Flying high with 'Bluebird'

Bluebird by Simon Stephens

The Cockpit Theatre, London (23/11/2010)

Directed by Andrew Whyment

Vibrant, fast-paced and perfectly poised on the see-saw between abstract and reality, this performance of Bluebird brought to life the dirty depths of London with a fantastically fresh display of young talent. Tracking taxi driver Jimmy as he makes his way across the capital for one night, we begin to understand the world through the words of his ‘fares’ and learn the dark truth of our protagonist’s past.

The first striking thing about the performance is the set. Rubbish piled high amongst odd possessions and car parts topped with a single car seat make for Jimmy’s taxi – the taxi light above his head indicating whether it is occupied or not. Simple and unique, the set not only allowed the intimate space of the car to be opened up to the whole auditorium, it became the perfect metaphor for Jimmy’s life and proverbial baggage.

Each scene was interspersed with vivid scenes of city life. Flashing lights, high-tempo music and fast-paced movements from the cast reminded us of the world outside the taxi – while Jimmy contemplates his past, present and future, the rest of the world goes on without him. A clear indication that time was progressing, these interludes were entertaining, brilliantly choreographed and fitted naturally and neatly into the performance.

The cast captured their characters to their core. Each portraying a different aspect of London life, they all painted a poignant picture of troubled minds behind the exterior of routine and daily life. Garry Jenkins as Jimmy was brilliant at taking us through his complex emotions and his meeting with former wife Clare (Juliet Turner) provoked a particularly touching atmosphere that I’m sure was felt amongst many in the audience.

Adam Loxley should also be praised in his role as Richard, a London Underground engineer. His performance was one of the most natural and affecting throughout, whilst Rachel Chambers as Angela was vivid and entertaining and Michael Roebuck provided a funny and disturbing performance as Billy. Not forgetting director Andrew Whyment, a former student of the University of Reading, who showed real talent in pulling all the elements together in such an impressively imaginative way.

The first London revival of this play since its debut in 1998, Bluebird was a whirlwind of emotional highs and lows. From the bleak reality of city-life to moments of genuine (if dark) humour, this was one of the most impressive, entertaining and exciting performances of the recent stage.

Please comment if you have anything to add to this review of 'Bluebird'.

Someone wasn't paying attention in assembly...

Is it just me or is this the worst Christmas card ever made?

Not only is there a distinct lack of the three wise men and the donkey, but since when was there a rabbit in Bethlehem? Serious artistic fail.

Anyway, just thought I'd share this in the run up to the festive season.

Krapp's Last Tape

Written by Samuel Beckett

The Duchess Theatre, London (18/11/2010)

The story of an old man, alone and decrepit, bitter about but longing for his younger self by listening to the sound of his own voice. These are the bare essentials of Krapp's Last Tape. Painstakingly slow and strangely unsettling, the leading and only man onstage, Krapp (Michael Gambon) revisits his past by listening to his own taped diary entries.

The stage is virtually bare - just a desk with a single bulb above an old man's wiry haired head. Collapsed across the desk is Krapp. He remains there for so long that you begin to wonder whether the character is alive or dead. The silence is so unbearable you want to laugh. And this is how the first half of the play pans out. No speech, just Gambon as he moves about the stage as if witnessing it for the first time.

There are some hilarious moments with some bananas, as in a puerile and monkey-like manner, this old man finds some immature pleasure in the phallic fruit. Well.. don't we all! Gambon is magnificent in the role, creating incredible tension amidst the audience interspersed with moments of genuine laughter and others of something close to fear.

The performance is dark, with minimal light creating the sense of that inevitable darkness that will soon smother the ageing Krapp. The recordings of his younger self reveal someone more lively but almost equally troubled. As past and present play out in front of us, it's apparent that Krapp was doomed to become lost and alone. True to Beckett, you could say nothing happens in this short 45 minute performance. But you could also say that crammed into it, everything happens.

We hear a young man and see the old man that he has become and in that witness some 30 years of his life. And within that, we see the next 30 - his spools of tape evidently his last remaining comfort for a man stuck in routine, waiting for the lights to go out.

Please comment if you have anything to add to this review of 'Krapp's Last Tape'.

Happy happy happy

So, recently Fate has dished me out 3 healthy doses of good luck.

Number 1 - my online Asda shop showed up late. Doesn't sound lucky? Well, they refunded my order AND delivered my goods. And free shopping definitely is.

Number 2 - I dropped my bagel on the floor and it landed butter side up! Maybe the toast rule doesn't apply to bagels?

Number 3 (and this is the best) - I won a prize!

Courtesy of Jameson Cult Film Club on Twitter (@JamesonCultFilm) I have won this:

Whiskey, hoodies and movies - what student wouldn't be happy? So, I'd just like to take this opportunity to share this with you, dear readers, and to thank Jameson Cult Film - I mean, Psycho on Blu-ray? You have seriously excelled yourself. So thank you on this blustery day for providing me with something to keep me warm and tingly - don't worry, I'll make sure I wait til midday before I take a sip with Hitchcock.

A day at the festival

54^th BFI London Film Festival

Thursday 21^st October

There’s nothing like a new movie to get us film lovers all a-jitter – so imagine the hype when the BFI London Film Festival comes to town. Now in its 54^th year, this festival showcases the best in new cinema from across the globe, mixed with Q&A sessions with writers and directors as well as whole host of other movie-based experiences. With film screenings open to all, it was almost impossible to resist hopping across to the Capital to catch a glimpse of the festival in action.

I headed to Leicester Square where I was booked to see Another Year, directed by Mike Leigh of Secrets and Lies fame. The film stars Jim Broadbent (Hot Fuzz) and Ruth Sheen (Vera Drake) as Tom and Gerri (and yes, the link to the cartoon is picked up on), a kindly couple heading for old age. As the title suggests, the narrative takes place in one year, specifically focusing on the events of each season – carefully tracked via the couple’s allotment.

The film is a beautiful one, with many moments hilarious and others incredibly uncomfortable to watch. The final image of Mary (Lesley Manville) is one that Leigh forces upon us for an unnatural length of time ending the film on a melancholy note. The movie deals with social insecurity, loneliness and deep dissatisfaction with life. But, it’s not all doom and gloom – to counterbalance the rather depressive outlook on life, there are many moments where love, stability and friendship prevail.

Broadbent’s performance is natural and warm, but Sheen’s is somewhat more stilted. Manville is impressive in the role of Mary, so much so that she’ll have you both loving and hating her character. Try loving her – she deserves it really.

After the screening, Mike Leigh came in to the auditorium for a quick Q&A. The conviction with which he defended the motives of his work was inspiring. All of his films are created through a process of improvisation, essentially starting with little more than an idea but ending up with a very precise script. This film is no exception – it allowed Leigh to explore both loneliness and togetherness as well as the ‘tragedy and the reality’ of those who are simply lucky or unlucky.

Ultimately, this film won’t be to everyone’s taste, but if you like an honest, gentle depiction of daily life, this one’s for you. Plus, Mike Leigh fans will not be disappointed.

So that brings me to my final experience – seeing the stars. It’s common knowledge that if you see the red carpet rolled out in Leicester Square you don’t just walk past it. No, you jam yourself against the nearest barrier and take photos of every tinted-windowed car that pulls up as it might just be someone famous. As luck would have it, 21^st October was the London premiere of The King’s Speech, directed by Tom Hooper. Starring Colin Firth as King George VI, the movie tells the touching true tale of a monarch overcoming a crippling speech impediment during the turbulent times of World War Two. With the likes of Helena Bonham Carter and Geoffrey Rush starring alongside Mr Firth, the red carpet was well and truly star-studded. The King’s Speech is due to hit cinemas in January and there are whispers of Oscar nominations a-plenty, so it’s definitely one to watch.

The whole afternoon was an atmosphere to remember – a real melange of students, movie lovers, actors and directors all turning out to celebrate truly great film. It’s an arty atmosphere, without feeling too pretentious, and I can safely say that I have never before been to a cinema where I have overheard one man introducing his friend to another as ‘the man who directed the film’. If you didn’t get a chance to go to this year’s BFI London Film Festival, pencil it into your diary for next year – it’s an event not to be missed.

Please comment if you have anything to add to this report on the London Film Festival.

I think I died a bit...

So, on Thursday (yes, it's taken me this long to get over it) I saw actual Colin Firth in the flesh. Ok, so I was forced to remain behind a steel barrier for the duration of our meeting, but I still like to think we had a connection.

To put this meeting into context, I was in London for the 54th BFI London Film Festival to see Mike Leigh's new film, Another Year. There was a bit of Q&A with said director, enlightening, and then (like all good film/Firth lovers) I hung around Leicester Square to await the arrival of the stars.

It was the première of Tom Hooper's The King's Speech, a movie telling the touching tale of how King George VI overcame a crippling speech impediment. With the likes of Helena Bonham-Carter and Geoffrey Rush sharing the screen with Mr Firth, it was fair to say there was a decent crowd lining the edges of the red carpet. It was an awesome and an odd experience. It just feels a bit peculiar to find out those of the big screen are actually normal-sized humans and that they do in fact mingle with normal folk from time to time.

Naturally, I will be reviewing Another Year in the coming week, but unfortunately, The King's Speech isn't out til January. My good friend Colin looks set to be nominated for an Oscar for it, though, so it's well worth scheduling into your cinematic diary.

Just a little note to self: must remember not to be so star-struck when am hot-headed journalist allowed to mingle with popular people. Something I still maintain will happen in the future.

The Minister for general mayhem

Classic Film Review: Michael Collins (1996)

Directed by Neil Jordan

Michael Collins the man was one of the most iconic heroes in Ireland’s troubled history. Developing extremely successful guerrilla tactics, instilling fear in the British as the man responsible for ‘gun-running, daylight robbery and general mayhem’, his campaign eventually led to the negotiation of the Anglo-Irish Treaty in 1921. However, as the man who signed the Treaty, which allowed the partition of Ireland, Collins was regarded as a traitor by those that opposed the agreement. Eventually, this led to Michael Collins’ assassination.

Neil Jordan’s film tells the incredible story of Collins and the IRA from the Easter Rising in 1916 through to the statesman’s death. Oscar and BAFTA nominated, Michael Collins is a beautiful and dramatic piece of cinema and you don’t need knowledge of Irish history to enjoy it. However, upon release the film was subjected to wide criticism. Historians claimed the film was inaccurate, whilst British critics condemned the violent depiction of British auxiliary soldiers occupying Ireland. Nevertheless, the film was a huge success in Ireland and became quite a public affair as calls for extras were met with thousands of Irish people eager to re-enact their past.

The cast of the movie is undoubtedly star-studded. Liam Neeson produces an electrifying performance in the title role, which earned him the Venice Film Festival Best Actor Award. Unusually, Jordan didn’t exclusively use Irish actors for the starring roles, with Aidan Quinn and Julia Roberts swapping their American accents for surprisingly convincing Irish ones. Unfortunately, the same can’t be said for Alan Rickman. Whilst his performance is fantastic as the almost anti-heroic Sinn Fein leader, Eamon de Valera, his accent leaves a little to be desired. Julia Roberts could also be considered an odd choice for this movie as amidst the rough Irish backdrop she oozes Hollywood glamour. Nevertheless, you can’t deny that she provides a great onscreen character as Kitty Kiernan.

Michael Collins is dark, perfectly capturing the gloomy, perilous and troubled times of early twentieth century Ireland. Borrowing elements of the gangster genre, the movie shows uncompromising, raw violence mingled with political struggle. From the assassination of Irish officials to jailbreaks and the murder of innocent civilians, the lifetime of Collins was filled with death and destruction. However, the violence condoned by Collins is all in pursuit of peace and the establishment of a new, free Ireland.

Regardless of historical inaccuracies, Jordan’s film provides an insight into the man behind the Irish Free State, the IRA and the shaping of some of Ireland’s most significant historical moments. Dramatic, passionate and dangerous, Michael Collins is a movie to remember.

Please comment if you have anything to add to this review of 'Michael Collins'.

Countryfile eat your heart out

Been doing a spot of foraging since my return to the countryside last week. Check out the goodies I've collected...

I would have collected more blackberries but the dog wouldn't let me linger for long before she decided to run off. I ate a walnut, but it was pretty rubbish, figured maybe they have to mature or dry out or something before I start nibbling them. Crushing the shells is satisfying nonetheless. Like popping bubblewrap.

Check out this blighter of a blackberry as well (pictured in between a normal sized blackberry and a walnut to emphasise its greatness).

I realise I may have to get back to uni soon before this countryside behaviour advances to become anything more serious. Like being able to identify the poo of a lesser spotted badger or wearing tweed.

Fantastic, it's elementary

Sherlock, BBC 1 August 2010

BBC dramas tend to make it or break it with the British public but many have quickly become the love of our TV hearts. Luckily, Sherlock is no exception with the captivating eyes of Benedict Cumberbatch taking centre screen as the eponymous detective.

2010’s reinvention of Arthur Conan Doyle’s quirky hero takes a refreshing new stance, with the Victorian tales being told in the present day. Far from ruining the original, the classic characters fit delightfully well into modern London. Martin Freeman’s Dr Watson is an Afghanistan veteran and mobiles and computers frequently feature in this modern adaptation, both aiding Holmes’ terrific deduction and Moriarty’s dastardly deeds.

The star of the show, Cumberbatch, delivered a suitably electrifying performance as Sherlock Holmes. He managed to maintain the necessary balance between brilliant and bonkers that makes the detective so exciting to watch. Obvious delight at being confronted with a serial killer in the first episode, to those infamous character assessments, Cumberbatch kept the pace and has paved (well, re-paved) the way for a long-lasting and loveable character.

Fortunately, the well-known disputes over Sherlock’s sexuality and drug habits were far from forgotten in this version. Watson’s consistent uncomfortable remarks over his relationship with Holmes added the right dose of humour to their otherwise odd coupling. Whilst in the absence of cigarettes, alcohol or anything a bit stronger, Holmes took to nicotine patches to get the necessary fix for his bizarre thoughts.

Sherlock is stylish, exciting and, like a clichéd fine wine, will inevitably improve with age. By that I mean the second series looks set to be just as fantastic as the first, with each of these episodes being superior to the last. Admittedly, it feels rather Doctor Who-ish (it’s bound to as the programme’s writers, Steven Moffat and Mark Gatiss, both worked on the hit sci-fi show) but personally I think Sherlock is better. The final instalment of this series leaves you on one heck of a cliff hanger and introduces the mysterious Moriarty in a pretty tense show-down. This year’s villain is impressive, as suave as Bond but just about as evil as all of the double-O’s enemies put together.

I do have one teensy tiny problem with this programme though – the music. Excuse me if I’m wrong, but this programme’s score is just one note away from being an exact copy of that of Guy Ritchie’s recent film starring Robert Downey Jr as Holmes. I only know because I loved Hans Zimmer’s composition for this film and actually listened to it on repeat for far too many weeks, much to the dismay of my housemates. Such is the life of a film-lover.

Other than that (and, I admit, a slightly weak villain in the otherwise great first episode) Sherlock hits all the right notes to become the latest BBC success. Freeman is the perfect awkward counterpart to Cumberbatch’s confident and wacky hero, with the rest of the show coming together to create something unique but in keeping with the spirit of Conan Doyle’s creation. I only hope the next series lives up to some high expectations.

Local heroes of the community stage

Dad's Army
A stage production by Rye Players (15/07/10)
Rye Community Centre, Rye, East Sussex

Last week, Rye Players brought to life one of Britain's best loved comedies - Dad's Army. The company performed three episodes from the hit TV series, with all the well known characters present. There was a lot to live up to in recreating such a popular programme, but Rye Players did well, with many of the actors looking and performing like their cherished originals.

The first of the three episodes, 'The Deadly Attachment' was a chance to see the main characters at their best. Andy Godfrey stepped into his own as the authoritarian idiot, Captain Mainwaring, with Ian Saxton's charming Sergeant Wilson silently saving the day. Richard Whymark was also on form as the loveable Private Pike, getting many laughs throughout the evening.

One stand-out player was Aubrey Sinden as Lance Corporal Jones, who shone throughout the show as the enthusiastic war veteran. Sinden not only looked and sounded much like the character we all know, but he made Jones his own by delivering his lines with conviction and superb comic timing to create that bumbling bravery that the Lance Corporal is famous for. His performance was funny and charismatic and it was a joy to watch.

Peter Spencer also excelled as Private Frazer. Spencer's mannerisms captured the strangeness of the Scottish soldier, and even if you couldn't quite understand what he'd said those weird and wild eyes were enough to make you giggle!

The ladies had a chance to showcase their talent in the Players' second episode, 'Mum's Army'. They all performed well, but Amy Shortman was particularly delightful as Mrs Gray and the bolshy Mrs Fox was wonderfully played by Clare Murray.

Praise goes to all the actors and crew for creating a great evening of entertainment. Well done especially to director, Carol Prior, for managing to recreate the old favourites on a small community stage. Credit also goes to whoever made Wilson's horse, which very nearly stole the show!

Please comment if you have anything to add to this review of 'Dad's Army'.
'Rye Observer' 23/07/10

It's the end of the world and it's great

A Thousand Stars Explode in the Sky - Simon Stephens, David Eldridge and Robert Holman
Directed by Sean Holmes
Lyric Hammersmith, London (15/05/2010)

The Lyric Hammersmith's latest production is a unique collaboration of three successful modern playwrights. The voices of Simon Stephens, David Eldridge and Robert Holman blend wonderfully to create a simple, stylish and raw new play that looks at the impact of the end of the world on an increasingly disparate family. Fusing moments of chilling discomfort with heart-wrenching warmth, this albeit slightly odd production presents a refreshing display of optimism that is rarely seen on the modern stage.

First of all, I've often found 'end-of-the-world' stories a little bit disappointing. They either portray absolute mass human hysteria, sometimes pacified by a sort of alien intervention, or handle it in a comic 'and then I woke up and it was all a dream' kind of way. Well, this time it really does happen. A cosmic strip has been identified by physicists who have confirmed that the earth will be destroyed in three weeks time. The idea is simple, slightly beyond comprehension but believable and gives the playwrights enough time to really explore the effects of such a disaster.

The scene is modern England and five brothers ranging from grandad to schoolboy face the reality of the end of the world. But, the physics is not important, nor is the effect on the globe. Rightly, the focus is on the family and the five brothers. Fortunately the five actors playing the roles gave perfect performances. Harry McEntire as the young Philip was one of the best - his cheeky and optimistic character added a certain warmth to the otherwise darkly disturbed family. Another young actor, Rupert Simonian, was equally bright and compelling as another brother's grandson.

A weak spot in the play came with the strange mix of flashback and time travel that Philip seemed to undergo at times. It was unclear whether he was psychic, dreaming or just plain loopy but the weird addition of historic adultery amongst the family ancestors was disorientating to say the least. The outbursts of anger from the mother of the family played by Ann Mitchell also felt awkward and out of character.

That said, overall the play dealt with the family in a poignant and moving manner. And instead of an explosive end, the final scene was a more suitable sedate affair that nevertheless hit just as hard. The bare stage and raw performances showed the writers doing what they do best - A Thousand Stars Explode in the Sky is about the words and the people, not the show.

Please comment if you have anything to add to this review of 'A Thousand Stars Explode in the Sky'.

A cracking evening of Ayckbourn

Intimate Exchanges - 'A Gardener in Love'

Alan Ayckbourn

The Progress Theatre, Reading (24/04/10)

Intimate Exchanges is a remarkable piece of drama with a series of comic scenes leading to a total of 16 different possible endings. In this play, Ayckbourn highlights how the minor decisions we make in our lives can have much greater consequences. The Progress Theatre chose to perform two different situations; 'A Gardener in Love' and 'The Self-Improving Woman' and although I only saw the first of the two, I've no doubt they were both equally brilliant.

'A Gardener in Love' focuses on Mrs Celia Teasdale, stuck with an inattentive, ungrateful husband whilst being relentlessly pursued by her young gardener. It is a comic tale, despite the dark undertones, with hilarious dialogue and lively, likeable characters.

Two actors took on the four roles in this production and they certainly pulled it off! Tonya Walton was fabulously on form as the neurotic, self-conscious middle-aged woman Celia, as well as the grumpy, young girl Sylvie Bell. She effortlessly slipped in and out of the two characters that were polar opposites of one another. Her role as Celia demanded a batch of ill-timed hiccups and eating a lot of sandwiches amongst other things, all of which she handled wonderfully, as well as creating comedy in all the right moments.

Dan Clarke was both Celia's husband and the eponymous gardener in love, Lionel Hepplewick. Clarke was exceptional in both roles, creating a distinct 20 year age gap between his two characters that led to many audience members not recognising that he was the same person. His role as Toby Teasdale was incredibly funny and he must be commended for an amazingly well-delivered rant on ten things that can drive a man to drink! Clarke had the audience laughing for the majority of his time onstage as Toby - the frustrated, middle-class character was truly entertaining to watch.

With just two actors performing there were inevitably some quick costume changes, but they were swift and effective (except for the odd forgivable pause). The costume itself included a couple of oddly obvious wigs but even they seemed to suit the actors well - Walton's big hair was a great compliment to Sylvie's girl-with-an-attitude character. However, the real quality came from the acting as both Walton and Clarke proved they had the ability to carry off diverse characters, living up to all the demands of an unusual and challenging play.

It was obvious that director Geoff Dallimore had managed to pick out the best of Ayckbourn's comedy, and it shone through the two actors. Progress Theatre's version of Intimate Exchanges was a great evening's entertainment and, depsite a somewhat saddening ending, the show was full of enough laughs to send you home with a smile. I can't urge you enough to go and see a show at the Progress, they always surprise and haven't disappointed me yet.

Please comment if you have anything to add to this review of 'Intimate Exchanges'.

Ahem. May?

Just as I start blogging about beautiful sunshine look what happens:

This is meant to be May and that is a proper black, black cloud. Luckily I was inside before it chucked it down and, yes, that is part of my university. Swish eh? Well, sadly most of us students aren't allowed in there. The majority of our buildings are run down, architecturally crazy buildings from the 60s.

On the subject of university, everyone is bored and highly strung at the moment, what with exams 'n' all! So, using the house blackboard I decided to pay tribute to the one thing keeping me going:

A piece of advice to all those students out there - in these times of strife, don't neglect your cup of tea. It won't let you down.

The feel good power of the 70s

Cemetery Junction (2010)

Directed by Ricky Gervais and Stephen Merchant

The scene is 1970s Reading, where three young men must face the (not so grim) reality of growing up. Bruce (Tom Hughes), bitter about his family and embracing youth, occasionally clashes with the more ambitious Freddie (Christian Cooke) whilst the kooky Snork (Jack Doolan) completes the young trio in this brilliant coming-of-age drama. Mixing comedy with the frustration of being stuck in a dead-end society, this is the ultimate feel-good film of 2010.

When Freddie tries to break away from the factory trade, he takes up a job as a life insurance salesman under the guidance of Mike Ramsay (Matthew Goode). His feelings towards the job are complicated by his moral principles as well as his love for the boss's daughter (incidentally Mike's fiancee). Best friend Bruce vents his frustrations at his parents' divorce with girls, booze and fighting, which sees him hurting himself and those around him. Together with Snork, the pair are polar-opposites but gel well to create a great comic duo with the funniest lines of the film.

The snappy, dry and hilarious dialogue has an obvious Gervais/Merchant flair, but (and speaking as no fan of Ricky Gervais) it comes alive through the young actors in a way that distracts from its well-known writers to embody its own wittiness and humour. Together with a great 70s soundtrack, this film gets the idealistic image of youth just right - it is touching and human, managing to ditch the cheesy element that some coming-of-age dramas just can't shake. Filled with fabulous moments of cringe-worthy mistakes, frustrating silences and heart-warming friendships, this movie creates a bit of nostalgia for the youth we sometimes leave behind.

As far as the 70s culture goes, Gervais and Merchant only scrape the surface of what life was like back then. The backdrop is clear enough with casual racism a common occurrence in the company of Freddie's family and the social expectations of 'get married, buy a house and have kids' at the forefront of the young minds. Although it doesn't go any further than this it doesn't have to. More poignant moments come at the insurance company's work party, which paints a heart-breaking image of unrewarded old age, snippets of stale youth and the dead-end world of an almost forgotten wife. Ralph Fiennes shines here as Mr Kendrick, boss of the insurance firm and ultimate slimy, ungrateful wotsit.

Gervais and Merchant have their on screen moments - Gervais as Freddie's factory-working father and Merchant as another employee of the Kendrick insurance firm. Both are funny in their small roles without stealing the limelight from the three main actors.

There is a definite carpe diem feel to this film that will make you leave the cinema wanting to drop everything and do something. Full of heart-breaking and heart-warming moments that will make you want to laugh and cry, this movie hits all the right notes when it comes to coming-of-age drama. With exceptionally likeable characters, a predictable but well-written narrative and more male eye-candy than you can shake a stick at (I promise girls, they are perfection) this refreshing comedy can and will be enjoyed by everyone.

Please comment if you have anything to add to this review of 'Cemetery Junction'.

And that's why I love warm weather...

The shorts are out, the sunnies are on and everyone's just feeling generally jolly!

After those long, dreary (and snowy) winter months the sun is definitely more welcome than it's been in a long time... well, probably since last summer! But I just thought I'd blog my own personal appreciation to that big flaming ball in the sky. And, with the days feeling a bit warmer it's inspired me to grab life by the haunchbones (revising medieval literature permits me the odd archaic expression) and go for everything that's chucked at me.

So... in the last 5 days I've pretty much maxed out my overdraft and signed off every last penny of my student loan to a kick-ass summer. I now have an officially awesome reason to get through my exams - South Africa! 3 weeks in September will see me travelling across the country with my housemate taking us from Johannesburg to Durban and hopefully even Cape Town - that means my friend has plenty of travelling hours in which to trick/convince me into doing something life-threatening. On the agenda so far is bungee-jumping, swimming with sharks (er.. no thank you!) and deep-sea diving.

Ok, so maybe I don't want to grab everything by the haunchbones - but that's only because it carries the risk of being either mauled or splattered across a rock 100ft below me.

But it will be my last student summer and I want it to be a belter, so I fully intend to have fun. A lot. Plus, I saw the movie Cemetery Junction last night and there is no better inspiration for travelling (stayed tuned for the review). Brace yourself world, the warm weather's gone to my head and the fun times begin today.

Right, I'm off to do a Step, Butts and Guts class and then to watch the final leaders' debate in the pub. Mmmm... politics and beer.

Almost Wonderful Wonderland

Alice in Wonderland (2010)

Directed by Tim Burton

Tim Burton's latest project sees the now 19-year-old Alice returning to Wonderland to fulfil her dreamy destiny and defeat the Red Queen. In true Burton style, it is weird, wacky and wonderful, full of imaginative treats to satisfy any fan. This film was set to be a hit with its star-studded cast and much-loved director, as well as being one of the many 3D movies now hitting our screens - however, for all it's CGI beauty and wonderful performances, I couldn't help but feel a bit let down by this one.

Based on the books by Lewis Carroll, the plot is simplistic and can be summed up pretty swiftly. Grown up Alice runs from a marriage proposal put to her by a weirdo aristocrat. She follows the White Rabbit (again), falls into Wonderland/Underland (again) and walks around meeting more familiar faces until she takes up her role as 'Champion' to defeat the Jabberwocky. The plot is also what makes the film feel just average - where it captures Carroll's visual imagination, it lacks his wacky story-telling. There's nothing spectacularly unique about Burton's version of the story, we always know where it's going and it seems that this film is just a showcase of talented acting and clever design.

That said, the acting is worth showcasing. Helena Bonham Carter is stunning as the spoilt Red Queen, her digitally bulbous head making her fantastically and weirdly frightening. Anne Hathaway is equally as charming as Bonham Carter's counterpart, the White Queen, bringing a bit of humour to this otherwise 'oh so nice' character. There is obviously the fabulous Johnny Depp to keep us entertained as always, the perfect image of the Mad Hatter (though there are many similarities with Pirates of the Caribbean's Jack Sparrow). The recognisably wise voices of Alan Rickman and Stephen Fry complete the picture and their familiarity and talent alone is enough to make you want to love this film.

But there's just something about it that makes the whole movie feel a bit stop-start. Rather than following Alice, we seem to jump from famous face to famous face and enjoy them each a little bit at a time. The ending is nothing spectacular and everything about the film that is to be commended was inevitably going to be so. Although you can't knock the talent behind such a film (the CGI is seamless and creates some fantastic visuals) perhaps it's time Tim Burton challenged himself by making something a bit more fresh-faced... you know.. with a few fresh faces.

Of course, this Disney picture makes for some good family viewing with a series of goodies and baddies to entertain. Nevertheless, a poor script and often a lack of excitement plague the film as a whole. Three stars makes this movie worth watching, but you could afford to wait for the DVD. Whether 3D or 2D, this film remains the same - and that is simply average. It will satisfy the fans of Burton's unique creativity but it just needs a little bit more story-telling 'umph' to make it a great film.

Please comment if you have anything to add to this review of 'Alice in Wonderland'.

No ordinary superhero, no ordinary movie

Kick-Ass (2010)

Directed by Matthew Vaughn

With the hype surrounding Kick-Ass, I had pretty high expectations of this ‘comic-book movie with a difference’ – an ordinary boy taking on the world in a wetsuit, Nicholas Cage in a comedy and a young girl that has no qualms with bad-ass murder and the ‘C’ word had better be entertaining. Safe to say, I was not disappointed.

As teenage vigilante Dave Lizewski (Aaron Johnson) tries to tackle the bad guys, fighting crime and teenage desire all in one day, he ends up getting caught in a vendetta that takes his superhero-ing way outside of his normal business hours.

Kick-Ass follows Dave, who is, as he explains, not the funny one, not the geeky one, not the popular one, but in the usual high-school style, completely invisible to girls. He wonders why anyone who hasn’t been bitten by something radioactive or fallen from space has never tried to become a superhero. So, he orders a nice green and yellow lycra number from the Internet and goes out in search of some crime.

Now, as we all know, no one has ever tried to become a superhero because a) it’s dangerous and b) it’s hard. So after a run in with some proper violence (a knife and a car to be precise) Dave returns with metal plates and damaged nerve endings to become the Kick-Ass that actually kicks ass – well, sort of.

No review of this movie would be complete without a mention of Hit-Girl (Chloe Moretz) and Big Daddy (Nicholas Cage). The father-daughter duo are responsible for the best scenes of the film for both dialogue and the infamous violence. Big Daddy is out to avenge his wife’s death by destroying the corporation of Frank D’Amico (Mark Strong) and killing everyone that is a part of it. He has trained up his 11-year-old daughter, Mindy, to become Hit-Girl and together they wreak havoc on the biggest villain of the town. Foul-mouthed Hit-Girl is a great on screen presence with stunning comic timing, insane talent with a knife and two of the best killing sequences of the film, one of which is done in strobe lighting and is, in every way, the meaning of ‘cool’.

This movie is obviously conscious of the comic-book films and superheroes that have gone before it – Big Daddy, is practically Batman remodelled and Dave’s metal plates are clearly a nod towards Wolverine. But that doesn’t make it bad. Vaughn sticks these references in to good effect, reminding us of all the great superheroes that we love and just how weedy, yet so heroic, Dave’s Kick-Ass really is.

The second half of the film definitely rules over the first, which sometimes feels a little slow – but that’s not to say that the build up is boring. There are some great comedy moments between Dave and his friends, and remarks from Hit-Girl are even funnier. Plus, it wouldn’t be a comic-book movie without the romance, and so the story occasionally abandons Kick-Ass to follow Dave and his dream girl, who, believing he is gay, allows him to do things that he could previously only dream of. So, despite the awesomeness of Hit-Girl and Big Daddy, Vaughn ensures you always want to follow Kick-Ass by reminding us that he’s just ordinary – a standard hero, fighting crime, but always home in time to get a good eight hours before school.

This film is awesome, insane and offers moments to make you wince with stunning and stylish violence that (unlike as some people would have you believe) doesn’t make you want to pick up your mum’s bread knife and start throwing at people. Sleek and cool but with that element of the real that other superhero movies lack, this is one to see.

(4 Stars)

Please comment if you have anything to add to this review of 'Kick-Ass'

Nothing to Declare - Except a Great Film...

Up in the Air
Directed by Jason Reitman, 2010.

From the director of the much loved, Juno, comes Jason Reitman's next popular project, Up in the Air. Featuring the suave George Clooney alongside Anna Kendrick and Vera Farmiga, this story of life with no baggage, emotional or otherwise, is a telling view of a modern world where 'moving is living' and staying grounded just isn't an option.

Ryan Bingham (Clooney) is a corporate downsizer, ie. he fires people for a living. He spends 99% of his time in the air and on the road, carrying all he needs in one small, wheeled suitcase. He has no friends, his family have seemingly given up hope of seeing and contacting him and the executive lifestyle of every travel and accommodation loyalty programme is all Ryan needs. However, when new technology and a high-flying, rising star of the corporate downsizing world threaten that perfect lifestyle, Bingham is forced to confront what life might be like on the ground.

This film is a gem of entertainment, with excellent acting to suit a brilliant script alongside the quick cuts and slick directing of Reitman. The witty dialogue between the characters provides a smooth ride through this realistic setting and the humour that is undoubtedly needed to balance the bleak reality of Bingham's lifestyle.

Ryan is clearly a character made for Clooney - only he could convince us that the itinerant life of a corporate downsizer might be a good one. His good looks and smooth speech create a sympathy for what is ultimately an isolated character. Anna Kendrick also excels as the young Natalie providing a witty counterpart to Bingham. The two characters create the perfect balance between old and young, man and woman, the emotionally attached and the detached. With only a loose storyline actually driving the film forwards, it is these two, as well as Farmiga as Alex, that keep us watching on, waiting to see how their lives pan out in relation to one another.

Cinematically, this film is beautiful - a great soundtrack mixed with well-edited shots that highlight Bingham's corporate lifestyle come together for some great viewing. The acting can't be faulted, and with some great cameos interspersed, you'll be hooked on the dialogue alone. The love story is unconventional and the storyline feels like a snippet of reality rather than the traditional beginning, middle and end - but this doesn't mean a bad movie. Up In the Air will leave you thinking about what is important in life and contemplating whether those things that 'tie you down' are really keeping you grounded - ultimately, it'll leave you with that cliched 'fuzzy feeling' that you've just watched something different, something great and something cinematically fresh.

Please comment if you have anything to add to this review of 'Up in the Air'.

Re-Building Broken Britain with Broken Hearts

Small Island - Andrea Levy

Award-winning novel, Small Island, is the moving tale of the black and white divide between people in England shortly after World War II. Following four characters, two Jamaican, two English, Levy explores the effects of the war, the disillusionment of those seeking a better life in Britain and the difficulties of love and prejudice.

Recently made into a BBC TV series, Small Island has recently received a new lease of life. The novel was critically acclaimed upon its initial release, but the popularity of TV has allowed people to rediscover this wonderful book.

Split into chapters told from the point of view of the four main characters, reading about their hopes, fears and darkest secrets alligns you strangely with none of them. You learn to love them as you share their experiences but you also can't help but dislike a little aspect of each one of them; one's stubborness, another's grumpiness and some pretentiousness force you to look at what is surrounding these characters. Levy looks at the difficulties post-war Britain faced as it simultaneously tried to rebuild itself as well accepting the new arrivals from overseas.

Nevertheless, this book feels far from preachy as it is not entirely focused on racism. The most striking element of the novel is not just the difficulty that people of different races had with loving and liking each other, Levy also looks at the problems that men and women must overcome in order to love one another. The two women of the story, Hortense from Jamaica and Queenie from England make tough, selfish and selfless decisions throughout their lives and still struggle to live with the men they marry. Yet, despite appearances, their ability to love links these two incredibly different women forever in a way they can never realise.

It is Levy's ability to divulge the characters' secrets to her readers, but not to the other characters themselves that makes this the beautiful story that it is. Sometimes you feel that if everyone told the truth, everything would become clearer and more simple - of course, life is rarely that easy. This novel is steeped in reality and the author subtly proves that bigger issues, as well as pure human nature, sometimes get in the way of the truth. Social obligations mould these characters whether they fight against them or not and it is the truth about post-war society that is really revealed in this book.

Possibly the best thing about Small Island is the unexpected ending. It is a moving and compassionate tale that ends with the same hard-hitting reality that the entire novel provides. The book is full of small surprises but the last is the best and it draws the story neatly together as Hortense, Queenie, Bernard and Gilbert are brought together in a final climax. It is difficult to describe suchly a deeply detailed book without spoiling some of its beauty - all that can be said is that everyone should pick this one up and experience humanity at both its best and its worst.

Please comment if you have anything to add to this review of 'Small Island'.

Souped Up Superheroes Don't Have to Be Such a Bad Thing

Sherlock Holmes

Directed by Guy Ritchie, 2009.

So Arthur Conan Doyle's hero has been re-made and put on the big screen once again - but has this modern, mad and quick-witted detective got a bit carried away, getting too close to the Bond and Batman scene?

Sherlock Holmes' (Robert Downey Jr) latest adventure sees him and his pal Dr Watson (Jude Law) facing the lecherous Lord Blackwood (Mark Strong) who uses apparent supernatural powers to spark fear and panic in the Victorian British public. Holmes' powers of logical deduction take him right across the murky depths of London, battling a French brute, chasing a ginger dwarf and trying to resist the temptation that is Irene Adler (Rachel McAdams).

I for one think that the central partnership is one of the best of recent years. A notoriously wooden Law unexpectedly steps up brilliantly as the dashing and reliable Watson to contrast with the madly intelligent attitude that comes with Downey Jr as Holmes. The two fit together like two pieces of a puzzle bickering in the way old friends do but nevertheless unfailing in their friendship. It's also nice to see an intelligent, controlled Watson rather than a dithering fool who seemingly can't grasp Holmes' brilliant ways.

However, there is the inescapable Ritchie flair about the movie, with a similar folky score, slow-motion explosions and bare-chested brawls that have become this director's signature. Surprisingly, not all of it seems out of place. The intensity of Watson's close shaves, and Sherlock's sticky situations keeps the pace of this film, which is ultimately an introduction to further films.

Hans Zimmer's score was also a highlight of the film. A perfect mix of scratchy violins and honky-tonk piano to match Sherlock's quirky disposition as well as the mucky underworld of the Victorian setting. It made the action more gripping as well as creating a unique sound for this unique Sherlock.

The film is long, but definitely doesn't feel it, and yet there is plenty of room for further development both with character and plot. Downey Jr brings fun and excitement to Sherlock's character and Law provides a brilliant counterpart, but the female aspect of the film is weaker. Irene Adler remains an ambiguous character and her relationship with Holmes is unclear, but she adds another dimension to the detective that will be better developed in the movies to come.

Overall, this film is a must-see. So it's a souped-up version of the original detective, but that does not make it a bad movie. It's exciting, visually entertaining and shows an impressive cast at their best. It might have the Ritchie flair, but it has all the qualities of a Hollywood blockbuster too - I'd happily count the Victorian detective amongst some of our most exciting superheroes, even if there isn't anything superhuman about him. Ultimately, he's brilliant, and really that's all that counts.

Please comment if you have anything to add to this review of 'Sherlock Holmes'.

New Year - New Start

Happy New Year to one and all! I hope everyone had a sufficiently Christmassy break, eating lots, drinking more and being very merry. Now it's another new year, a new decade even, and we're all undoubtedly slightly less pleased with our appearances than before Christmas. But, I'm a student so a bit of extra weight should be enough to see me through the next term!

Looking back over my last year's blogging, it looks to have been a pretty poor turn out. So -

New Year's Resolution #1: Blog more.

Believe it or not I have lots to say but it just never seems to get written down. We can all use the excuse that we don't have time and I've been pretty weighed down by all that Renaissance reading those lecturers have given me but I've just spent 2 hours watching episodes of Friends I've seen more times than the number of real friends I have, so I can't be that short of minutes.

So watch out for more book reviews, more film reviews and hopefully a few more theatre reviews as well.

2009 was the year I started out as editor for the Arts, Books and Creative section of the University of Reading's student newspaper, Spark* and I can't believe I've gone four months without mentioning it. Well, the time has come to present the newspaper's website.

Set up late last year, the website contains all the articles and photographs published in the current issue of Spark*, so visit www.rusu.org.uk/spark to take a look at we do. All the articles are written by those studying at the university and we pride ourselves on being one of the last remaining student papers still being produced entirely by students.

I hope to still be working on the paper throughout 2010, so I'll make it another blogging priority to update you on the top stories for students this year - we can get pretty miffed about stuff when we want to.

Well I suppose that's it for now - but don't lose faith in me because this blogger is definitely back in business! I might also embarrass myself with some of my own creative works later this year, but we'll see!

All the best for 2010!