Album Review: Beatles
by Brett Morris
What really bothers me about The Beatles is the fact that everything they ever did now seems miles beyond reproach. Slag off the bubblegum fodder they were producing early in their career - Love Me Do, From Me To You, She Loves You, I Want To Hold Your Hand, Can't Buy Me Love - and you'll immediately be met by the cobwebbed rejoinder: "Ah, but what about the harmonies...?". Whatever... There are 27 number one (a bit of a concept album then) hits on this one, which reflects the amazing success the band enjoyed in the Sixties. But alas, The Beatles produced much better stuff than this; as with most performers, their commercial successes were often a long way from their best work. To be fair, the album does improve noticeably in its second half. Get Back, Come Together, and the exquisite Ballad Of John And Yoko have an edge that many of the other songs lack. The best ballads, Something and Let It Be, are in the back half as well. But then, so too is the utterly horrible Hello, Goodbye. I'm sure this will put a stack of money in someone's coffers and whether you're a contributer will come down to the opinion you hold of The Beatles legacy. You know these songs, most off by heart, and maybe you're looking for this type of compilation. There are much better ways to access the sounds of The Beatles however, and really, you have to ask yourself, do you really need to hear Yellow Submarine again in this lifetime?
Album Review: Gomez
by Brett Morris
What strikes you most after hearing Gomez’s “Liquid Skin,” the brilliant new follow up to their celebrated debut “Bring it on,” must be the realization that this is only their second album. It’s the best thing I’ve heard in ages! In a world saturated with big guitars and programmed drum tracks, Gomez produce an album here that seduces the listener with a raw yet soulful touch.
With a large part of the guitar work acoustic, Gomez possess that rare ability to create songs that hang deliciously in the air without ever becoming tedious. Of course having a chap up front who can sing like Ben Ottewell certainly doesn’t hurt their cause. It’s an amazing voice, an effortless spray evoking a thousand images, from Ray Charles to splintered glass, and wherever the vast collaborative talents of this band lead, through flamingo handclaps to strings and piano, enough space is always left for Ottewell’s voice to shine.
With too many stand out tracks to list (although if I were to name one it would have to be track nine “Rosalita,” where Ottewell weaves a hypnotic tale of a girlfriend’s deceit), “Liquid Skin” works from front to back, and proves what those of us so stuck on “Bring it on” had suspected all along. That a major new voice in music has emerged here, that these five Brit lads can be wonderfully innovative, but unlike so many of their peers, possess the ability to make those innovations work. I can’t wait to see what’s next!
Movie Review: Magnolia
by Brett Morris
Towards the end of Magnolia, writer/director Paul Thomas Anderson’s much anticipated follow up to the critically acclaimed Boogie Nights, John C Reilly’s character Jim, a less than mediocre member of the LAPD, utters a line that lies at the very core of just what this film is all about. “Sometimes people make mistakes, and they need to be forgiven.” Anderson doesn’t sell this to us as truth, but more as something weighty to ponder.
Magnolia, set over an evening in the San Fernando Valley, is an exploration of lives in crisis. A collection of characters with interwoven stories who find themselves confronted by their unforgiving past; it stands in their doorway, boxing gloves on and six months worth of karate lessons snugly under the belt. There is nowhere left to hide, the bells are tolling, and from here their lives will never be the same again.
Magnolia’s stellar cast lends the film a bucket load of substance. From William H. Macy as the ex child genius struck mediocre by lightning, to Tom Cruise as the crotch grabbing, chest beating, machoistic self-help guru, there are great roles here for everyone, and Anderson has certainly cast the film well.
But alas Magnolia is not an epic film. At nearly three hours in duration, it is too long, too much, too involved, and at times a little too contrived. It is however, a wonderfully brave attempt at making such a film, and for that reason alone worth seeing. A richly original work, brilliantly acted, possessing a climatic scene I’m still trying to decide yay or nay on (Oh those poor froggies!!!). Anderson could never be accused of taking soft options, and if Magnolia doesn’t quite deliver the monumental work that Boogie Nights promised he might one day produce, then it at least hints the day might not be that far off. If he has been a little too ambitious, then fair play to him. What a shame more filmmakers can’t be accused of that exact same vice.
Films Reviews: London Film Festival
by Brett Morris
Not One Less
RAISE THE RED LANTERN man Zhang Yimou offers up yet another piece of classic cinema here with this up lifting comedy-drama set amongst the rural mountains of China. Whilst the story of a thirteen-year-old girl hired as a substitute teacher to combat school truancy is NOT based on a British Education System case study, the work of Yimou’s cast of non-professional actors DOES put to the efforts of the Appleton sisters to shame.
A Luv Tale
Straight publishing chick in search of true self meets gay photographer. Gay photographer gives killer massage to straight publishing chick and, before you know it, straight publishing chick ain’t so straight no more! What’s so different about this slick romantic-comedy is the girl-on-girl spin. What’s not… is just about everything else.
Excuse Me Duckie, But Lucas Loved Me
Three gay roommates fall in love with forth roomie Lucas, who end’s his days with a set of steak knives stored permanently in his chest cavity. Director Sabrosa pays homage here to celebrated compatriot Almodovar with this camp comedy-thriller from Spain. Funny in parts, but that’s about it.
Beau Travail
Claire Denis’ film, set in the foreign legion outpost of Djibouti, is a thinly disguised re-working of the Herman Melville classic BILLY BUDD. The esteemed French director has bravely attempted to invade the closed masculine world of soldiering, but while the film is beautifully shot, the minimalist script and lack of action soon has one wishing for a firing squad.
Back-Room Boy
Every British comedian got the better of the Nazi’s and their spies at some point during the war years, and this sparkling comedy provides London Palladium legend Arthur Askey with his chance. Much to the surprise of no one, the wry Liverpudlian overcomes his diminutive stature and mediocre eyesight to give a sound kicking to a crew of Adolf’s finest. Predictable, but great fun.
Ascendancy
Julie Covington gives a stunning performance here as the Protestant ship-builder’s daughter mourning her brother’s Great War death as her father continues to seek out fat German contracts. Set in 1920 Ulster, this is a subtle, insightful film, which derives its power from finely crafted understatement. The hypocrisy of big business continues to be ageless.
Behind the Rent Strike
These days, it may appear that Nick Bloomfield’s documentaries are as much about himself as they are about his subjects, but it wasn’t always the way. Ten years before gaining notoriety with his controversial KURT AND COURTNEY expose, Bloomers shot this sharply intelligent account of a 14-month rent strike in Kirby New Town. Progression or regression? Jury’s out…