A Belated Happy 2010...

...Or an early Chinese New Year? Luckily blogging more wasn't my resolution or I would've already failed miserably. As for my actual New Year's resolution, well, okay I haven't done that either - my car is still a dusty mess littered with piles of car park tickets, leaves and CDs. Oh well. As I'm not intending to reach for a sponge or hoover any time soon, so here I am at my blog!

Over the Christmas break my dad, brother and I did our usual family bonding trip of sitting in a dark room not talking to each other; we went to the cinema. To see 'Avatar'. With 3D goggles and premier seats! (Dad was paying.) I would have had to have been living under a large rock for the past few months to have not heard about this mysterious film that was already being credited with 'forever changing cinema as we know it', featuring strange blue people with long hair. The trailers didn't give a lot away, and anyone I'd spoken to who had already seen it weren't really selling it to me. The truth is, telling someone about humans going to a different planet and then turning into blue aliens who can jump really high and have weird tentacles coming out of their hair doesn't make the majority of people rush to the cinema. But I do like a bit of sci-fi, and my brother claimed it had taken the number one spot of his all time favourite films, so was curious to give it a try. I took my brother's recommendation with a big pinch of salt though, as 'Borat' had previously been his epitome of cinematic brilliance.

James Cameron, who gave us the epic 'Titanic', which - love it or hate it - is always fun to re-enact whenever there's a cold day - 'Jack, Jack wake up! There's a boat!' Anyway, since making steamy car sex scenes, story has it he's been waiting for technology to catch up enough to do justice to this film. Now, they did the same thing for the first three 'Star Wars' films and I think everyone wished they hadn't bothered, but I don't think Cameron made the same mistake here. The special effects are incredible, the integration between what is real and what is CGI is practically seamless.

I sat in my marginally comfier-than-normal seat sporting the fetching 3D glasses (that I still think were way better when they were cardboard and you got one red eye and one green eye, but there you go!) and I have to agree that this movie gives you an experience quite unlike anything else. Making 3D viewing an option is in vogue right now, but this movie has really been made for that purpose - to immerse the audience in the enchanting world of planet Pandora. Us human scum have decided to invade this planet to mine and extricate precious minerals, waging a war against the indigenous people (Na'vi - they're the blue folks) for inconsiderately getting in the way. Very cleverly, a couple of these Na'vi have somehow been grown, as it were, as avatars for humans to psychologically link with them and live through them. Think along the lines of 'The Matrix' and you're on the right track.

Main man Jake Sully (Sam Worthington), a wheelchair bound war veteran unexpectedly finds himself with his very own avatar, and a mission to be accepted by the Na'vi to learn from them and find a way to stop them being a nuisance so the humans can steal all the minerals. Sounds easy enough. That is, until Jake finds being a Na'vi is actually pretty fantastic - and this is where the film comes into it's own. The detail, the beauty, the sheer vivid imagination that has born such a place is impressive - despite a few strange, scary monsters, it makes Earth look like a shit heap. And therefore humans like the parasitic, dirty flies. The Na'vi are gentle, dignified, and at one with their natural environment - they physically bond with their fellow creatures through strands coming out of their hair. Humans stomp through, not bothering to understand the environment, or care about the effects their actions might have. Combine this with the fact that Jake is normally so trapped and frustrated by his ill-working body and military procedures, and a rather hot lady Na'vi might just be interested in him - who would ever choose being human?

Conflict ensues, and the audience ends up hating their own species even more. For the British and American viewers, it's not really a time to be proud of your heritage, as invading and destruction has so often been the business of the day and it's just not pretty. Colonel Miles Quaritch seems to be a butcher, louder version of George Bush - with one speech, 'fighting terror with terror' sitting uncomfortably close to reality.

There's a lot that is good about this movie - it's different and stretches cinematic boundaries, Sam Worthington gives a great performance and provides some much needed moments of comic relief, and Pandora's luminous flowers and floating mountains are beautiful and breathtaking. But, contrary to what some reviews might say, it's not all good. Sigourney Weaver is basically re-hashing her Ripley role from 'Alien' - being all grumpy and masculine, and the story line itself is a little slow in parts and pretty predictable - just don't tell my brother, he's been to see it another four times since!

I think the good outweighs the bad though, and it's worth a watch even just to see what all the fuss is about.

Avatar - 4/5

Florence + The Machine - Brixton Academy

I had been looking forward to this gig for months; ever since I received an email one day with a 'performer alert' for tickets going on sale the next morning, ever since I got up early and sat waiting for 9 o'clock to come so I could tick the 'buy' button, and ever since I managed to buy as many tickets as possible, not quite sure who was going to come with me.

A couple of months had gone by since then, and the night had finally come for a couple of friends and I to make the chilly journey to Brixton Academy, with my one spare ticket just in case I could find someone deserving to take it off my hands. Seeing the crowds of people, however, I realised the chances of finding a lone fan and making their dream of seeing Florence come true were quite slim, so I caved in and sold it to a smokey ticket tout for a tenner. Oh well.

So we wandered into the dramatic sloping room under the staircases of Brixton Academy, where, in between the grand castle and turreted effect either side of the stage one of the support acts 'Frankie and the Heartstrings' were playing animatedly. We had to sort out the essentials first though, and headed to the bar.

Unfortunately, by the time we'd got some beer, Frankie & co had finished their set, but we were just in time for the second act - who were a pleasant suprise for me - 'The Temper Trap'. I had been fairly obsessed with their single 'Sweet Disposition' all summer, so the surprise to see it live was a very welcome one. The Melbourne band played a set of about six songs, with their singles 'Fader' and 'Sweet Disposition' were definitely the highlights as a few of the other tracks seemed to get a little lost and the vocals were sometimes difficult to comprehend. I personally think it would have been worth leaving 'Sweet Disposition' until the end of the set, as it definitely energised the crowd and would have ended it on a high, rather than bringing the atmosphere back down with an unknown album track.

But, enough of the support, what I really went to see and want to talk about is Florence + the Machine; stage name for bright-haired young London girl Florence Welch. She emerged on to a stage that was littered with bird cages, had a background of birds and twigs that changed colour, in a shiny silver leotard (that was revealed later, much to the delight of the male audience members) with a full, fluffy skirt that looked to have been made out of lots of light pink feather boas. She looked sweet and ethereal, juxtaposing with the booming voice she let loose in the opening song 'My Boy Builds Coffins'. She continued on to perform most of the current album 'Lungs' as well as some lesser known tracks consisting of unreleased material and B-sides, which gave it all a bit of variety.

Florence was joined on stage by, as well as her normal band, a choir, string orchestra, and a harpist. They all gave a much richer sound and it was great to watch them play, and watch Flo skip around them. You could physically see where the money for your ticket had been spent; on these extra people, as well as a host of special effects. For 'Cosmic Love' the stage was transformed to reveal a moon and stars as a new backdrop, and when playing 'You've Got the Love' a mass of heart confetti erupted and poured over the audience (which, incidentally would have perhaps been better suited to the encore finale, as all that followed it seemed a bit surplus). It was spectacular. And this is all without mentioning much of the main woman herself. Florence is an innate performer, you can tell she loves every minute of it. She dresses for attention, she blasts your ears with her voice, she dramatically pauses and stares out into the crowd, she chats to us about how weird it is to see her name headlining at Brixton. On stage is where she is supposed to be, and she completely and deservedly owns it. Watching her is mesmorising, and as her songs take you on fantastical journeys you realise that you are watching someone who, at just 23, is really very, very good.

I left the venue, tripping over the odd plastic cup, on a real high. I thouroughly enjoyed every bit of the performance, Florence along would have put on a great show, but everything else mixed in made it even better.

Florence + the Machine - 5/5

Where The Wild Things Are

Even just hearing the title of this film strikes a deep, nostalgic chord with thousands around the globe, who exclaim 'That was my favourite book when I was little!' I'm quite jealous, I never had it read to me, and have never read it myself, but it seems to have such a profound meaning to those that grew up with the story. In this way, I think the deeper childhood link that the film touches was lost on me, as I viewed the whole thing in a completely new light. But, at least I can be fairly detached on viewing the film alone in its own right. Hopefully.

From what I've gathered about the book, 'Where The Wild Things Are' by Maurice Sendack tells the story of Max, a young boy who has been misbehaving at home, running around in his wolf costume, and is sent to bed with no dinner. His imagination transforms his room into the land of the Wild Things; scary creatures that he conquers by becoming their king. Eventually, Max becomes homesick, and returns back to find his supper warm and waiting for him. It's no caterpillar eating stuff, but it sounds like the kind of thing I would've liked. Much deeper than just a book with strange creatures and flights of the imagination, the story won critical acclaim for its view on the physical representations of anger and fear that the Wild Things represent, and the fact that Max leaves them for the comfort of his home and parental love. However, despite the great reception the book received, it was banned from several countries for a while due to the fact it does not exemplify any particular morals or values, like children's books are 'supposed' to do. Max is a naughty child, he does not apologise for his behaviour, and instead of trying to sooth him and teach him the right way to behave, he is simply sent to bed without dinner.

The film carries on in a similar vein, Max is a horror of a boy at times; loud, aggressive, attention-seeking and inconsiderate. But it is an accurate representation of being a child. All children lack the self control and understanding of how to not be all of those things. Director, Spike Jonze, said himself, that his film is one about childhood; the state of flux between fearlessness and fear, where anything seems possible but at the same time everything is a threat.

Jonze has included more of a rounded backstory that triggers Max's trip to the land of the Wild Things, he is a lonely, often bored child - he has no father at home, his sister hangs around with older boys who bully him, and his mum is uptight about work, money, and a new man she is seeing (who came in the form of a slightly random cameo part by Mark Ruffalo!). Max craves attention, and devises a way to get it by dressing up in a wolf costume and climbing on the kitchen counters, much to his mother's horror as her bemused date looks on the chaos. Max's wild actions, particularly biting his mother's shoulder, make him run away, find a boat and sail off to an unknown land of Wild Things. Jonze said this was the one sticking point between he and Sendack, who wanted the film to show Max's room morphing into a jungle like in his book, this way, however, Max's anger and stubborness is physically represented as he actively takes himself away from home and safety.

Once Max has found the Wild Things, the wonders of CGI and elaborate costumes are revealed. Unlike many film makers, who may have made the Wild Things completely computer animated, Jonze wanted them to have a believable physicality, so that Max could touch and interact with them, and so that the element of danger under the surface is very real. You can see how their fur is dirty and matted, how their immense weight and size makes Max so vulnerable. The CGI facial expressions then works to bring the characters to life and exemplifies the various emotions that each Wild Thing represents; anger, rejection, frustration etc.

As a whole, the film definitely runs in peaks and troughs. This may be competely intentional to show how things are when you are a child - like the peak of Max's snowball fight and the trough of getting trapped in his igloo. The high points are wonderful, Max's unabashed happiness and freedom, especially when reinforced with the crazy soundtrack by Karen O of the Yeah Yeah Yeahs, makes you want to get up from your seat and run along with him. There are some cinematically brilliant shots, too. But there are also some moments that are just sort of static and slow. And, while he is with the Wild Things, not a lot actually happens. Max does begin to appreciate the monsters and develop a level of empathy for those other than himself, which leads you to believe he may utilize this once he is back home and perhaps stop giving his mother such a hard time, but who knows.

This is certainly an impressive film, and despite my lack of childhood connection with the original story, I thoroughly enjoyed watching it. As for the new generation of children who may encounter the film before the book, I'm not really sure who it is aimed at - it is rather violent and menacing at times for small children, but then would older kids really want to watch big fluffy creatures? If it is in fact just a film about childhood, one would say it is then perhaps a bit of an indulgent film for adults to fuel their nostalgia. Either way, I'm sure the buzz surrounding this movie will continue now that it has been released.

Where The Wild Things Are - 3.5/5

A Weekend of Wild Things...

It's been a long time since I've slumped to my desk on a Monday morning and felt like a lot has happened since I last dragged myself up from my generic swivelling chair on the Friday afternoon. Today, this is the case, and while my eyelids could do with a car jack to keep them open, it was worth it! So, my original plan for the weekend was to drive on over to Cardiff to visit a friend and go to see White Lies at the Cardiff Student Union, stay the weekend, and have a relatively nice, chilled out time. The first part of the trip went to plan, and White Lies were really rather good - but they belong to another blog post.

What was responsible for the disruption of my weekend? Well, me, really. But I'm going to blame the superpower that is Twitter. Basically, one of the people I follow are Little White Lies magazine (which, if anyone has any interest in films, they should most definitely give it a read) and I happened to see a tweet of theirs along the lines of 'keep sending us your best childhood cinema memory, they're great so far!' I thought this was just for general chit-chat, and was instantly reminded of when I went to see 'The Lion King' with my Dad, and finding it fairly hilarious that he cried when Mufasa died. So, I shared. The next day, to my great confusion, I saw I had been tweeted back with the news that 'Congratulations!' I had won! 'Won what?!' It turns out I had won two tickets to see a preview screening of the hotly anticipated 'Where The Wild Things Are' at the BFI Southbank cinema, with an exclusive Q&A session with the film's director, Spike Jonze. Wow! I was shocked, excited, confused and anxious all at the same time. While it was incredible to win something, and be given an opportunity that I would never usually get to do, how on earth could I go when I was supposed to be in Cardiff all weekend?!

................With a frigging long train ride!!

Yes, in order to not miss the Sunday plans in Cardiff, and to save a bit of time, I got the train from Cardiff to London and back again. To go to the cinema. And even then, we were so short on time that - in true classy style - we ate our dinner of M&S pasta on the tube under the watchful eyes of changing passengers, which was pleasant. Totally worth it though, even just for the fact that I could walk into the BFI, bypass the queue of people waiting for tickets, and tell people sitting at the desk that my name was on the guestlist. For about 3 minutes I felt important!

Entering the sloping cinema I immediately noticed something that would have made me beyond excited if I hadn't already bought it for myself, on every seat was a shiny copy of the current Little White Lies magazine, dedicated to 'Where The Wild Things Are'. I kept a second copy of it anyway, even just to remind me that in those three minutes of being important that I got something free, like important people do. So, settled in my slightly reclining seat (which was a little disconcerting as all the way through the movie I was convinced it was broken and that my head would end up the lap of some poor unsuspecting person behind me!) we were greeted by a BFI representative who informed us that the movie would play first, and Spike Jonze would come on stage shortly afterwards. Then the lights went down.

There is so much to say about the film that I will have to just post about that separately to stop this becoming a full on essay. I can say, though, that it was certainly unlike anything I have seen before, which is probably why it has caused such a stir. The audience clapped loudly when it had finished, and though I couldn't tell who were the journalists and critics and who weren't, it seems the film had been well received by the majority of people there. Events like this must be a little nerve-wracking for Jonze, as the film has been so long in the making, and he does not have many successful films under his belt, so his reputation and prospects for film making in the future really do hang in the balance of how well this movie is received.

For the question and answer session - something I have never witnessed before - Spike Jonze, a petite, mild mannered man, who speaks with hesitation verging on a stutter, entered the room and awkwardly took his seat, sitting on his hands for the majority of the time. With cameras, an audience, and an expectant microphone all looking intently at him, I didn't envy the guy. But, he slowly eased into it, and managed to maintain a level for enthusiasm for the film that had taken up years of his life, and the same questions he will undoubtedly have already answered continuously for the past few months. That is, all of the questions except one, 'What was your favourite sandwich to eat on set and how do you think that contributed to the film?' I'm not sure if this was pitched from some new, edgy food magazine, or just a random 'hilarious' question. Jonze handled it well, however, and for those that want to know, he preferred a ham and cheese sub with olive oil, and it contributed by making the film 'hammy'. How I did chuckle.

Despite all of the questions that were asked, I still cannot quite grasp how this slight, quiet man managed to make such a face-slapping film, full of the drama of childhood, with such particular and complex special effects to boot. Judging by what he says, when you have a circle of friends like Spike Jonze, you can do whatever you want - his friends are involved in nearly every aspect of this movie. I shall just have to wait for mine to get to the top of their fields so they can do stuff for me too!

As a further souvenir for my day, I managed to add a little scribble to my Little White Lies magazine. It reads 'To Danielle. Hello. Spike Jonze.'

Twilight - New Moon

It's the film that's sent ripples across the globe, causing hysterical excitement in teenage girls at the prospect of seeing Robert Pattinson (or 'RPat' as he's now being called. Not the most inspiring nickname...) on the big screen again, and sarcastic guffaws from everyone who deems themselves far too sophisticated to be interested in the same things as teenage girls. I think I fit somewhere between the two. After the first 'Twilight' film, which I thought was okay but wasn't blown away by, I had been intrigued by the release of the sequel but not necessarily psyched for it. A number of my friends were very much looking forward to it, however, having read all of Stephanie Meyer's books, and so I found myself in a pre-booked cinema seat in a very very full screening.

So, for those who don't know, the 'Twilight Saga', as the series of books and films are officially called, follows the story of Bella (Kristen Stewart) - a 'normal' girl who falls in love with Edward (Robert Pattinson), a pale boy at school. Except he's not just 'a pale boy at school', he's a hundred-and-something-year-old vampire, who comes from a family of 'vegetarian' vampires that only eat animals. But they still really really want human blood, and think Bella is ever so tasty, which gets her into all kinds of scrapes.

'New Moon' begins at one of these scrapes - Edward's brother goes for Bella after she suffers a pretty severe paper cut. This is one scare too far for Edward's conscience, so he decides to leave her in order to protect her. Although his reasoning is blazingly obvious, Bella thinks he doesn't love her any more and spends (literally) months moping, not speaking to anyone, and having screaming nightmares. She sounds fun, huh? She also repeatedly sends emails to Edward's sister, Alice, even though they never get delivered. It's all a little bit bunny-boiler. To take her mind off of all this pining, Bella tries to distract herself from Edward with newly-buffed-up friend Jacob (Taylor Lautner), the other reason for the teenage girl frenzy (and I can't blame them, phwoar!) But he isn't all he seems either...

So is this a quality film? Well...I'm not sure it'll be winning any Oscars. The script is pretty wooden at times, and the 'intense' looks between Bella and Edward sometimes just end up suggesting that they could do with a bit more fibre in their diets, if you catch my drift. Bella is also incredibly irritating, this isn't down to the acting particularly, just the fact that she's an adrenaline-seeking idiot, as dangerous situations seem to trigger a vision of Edward. This is something that is never explained, which is rather annoying. But, despite a few problems, it is damn entertaining. You've got action, a bit of gore and horror, action, romance, and some rather hot people to look at. In the full cinema, every time a shirt was removed, a kiss nearly happened, and especially at a certain cliffhanger at the end, the whole audience screamed, clapped and cheered. They were loving it. Although it may not have had quite the same effect on me, this film is a big deal to a lot of young people, and as it promotes a lot of good values - accepting those who are 'different' etc - maybe some of the critics should give it a break.

Twilight New Moon - 3.5/5

Up

Often I try to pretend to be a bit of a film geek, and so I first I heard about this latest release from Disney and Pixar some months ago when it was shown at Cannes Film Festival. Ever since the Cannes screening I have read review after review about how spectacular and moving this film was, 'the best Disney film in years' yada yada yada. Reviews like this are great for generating a positive buzz, and definitely persuaded me to (eventually) spend my fairly hard earned cash to go and see it - especially since there wasn't a huge amount in the way of advertising. Anyway, while the reviews are great for getting people into the cinema, they're not always so good once you're there. I had such high expectations - that I was going to be crying with sadness one minute and with laughter the next. I wanted big, unexpected, amazing things. I'm not sure what Disney could have done to fulfil this, but they just didn't quite reach the mark.

It's not that this is a bad film, far from it, as the reviews said, it did have moments that were actually quite harrowing, and parts which really did make me laugh, but it just was not up to the hype. One review, for instance, described the beginning of 'Up' as being sadder than Bambi's mother getting shot, Mufasa dying in the 'Lion King', and Dumbo's mother being locked up...what kind of horrendous carnage can really live up to that?! Nothing that would pass a PG rating, that's for sure. So, yes, it was sad, I felt sorry for the old cartoon man, but my tear ducts stayed dry.

Downfalls aside, there is a lot about 'Up' that is rather good. I only wish I had seen it in 3D, as that would have enhanced the experience even more. For a quick summary, we meet Carl and Ellie Fredrickson, how they meet as children, fall in love, grow up and grow old together. Sadly even a love like theirs cannot last forever, and so Carl is left old, alone, and in danger of losing his house and his independence. What does he do to overcome this? Well, what anyone would do, ties hundreds of helium balloons to his house so that it lifts off and so that he can take it to South America. Yes, you read that right. From a fairly realistic beginning you do have to utilize your imagination as the story takes several sharp fantastical turns; chocoholic birds, talking dogs, death-defying stunts by two OAPs...but it's fun, it's exciting, and gives hope to Carl's once bleak outlook, which would be a comfort to anyone that has lost someone close to them.

Highlights of the movie would have to be the stowaway boyscout, Russell, who is both annoying and adorable, and the talking dogs - any dog I have seen since this movie I can totally see speaking like the ones in the film!

It's a good family film, but don't expect it to be as life-changing as some of the critics might have you believe!

Up - 4/5

Nostalgic fm - Radio For The Unfulfilled?

I have just been spending the spare minutes of my working day in between phone calls perusing the various news sites to find out what's going on in the world, and in between which celeb got fat this week and what new superfood will save us all, I came across a little story about a new radio station. Absolute Radio (formerly known as Virgin fm) are launching a new station, called Absolute 80s, which will be playing - yes you guessed it - music from that magical shellsuit-filled era of the 1980s. This station will be dedicated to the likes of Duran Duran, Prince,

Madonna...Chris deBurgh(?!) and expressly aimed at a group termed 'reluctant adults', society's 30-54 year olds, who want to regress back to memories of their youth that has been preserved in the cheesey music around at the time.

The chief operator of the Absolute Radio chain, Clive Dickens, said there is a gap in the market for this kind of station, that listeners of this age group 'have responsibilities, are members of families but still want to participate and have fun and be involved in music', and this radio station - which will have no DJs and be run on a dukebox type system - is the way to offer this.

There are a number of things that struck me about Dickens' statement. First of all, that those around the middle aged bracket with their responsibilities and families need something provided to them to enable them to 'have fun'. What a depressing prospect! Both that hitting middle age means you're going to be bored and unable to appreciate modern music, but also that the invention of a mere radio station will be able to solve such pining! At 22 I do already appreciate the memories that can be brought back through music, but to think that I will eternally crave for the music of my youth because it holds the only memories worth remembering...shall I just slit my wrists now?! Surely responsible adulthood holds some opportunity for fun? Surely 'the noughties' haven't brought that much disappointment?

Also, despite only being alive for 2 full years of the 80s, I and many of my friends would love to tune into such a retro radio station. True, it does not bring back many memories to speak of, but we would listen because we have been influenced by our parents' tastes, and - as with the slightly questionable return of shoulder-pads shows - because the 80s is very cool right now. It's a cheesey kitsch dream and allows for the most horrendous of dance moves. Dickens hasn't thought of this in his 30-54 year age range, either because us young 80s lovers are an unknown pocket of radio listeners, or because he wants to cover up his possible desperation. You see, the reason Absolute 80s has come to be is to fill in the gap left by Absolute Xtreme, which was dedicated to rock music but has been largely outdone by the other rock giants such as Xfm, NME Radio and Kerrang. So, are there really this large group of adults who are so disappointed with grown-updome that they wish to lose themselves in times gone by? Or is the Absolute group clutching at straws when there are so many other radio stations who have taken almost every niche going? I guess we'll have to wait and see.

I personally hope it is a success, then we can get a 90s radio station going when I too am middle aged and discontent...Spice Girls, 5ive, Backstreet Boys, N*Sync...

(Original story at www.guardian.co.uk)