many people, I don't spend a lot of time on there (once a week, maybe even less) - but are there really billions of advertising bucks to be made from just one website? That's one thing I wish Sorkin had explained in snappy, Howard Hawks style back-and-forth banter... 'cos I just don't get it.

Oh, and in case you missed yesterday's late announced celebrations - this is Sunset Over Slawit's 1001th (1001st?) post. I demand a cake!


Senin, 18 Oktober 2010

There Goes The Thea


If I ever became a singer-songwriter (don't worry, being unable to sing and rubbish at rhymes it seems highly unlikely), I wouldn't want to get too famous. I wouldn't want to play cold, hollow stadiums or large capacity venues that smell of flat beer, vomit and piss (to uninterested, 'entertain me!' audiences who largely smell the same). I'd much prefer it if I developed a strong, loyal fanbase that was just big enough to allow me to pick and choose high quality muso-friendly venues where respectful, seated audiences hung on my every note without a glass in their hand.

For the next three weeks, I'll be visiting Manchester's Royal Northern College of Music, which is just that sort of venue, to see three just-successful-enough singer songwriters ply their trade to people who actually want to listen. The first of these was last Friday night, the UK's best contemporary female lyricist and performer, Thea Gilmore.

With a set largely made up from her current album, Murphy's Heart, plus selected treats from her back catalogue, Thea and band gave this show all they had - and the RNCM rewarded them with some of the best acoustics I've ever heard. No wonder Thea chose to end the show with a solo acapella song rather than a barnstorming rocker, there's not many venues where such a decision would be prudent, but here it sent us home with tears in our eyes. After another soul-destroying week at the pit-face (with no Chilean rescue parties in sight), it was just what I needed.



UPDATE... I just realised this is my 1000th post on Sunset Over Slawit.

Wow.

And they said I'd never achieve anything!


Minggu, 17 Oktober 2010

LEGEND OF THE GUARDIANS: THE OWLS OF GA'HOOLE 3D (2010)

MyRating: YYY1/2

Director: Zack Snyder
Voice: Jim Sturgess, Geoffrey Rush, Ryan Kwanten, Emily Barclay, David Wenham, Helen Mirren, Joel Edgerton, Hugo Weaving, Miriam Margolyes
MPAA: Rated PG for some sequences of scary action

Zack Snyder is continuously building his profile as a fine new generation director, whose upcoming movies are always being waited and talked about. Since his successful debut with the remake of George A. Romero’s zombie movie, Dawn of the Dead (2004), he has proved that he is no “one hit director” by directing (and co-writing) the box office hit and visually striking 300 (2007), adapted from the graphic novel of Frank Miller, and two years later directing another visually stunning movie, Watchmen (2009), adapted from Alan Moore’s superhero comic book. And all these movies received highly acclaimed from both the critics and the audiences. Snyder also slowly creates a trademark as a director who is competent to offer a new experience of marvelous visuals and exciting color presentations in his movies. He also did not hesitate to show on-screen brutalities, even though many times they were wrapped in an artful way. I liked all his first three movies, which I think were brilliantly made. And I start to believe that Zack Snyder is actually not competent to make a bad movie.

Directing Legend of the Guardians, adapted from the first three books of the Guardians of Ga’Hoole series (The Capture, The Journey, and The Rescue) written by Kathryn Lasky, was definitely another new step for Snyder, as this was not only his first animated movie, but also his first 3D movie, as well as his first family movie. And a family movie means no brutality, sexuality, nor R-rating. The story is about the great adventure of two brothers of owl, Soren (voiced by Sturgess) and Kludd (Kwanten), who have opposite personalities. Soren is dreamy and playful, who believes in the tales about the Guardians of Ga’Hoole, the legendary knight Owls who protect their kinds from the evil Owls, The Pure Ones. While, Kludd is full of grudge. He is jealous with the excessive attentions that his brother gets from their parents. One day, they are kidnapped by the evil Owl army to a place where the orphanage owls are brainwashed into becoming soldiers. Soren manage to escape the place and fly his way to the island of Ga’Hoole, where he eventually meets with the legendary Guardians, the myth he was told. At the other side, Kludd chooses another path that brings him to his dark side. And Soren, with the help from the Guardians, has to stop the evil grand plan from The Pure Ones and to save his brother.

Once again, Snyder proved that he could pull any movie he directed in a brilliant way. And the result is, a good animated movie. The animated graphic was awesomely beautiful, with very rich and detail visuals, as well as breathtaking cinematography. The film was developed by the digital visual effects company Animal Logic, which was responsible for the huge success of the 2006 animated film Happy Feet. The 3D itself was outstanding. In one scene, you will feel like the rain is flying towards you, while you follow the owls flying through the storm. It was another good 3D experience that I’ve watched this year. Definitely one of the best.

So, who said that 3D is becoming more and more ‘overused’ in Hollywood? In fact, in the other way around, I feel that 3D is becoming more and more exciting to watch. It does add significant values to the cinematic experience. Yes, 3D is not a new thing, but it’s evolving to a better direction. So, there are no reasons to get bored (too soon), as 3D is a fun cinematic experience. Of course, we can only feel the maximize 3D experience if the filmmakers do it right at the first place, by shooting the film with the real 3D camera from the beginning, and not merely converting it from 2D to 3D post production just to follow the trend. But do we ever think, that we would never say shooting in the conventional 2D as ‘overused’? It's because we used to watch movies in the same old 2D way. The fact is, the real world around us is in fact 3D, and this is what the filmmakers’ dreams, to put the same visual experience on screen as real as possible.

Like it or not, 3D is already part of the advance movie technology. We never imagined that we would use computers, or the internet, or mobile phones, before those things existed, right? But now, those things are common to us. And who knows in the future, we will watch all movies in 3D, just like the way we watch movies in 2D now, maybe even without 3D glasses. Who knows? History has proved that technology will always find its way to evolve and offer something that we never imagine before. No need to fight and against technology, because more advance things will happen anyway. So, it's just ‘blatantly naive’ if we keep complaining and saying that “3D is overused nowadays” or “3D is Hollywood’s crap” or “I’m sick and tired of 3D, they all suck”. Let’s face technology with an open mind and not just complaining for the sake of complaining, or because we feel the urgency to follow other people who are also complaining, just to sound cool, without really understand the real essence of their complains.

Having said all that, this movie is an example of how a 3D movie can be made so astonishingly beautiful. It has a captivating storyline with enough exciting actions. The owls were also lovable. The tone of the story was a bit serious and dark, not containing as many humors as those of the DreamWorks'. It also contained some mild violence that may be a bit scary for very young kids, however still within the corridor of an animated family movie. This movie was not perfect though. I felt that the story somehow slightly lost its grab near the end of the movie, and the final battle was becoming a bit mechanical to me, less 'heart'. But, it was a grand battle. It was also a bit difficult to differentiate which owl from which owl, since all the owls seemed to look almost the same. But in overall, this is another good movie from Snyder, and I like it.

I believe many people are excited to see his next upcoming movie Sucker Punch (to be released in March 2011), which Snyder called as “Alice in Wonderland with machine guns”. The beautiful and hot leading ladies itself should become a bonus attraction for people to come see this movie, besides the expectation to experience another great visual by Snyder. And of course, the next Superman movie, Superman: Man of Steel (2012). I believe this time Superman will get a new direction in a more exciting way than the last one. Always expect the best from Zack Snyder! (MJ)

 

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