Posted by Ali Gray
at 23:00 on 11 Jan 2015
Sometimes a joke hits too close to the mark, and so it is I cannot ever listen to jazz music without thinking of The Fast Show sketch, Jazz Club, with its bowl-cutted host Louis Balfour introducing chin-stroker acts in straight trousers with names like Charlie ''The Bulb'' Robeson and Soylent Green. That's an entire musical genre desolated, for all time - an entire section of HMV I'll never trouble. But perhaps there is a saviour for jazz; not a musician, but a director, Damien Chazelle - a man who's probably too young to even remember The Fast Show, let alone the old duffers who made jazz insufferable in the first place. Trumpets please!
Posted by Ali Gray
at 20:30 on 04 Jan 2015
Did you hear? This year is the year in the future that Marty and Doc Brown travel to in Back To The Future Part II! How crazy is that?! OR IS IT? CRAZY, I MEAN? It turns out Actual 2015 is a lot more similar to the 2015 of Back To The Future Part II than you might have thought! And cue generic feature!
I saw Woman In Black 2 about a month ago and I didn't make a lot of notes. No, you're
unprofessional. But I didn't make a lot of notes because I felt by its third act that it was broadly doing what it had set out to, in the way that a lot of mainstream horror movies tend to quite competently, and that to review it straight would be to retread ground I've already trodden in other reviews
. But one interesting thing did occur to me. Read on if you like tedious narrative theory!
If I were a pretentious Film Studies student, I would discuss Birdman's importance at great length to anybody within earshot. I would write an entire thesis about the many ways in which it deconstructs the cinematic form and then I would go to parties and bore people with smug declarations like "Birdman is the best superhero movie ever made", proudly enjoying my own unique, daring perspective on the genre. Sadly, I am not a pretentious Film Studies student. I am, however, a pretentious film reviewer, so I still get to do all of those things and I don't even have to worry about getting graded afterwards. [B- for that intro - Ed]
Stephen Hawking is brilliant, isn't he? He’s perhaps the world's greatest mind, he's been immortalised in The Simpsons and millions have read his book A Brief History Of Time. And millions more have lied about reading it. He truly is remarkable; it's about time someone made a worthwhile biopic about the man's extraordinary life. Granted, I didn't see Benedict Cumberbatch's 2004 TV film Hawking but really, who did? And who remembers it? Apart from me. Just then.
Here it is, the culmination of an entire year of sitting in front of a screen to watch movies and then sitting in front of a smaller screen to then write about those movies. These 10 scenes are the best that 2014 had to offer, although obviously that's just my opinion, but even more obviously it's my blog, so if you don't like it you can go and read WhatCulture or something you philistine.
Hello loyal readers and congratulations for making it to the final stages of 2014: all that remains is to square off with the grimly inevitable end-of-year boss.
Arguably my generation doesn't know it's born, but it's not that I'm unmoved by tales of World War Two heroism. If anything they serve as a reminder that millions sacrificed their lives for my freedom and now I'm making dick jokes on the internet. I do think these stories deserve to be treated without recourse to emotional manipulation, though. Unbroken might have been a quiet examination of determination and the human spirit, but overshoots in trying to emphasise how inspirational it is.
Posted by Ali Gray
at 21:20 on 23 Dec 2014
The cyber-detectives of Twitter have seen right through the biggest #conspiracytheory of the year: Sony hacking themselves and flirting with ruin in order to publicise a movie in which Seth Rogen shoves a tracking device up his arse. We're through the looking glass...
I do enjoy a good London tear-up movie. A year after the unexpected pleasure of Vendetta
, Richwater Films is back with We Still Kill The Old Way. Its charms are more uncomplicated and its politics are a bit iffy, but it continues to demonstrate that what Richwater delivers is a cut above the usual British crime fare.