Monday, December 27, 2010
Buy 1 Blog Post, Get 2 Free!
Thursday, November 25, 2010
The Indian Job
Friday, November 12, 2010
A Poultry Post
Thursday, November 4, 2010
Help Me Obi-Wan Kenobi...
Monday, November 1, 2010
Teenage Dirtbag Baby
Monday, October 11, 2010
Straight Outta' Brompton
I couldn’t help but notice your comment “It made me realise… how doing journalism is such a great excuse to be nosey and find out stories from the scum of the Earth without being beaten to death.”. Journalism needs intelligent, thoughtful people if it is to become a respected profession again, not cocky little gobshites like you.
If your team’s documentary – which was rubbish, by the way – had shown any insight into why Merthyr is so economically deprived and why a culture of hopelessness pervades the town then you might actually have learned something rather than pushing the same, tired “oh, aren’t those poor people rubbish” angle. Your tawdry documentary was one-sided and ignorant of the economic regeneration that is occurring in the town.
It appears that the money you are spending in fees learning journalism are not money well spent. Whether this is a reflection on you or the quality of the institution you are attending remains to be seen.'
Monday, August 23, 2010
Whole Lotta' Merde
- The whole place looks like the Germans just left. Honestly, every village I've ever been too just looks bombed. Roof tiles are missing, hell, even some of the walls are missing. If it wasn't for the fact I had an iPhone in my pocket at the time, I could have sworn it was 1940 and Krauts were swarming the surrounding fields.
- Everyone looks miserable and depressed. The last time I saw such a set of sombre faces, I was in Gillingham. Everytime we drive through a village of some kind, there is always an old man sitting outside the bakery with a baguette in one hand and the most glum expression on his face. It's almost as though they see the British number plate on the front of our car and think: 'Eeengleesh? Ze last time zey were 'ere, we were et war wiz ze Germanz'. And then of course, with that thought, they get very suspicious. And give you dodgy looks.
- Everywhere shuts at lunchtime. Why? You're a business, you're meant to making money. If my old business teacher saw ol' Pierre and Christine (horribly stereotypical French names, no one in particular) shutting up shop for lunch at midday, he'd have a fit. It's almost like the French want to fail, no other set of people would close for an hour so they can spread Camambert over their perfectly made baguettes. Mind you, these are the same sort of people that would probably go on strike even if they were on the dole.
- Style. I'll admit, I'm not in Paris at the moment. More like 600miles away. But still, the French dress like they're 600 years behind. The kick-ass combo of flip-flops and socks adorns every other French man, and the women look like they've been dropkicked through a charity shop specialising in antique curtains. I'm no Alexander McQueen (well no one is anymore...) but still, I know (roughly) what works and what doesn't. Unfortunately, Pierre and co. are in the 'doesn't' section.
- Where are the kids? In the many times and thousands of miles I've been across Francais, I've only ever seen about 3 schools. That fact seems worrying, but when you can't even see any kids, you wonder how they might fill these 3 schools up. I'm no fan of 'yoofs' hanging around on the streets back in England, but at least that way you know a social demographic below the pension age exists. In France, the only kids you ever see are the ones riding around on dirt bikes or mopeds. But that's it. It's almost like the Child Catcher relocated to France and had a little bit more success than he did in Chitty Chitty Bang Bang.
Sunday, July 18, 2010
Inceptional
It’s been 10 years since writer/director Christopher Nolan burst onto the Hollywood scene with the superbly crafted Memento. Streamlining a short story written by his brother Jonathan, Nolan constructed a mentally satisfying film whilst always appearing in control of the film’s tricky plot. Whereas the Wachowski Brothers seemed to lose scope on the narrative of the Matrix trilogy and threw in a few fancy action sequences to keep the sci-fi trilogy from turning into a pile of cyber-shit, Nolan has always had the ability to weave popcorn-pleasing moments of cinema with a story that never leaves you wanting more. His second picture, Insomnia, perhaps proved the most tricky, with the interesting idea of living as an insomniac sidelined for a more straight-up detective narrative. But with Inception, Nolan has arguably made his best film, and certainly an early contender for film of the year .
Outlining the plot in a written review would not do it any justice whatsoever. In it’s most basic form, Inception is a heist movie. But replace the bank vault with a target’s dreams, the gold bullion with secrets, and a rag-tag band of crooks with an efficient team of modern day Al Capone’s led by a swaggering Leonardo DiCaprio. Like pulling off a bank heist, you can imagine that stealing secrets through a target’s subconscious is frowned upon by the relevant authorities, and in an effort to clear his name, Dom Cobb (DiCaprio) takes on one last job (yeah that ol’ cliché still applies here). But it’s no ordinary job, and rather than stealing secrets, Cobb is hired to plant an idea into the mind of an heir to a business empire (Cillian Murphy) by his rival (Ken Watanabe). Creating an organic idea within a person’s subconscious (known as an ‘inception’) proves to be slightly tricker than simply stealing an idea and Cobb and his team are forced to explore multiple layers of their target’s mind in order to complete their mission.
But there’s so much more to the story than that brief summary. There’s all the rules of entering a dream to be explained, the idea of dreams within dreams and the mental struggle Cobb has over the death of his wife Mal (Marion Cotillard) who often materialises within Cobb’s subconscious. It’s a film full of ‘blink and you’ll miss it’ moments. Be fearful of loo breaks and distractions; missing the odd scene could result in losing a key plot element that you’ll never be able to recover from.
But Nolan also acknowledges that his audience does not want to be completely bombarded with a thesis about the behaviour of someone’s dreams. As a result, the pace of the first 90 minutes is absolutely breathless, with some stunning scenes of entire cities bending over each other, a chase sequence worthy of the Bourne trilogy through the streets of Mombassa, and a few very-pretty-but-oh-so-expensive shots of city scapes, where you sense Nolan would have loved to have plonked Batman on a few of the buildings. And none of the action feels out of place. Everything feels like it has a purpose. Even a freight train hurtling down a road in the middle of a city is explained. A fight in a hotel corridor that takes place in zero-gravity doesn’t feel like it was simply placed there as a way of spending film studio’s dollars. I could explain to you quite easily why both of these things happened in Inception, but I could never fully understand why there was a bloody-great freeway chase in the middle of The Matrix Reloaded. It once again demonstrates the grip Nolan holds his (forgive the pun) mind-boggling narrative and why he is one of the brightest talents in Hollywood.
The one problem with this however is Nolan is in danger of becoming a great showman more than a great director. While he has assembled one of the greatest casts in a movie this year, none of them ever really seem to get out of second gear. Don’t get me wrong, everyone in the film puts in a solid performance and you’d be hard pressed to fault the way in which they tackle their characters. It’s just they always seem to play second fiddle to the ideas in Nolan’s head. DiCaprio never reaches the giddy heights of his performances in The Aviator nor The Departed, and whilst his mental struggle with the death of his wife affects the plot’s narrative, you never really sense he’s mentally troubled man. Cobb is a very clinical thief, lamenting on simple mistakes, and this is mirrored in DiCaprio’s performance. Very clinical, hard to criticize, but nothing that makes you sit back on go ‘wow’. The supporting cast do a good job of moving the story along. Particularly impressive were Tom Hardy (Bronson) and Joseph Gordon-Levitt (500 Days of Summer) who both stood out as functional yet interesting characters, adding a bit of much needed humour to the piece. Other than that, it’s a list of Nolan usual suspects, with Michael Caine offering a brief cameo and Ken Watanabe getting much more screen time to exude his unnaturally creepy persona than in Batman Begins.
When I say ‘play second fiddle to Nolan’s ideas’ that is by no means a bad thing. Nolan is one of the most imaginative filmmakers of his generation, and he has insured that his vision comes across absolutely perfectly on screen. It’s easy to forget in this day and age that CGI can be done badly (I’m looking at you Clash of the Titans). But the visuals in Inception are brilliant, adding a sense of awe when needed, and when a feeling of isolation is required, the visuals appear right on cue in all their pixelated glory. Following on from The Dark Knight, camerawork from Wally Pfister is nothing short of staggering. There are a great range of long steady shots to mad handheld shots to keep the film moving.
It’s just a shame Inception loses a bit of momentum towards the end. As Cobb and co. advance through dreams within dreams, we are told time is extended in proportion (10 seconds on the first level is 3 minutes on the second and 60 minutes on the third etc.). It just feels the end is prolonged just that bit too long in order to wrap up every loose end. Nevertheless, Nolan ends the film with his usual little twist, executed in with the panache other filmmakers could only dream of. Too often I’ve sat and watched a film and been totally underwhelmed. With Inception, Nolan has created a film clever enough to keep even the biggest cinema buff on their toes, whilst entertaining enough to draw in the punters; a balance he first got right with The Dark Knight. But Inception is so much better than Nolan’s second Batman. We don’t need heroic (excuse the pun once again) performances from the leads to drag us through a bog-standard plot. Here, Nolan uses all his craft and guile to lead us on an adventure that’s both original and utterly compelling. A must watch for all.
Thursday, July 8, 2010
But Miss, I have an excuse this time!
Sunday, June 27, 2010
Flaggots
Sunday, June 20, 2010
'How can I be lost, if I've got nowhere to go?'
Wednesday, June 9, 2010
For Arguments Sake
Monday, May 31, 2010
Losing My Revision, by R.E.M
A scene in the film Jarhead if you will digress. Anthony Swofford played by Jake Gyllenhaal forces Fergus (played by...someone) to construct and deconstruct his rifle at gunpoint. To the point where Swofford cocks his rifle, points it at Fergus' head, resulting Fergus breaking down into tears at the fact meaningless repetition of this simple military task is going to get him killed.
Thursday, May 27, 2010
23:59:59
Saturday, May 8, 2010
Shovel, Spade and a Hand Grenade
Thursday, May 6, 2010
Daydream Believer
Wednesday, April 28, 2010
You Heard It Here First
Tuesday, April 27, 2010
Fatherhood & Pitchforks
Friday, April 16, 2010
Braindead *Insert Witty Title Here*
Thursday, March 25, 2010
I 'Aint Gonna Work On Maggie's Farm No More
Thursday, March 11, 2010
Do You Want Fries With That Qualification?
Ladies and gentlemen. Tonight is a night to celebrate. Tonight, we honour the commitment and hard work that your sons and daughters have put in over the past two weeks. We've had nothing but praise for them, and I like them all to come up to the stage one by one to collect their awards. Without further or do, I'd like to present all of these wonderful boys and girls, their Level 2 BTEC in working at McDonalds.