Film Review: Nebraska (15) (U.S.A. 2013) (Director: Alexander Payne),  The Cameo Cinema Screen One, Edinburgh, Saturday 07.12.2013, 20:00

This is film is by the same director who made 'About Schmidt' (2002), 'Sideways' (2004) & 'The Descendants' (2012). Of these I greatly enjoyed About Schmidt, though I do have soft spot for Jack Nicholson, I found Sideways annoying and The Descendants I was not attracted to as it has 'Gorgeous' George Clooney in it. I was attracted to see this one due to the main character being played by Bruce Dern.

The film centres around an older coot of a gentleman Woody Grant, played by Bruce Dern, who believes one of these pieces of junk mail that tells him he has won $1,000,000. He is no longer allowed to drive and at the beginning of the film we see him walking along busy roads on-route across two states to collect his winnings. This then becomes a means to have him and family (as well as wider acquaintances) to come together to reminisce on days past. With others believing him to come into a substantial sum of money, old scores get aired along with requests/demands for money. Towards the end of the film, the son who has tried to assist Woody throughout the film, becomes very generous towards him, in a way I found to be a bit of a stretch.

The film is gently paced and it has a couple of fine performances from Bruce Dern as the bull-headed full-hardy old codger, though even greater for comic relief is June Squibb as his long suffering wife. She has some fantastically funny moments and her character is an absolute joy.The film may have been a lot more difficult without her as relief to Woody's doggedly confused state.      

Rating: 07/10.

Film Review: Jeunne & Jolie (18) (France 2013) (Director: Francois Ozon) (French with English Subtitles),  The Cameo Cinema Screen Three, Edinburgh, Monday 02.12.2013, 21:00

The film title, I believe translates as 'Young & Beautiful'. The film centres upon a seventeen year old girl called Isabelle played by Marine Vacth. I understand that Marine is known as a model in France and that this is her first acting role. Isabelle comes from a well educated and reasonably well off middle class family in Paris. After her first sexual encounter she decides to become a prostitute. When her family find out as they inevitably do, they are perplexed as Isabelle is underage and her background does not help to engender understanding.

The film was slammed by critics for being solely surface with no depth. I would disagree, I feel that the film in the second half goes on to explore grief and how Isabelle having done this for a period may have it come to flavour potentially all subsequent intimate relations. I would say that the film also quite gently addresses differing reasoning and behaviour of 'punters' towards prostitutes.

The film never does fully resolve why Isabelle started to do this. I think it is not beyond the realms of possibility that she knows she is beautiful, sex can be fun and exciting (particularly when you are in the early stages of exploration), and it is a way of earning a fairly substantial sum of money: autonomy. I also think it is quite probable that in such a situation, setting out to do this work that someone is unlikely to think of the possible negative outcomes, otherwise why would they begin.

Marine Vacth was impressive and quite able to express emotion with rawness. She was also quite beautiful, like a younger Vanessa Paradis, though without the gap in the teeth. The film also had a great soundtrack with the likes of Crystal Castles and Francoise Hardy on it, and towards the end there is a great Cameo by Charlotte Rampling just for good measure. A perfectly engaging, enjoyable film.

Rating: 08/10.      

Film Review: Blue Is The Warmest Colour (18) (France 2013) (Director: Abdellatif Kechiche) (French with English Subtitles), The Filmhouse Cinema Screen One, Edinburgh, Saturday 30.11.2013, 17:20

This is the film that won the Palme d'Or at this years Cannes Film Festival. The film winning was deemed controversial and I'm not clear why. Usually this is awarded to the director of the film, though it was presented to the director and the two lead actresses.

The film follows Adele played by Adele Exarchopoulos for the duration of the film, starting when she is fifteen and still at school. Adele along with others of her age is beginning a process/period of sexual exploration. She starts with boys, though then an older girl, Emma, an art student, catches her eye and she finds her affections growing towards this girl and in turn they develop an intense relationship.

The film is three hours long, though never feels as though dragging, which to me is always a sign of a well made and edited film. The performance by Adele Exarchopoulos is of particular note, in this film it appeared as though nothing was beyond expression for her. At time she appeared particularly raw and vulnerable.

The actress playing Emma, Lea Seydoux, is the more established actress, though her performance struck me as having a coldness which made it hard to warm to her character. Sadly I felt the film was tokenistic in how it brought in some other elements of the characters lives, such as their families.

Now is time for me to be possibly controversial. This film was raved about by critics and lauded with prestigious award, yet I would say that the film although centering upon a lesbian couple, does not inform regarding the nature of intimate relationships with any greater or differing depth than other films I have seen that centre upon heterosexual relationships. (Possibly this is the point, that ultimately intimate relations of any kind can have similar issues such as subservience and imbalance of focus/attention.) It is due to this that I struggle to understand why this film was lauded to the degree it was. The film may be well acted and edited, though its story is sadly lacking. This has also lead me to wonder whether the overwhelming positive attention it received was due to it centering upon a lesbian relationship, so that those responding/commenting can appear 'politically correct', if this were the case this would be just as disappointing due to also being tokenistic. - Though I do also feel I have to express that I think it is great that a film centering around a 'gay' relationship has had as much attention as this has got, it is just a shame it is not a better film.      

If you wish to see a recent great film by this director, I recommend watching 'Cous Cous' (2007), and if you wish to see a recent great film about a gay relationship, I would recommend watching 'Weekend' (2011). Though Adele Exarchopoulos is an actress to look our for in the future.

Rating: 06/10.

Film Review: Short Term 12 (15) (U.S.A. 2013) (Director: Destin Cretton), The Filmhouse Cinema Screen One, Edinburgh, Wednesday 20.11.2013, 20:30

This is a film I was curious about as was being very well received by critics with very little preemptive hype. It had been commented upon that this had taken critics by surprise, i.e. they were not being told beforehand that they should love it. I was further intrigued as it is set within a 'Foster Care Unit'. The film is classed as 'American Independent' and there really does appear to be no sops to hollywood.

This is an absorbing film with perfect performances across the board. It focuses upon a new kid moving into the foster unit and an older kid moving on from the unit, as well as focusing upon the stable staff group + their new member. Brie Larson plays the central adult part of the carer Grace who has her own difficulties from her past to contend with. Despite saying the performances are great across the board, Brie Larson does deserve particular mention as the wisened though tough gentle care giver. 

It feels very difficult to pinpoint why this film is so good, except to say that it has considerable depth in it's depiction of human communication. The film also treads a fine line and has a good balance of the shitty reality of these kids past and the possible positivity of their present and future due to the stable environment of the foster unit. It never feels overly hopeful or clawingly sweet allowing elements to have a good grounding in the real present. 

I have a sense that there are elements of this film that will stay with me for some time to come. I think this film serves as a positive reminder that at times it is enough to get from one day to the next with people who are a stable and consistent force in your life. This feels to be a very good portrayal of how unit's like this can a times be a good place for a child to be.

Rating: 10/10.  

        

Live Performance Review: Depeche Mode,  The SSE Hydro, Glasgow, Monday 11.11.2013, 18:30

I previously saw Depeche Mode perform on the 12th of December 2009 in Hall 4 of the S.E.C.C.. 

There was support this time from 'The Jezebels' from Australia, who were nothing of note.

The two times I have seen Depeche Mode I have gone with the same friend. Although we had both enjoyed the previous performance, we both felt this to be a better concert. This is the first time I had been to a performance at the Hydro and it is certainly a better venue than the S.E.C.C., though that aint exactly hard. The sound appeared better and the shape of the spacing was improved. 

Both the group and the audience appeared more into it this time than last, which may reflect more upon a shift in where the group feel themselves to be. The volume of the audience's singing that 'dancing Dave' managed to encourage out of them was of a startling nature even by wegie standards. The group's use of screens and lighting was very impressive and assisted in adding to the diverse nature of the set performed. 

The set list was a very good balance from across earlier albums and the new album from this year, 'Delta Machine'. They played about half of the 'Violator' (1990) album, a couple of songs from each of 'Playing the Angel' (2005), 'Songs of Faith & Devotion' (1993) (including one of my favorite songs 'I Feel You'), 'Music for the Masses' (1987) & 'Black Celebration' (1986) as well as early classics such as 'Just Can't Get Enough'. 

Depeche managed a fantastically sustained show, fitting in 20 songs into a couple of hours on stage, I have now heard Depeche perform all of my favorites of theirs bar one. I cannie grumble. 

This gig showed me the jubilant euphoria I have been used to seeing in footage of Depeche performing. I am aware that Depeche Mode are not to everyone's tastes, with some seeing them to be a bit on the dark side. Though if you appreciate the Mode and are thinking of seeing them, I would happily recommend, and hopefully you could experience a show as good as Monday eve's.

Rating: 10/10.             

Film/Live Performance Review: Let's Go Adventure (15) (Director: Douglas King), The Filmhouse Cinema Screen One, Edinburgh, Wednesday 06.11.2013, 21:00

This was originally meant to be held in Screen Two. I was delighted on the night to see it had been moved to the cinema's biggest screen, Screen One.

This was a screening of two short films co-written by and starring Josie Long. For the uninitiated Josie is one of my favorite comedians and further back in my blog you can find a review of a performance of hers on Tuesday 14.08.2012.

The short films are called 'Let's Go Swimming' & 'Romance and Adventure'. Both are set in Glasgow, a place Josie acknowledges she idealises. The first is tinged by a melancholic pathos, and the second is a very enjoyable tale of flatmates who are best buddies with an unspoken love of each other.

Josie also complemented the short-films by doing a spot of stand-up comedy between the two films. This was a pleasant surprise as was not part of the advertised details. This enabled a very nice balance by presenting what she is venturing into alongside what she is known for and more practiced in.

The films themselves were very enjoyable, and they do not appear vanity projects in any way. Josie along with the same director and actors already used in these shorts, are now venturing into making a feature length thing which I look forward to.

Josie and the director also did a Q&A after the two films were screened. This though really is mere detail. Josie is someone who I find reassuringly intelligent, and whom I feel has such a vivacious and effervescent character, I know I have a massive grin on my face as soon as she appears on stage.

It was an absolute joy to see Josie again. I felt spoiled getting to both see her in 'films' and perform live.

Rating: 09/10.

(+ I got to meet Josie afterwards).      

Live Performance Review: Pokey LaFarge, Liquid Room, Edinburgh, Tuesday 05.11.2013, 19:00

There was fantastic support from 'The Tillers', a trio from Cincinnati. There music is stated as being a mix of traditional folk, bluegrass and jazz. Very enjoyable showmen and captivating musicianship. A group I would happily see doing a full set, though very pleased to have been introduced to live via this support slot. I was impressed enough that I purchased their new album 'Hand on the Plow' at the merchandise stand. It's very rare a support slot peaks my interest to this extent.   

I had previously seen Pokey and his group 'The South City Three' at the Bongo Club in Edinburgh on Friday 23.03.2012. They put on a fabulous show that night. They hale from St. Louis and play what I am finding described as 'Americana, Early Jazz, Ragtime For String Instruments, Country Blues, Western Swing, Vaudeville, Appalachian Folk'. 

This time they were complemented by a two piece brass section and had a larger stage to perform on. Pokey and his band displayed fantastic musicianship, looked dapper and sharp, had grand banter and were ably supported by an up-for-it sing-along-a crowd. Absolute fun. What more could you want for a cracking evening.    

Despite the entire band sounding and appearing flawless, I have a soft-spot for the gent on Harmonica, Snare Drum & Washboard, a Mr. Ryan Koenig. His harmonica playing is quite outstanding and his extremely expressive face is a joy to watch.

Rating: 10/10.    

Live Performance Review: Nick Cave & The Bad Seeds, The Usher Hall, Edinburgh, Friday 01.11.2013, 18:30

This was a slightly parred down version of the bad seeds with there only being six musicians accompanying Nick. There is not much point in describing their music as they are pretty well known even if just by virtue of having been around so long. 

The set was approximately 2 Hours and 10 Minutes with a great range of old, very old and new songs, and within this a lovely mix of more gentle pieces alongside balls-out rockers. It was fantastic to hear quieter songs such as 'Into My Arms' & 'God Is In The House'. All involved are consummate musicians and showmen. Nick was hamming it up brilliantly for the crowd who were lapping it up. 

This is the third time I've seen Nick and the Seeds live, having seen them twice in 2008 when they were touring the Dig!!! Lazarus Dig!!! album, and I've never felt disappointed in any way with the display. Tonight was no exception. A fantastic evening. 

Rating: 10/10. 

(I Have been having a fantastic run of live performances, that's five in a row being tens or better). 

     

Live Performance Review: The Staves, The Queen's Hall, Edinburgh, Wednesday 30.10.2013, 19:00

The support was passable, though nothing to look out for.

Needless to say there was a lot of similarities with the performance at Oran Mor in Glasgow in early September. 

With it being at the Queen's Hall, it was a better venue with superior acoustics which assisted the vocals. Also with it being this venue the audience were very respectful, to the benefit of the quieter songs. 

The performance was dreamy and beautiful, with perfect harmonising; faultless. It could be suggested it would have benefited from being slightly longer. It has to be kept in mind they have just released one album, though after this tour they are going to be doing the recording of their follow up album. To grumble about the length is just that, grumbling. The ladies, Jessica, Camilla and Emily also appear to be lovely, humble, down-to-earth and with a grand line in banter.

I enjoyed this enough that I nicked a copy of the set-list at the end. I have not done that since I was about 21. I look forward to the next release and general development. Hopefully they will hold on to the agreeable manner. 

Rating: 10/10. 

Live Performance Review: Warpaint, O2 ABC, Glasgow, Monday 28.10.2013, 19:00

I have seen this group previously on 23.08.2011 at the Queen's Hall in Edinburgh. On that occasion they gave a very good performance, though it was not excellent. Wikipedia describe them as art-rock. I'm not sure what that means, though I find them very hard to describe beyond being able to say that some of their songs are very dreamy and all of their songs are quite funky (& I think they sound sexy - whatever that is). 

Warpaint are a four piece all female group from L.A., they currently have two L.P. type releases. In 2009 the mini-L.P. (six tracks) of 'Exquisite Corpse' was released followed the following year by the full L.P. of 'The Fool'. Their next long-player is expected to be released early in 2014 and is understood to be self-titled. Of the two releases so far, I prefer 'Exquisite Corpse', though both are very impressive. 

It was only after I became introduced to 'Exquisite Corpse' that I found out that it was recorded and engineered by my rock hero John Frusciante, formally of the Red Hot Chili Peppers who happened to be dating Emily Kokal (Warpaint's lead vocalist) at the time. Once this detail is known, you can hear his touch on the recording. 

There were two supports at the gig/ The first from Liverpool, called 'All We Are' were very impressive and I would have happily have listened to them for longer. If I notice recordings of them in the future I would check them out. The second support were called 'Pins' and are really not worth bothering with. 

Warpaint played all bar one of the tracks from 'Exquisite Corpse', a good dose of ones from 'The Fool', and some new ones that sounded very impressive. The synchronicity and harmonising between the band members was very noticeable and impressive. There was some great jams and musical journeys sensuous enough to to cause ecstatic goosebumps. 

Although all four members were great, particular mention has to be given to Jenny Lee Lindberg (Bass) who clearly acts as the anchor for the band and displayed very dexterous playing. Stella Mozgawa who was very impressive on the drums with lovely little details being fitted in with ease and Emily (on lead guitar and keys as well as vocals). All of the members appeared to be having fun, particularly Jenny. The lighting was also very impressive, and the crowd although not sold-out was a decent size and very enthusiastic. They played for a decent period of time; approx 1 Hour 40/45, and I really find it hard to find any fault at all at with the performance. 

I have the lovely task of reporting that for two nights in a row I feel I have experienced faultless gigs.

Rating: 10/10.   

Live Performance Review: Suede, Barrowlands Ballroom, Glasgow, Sunday 27.10.2013, 19:00

I last saw Suede perform at the very unusual venue of the Meadowbank Sports Centre in Edinburgh on 13.02.1997. This was on the tour for their third album 'Coming Up' (1996) and was a very good performance.   

I got a ticket for this gig when a colleague who I go to some gigs with mentioned wanting to see them when the tour was announced, and I immediately thought I was up for that. It was only on the day of the gig that I remembered details such as I was introduced to Suede by friends at school in my final year of secondary school. The same friends who also introduced me to others favorites for many years such as The Levellers and Chumbawamba. Also the night that I lost my virginity in 1995, Suede's self titled first album (1993) was playing on repeat throughout the night. Clearly I have some significant memories attached to this group. 

This was the first time I was at the Barrowlands since 2005, and it is still one of my favorite venues, along with the Queen's Hall in Edinburgh. 

The support was forgetably bland. 

Suede's performance focused largely upon their first three albums, the above mentioned two and 1994's 'Dog Man Star', as well as the new album 'Bloodsports' (2013), which I have not heard yet, though have on order. It was a consummate performance with singer Brett Anderson producing an extremely energetic and nuanced display, playing to the crowd as only a seasoned confident front man can. Guitarist Richard Oakes was also of note, approaching his performance with gusto. The gig was sold out and the crowd were rapturous without any signs of the oft Glaswegian gig agro. There was a sense of joyous euphoria throughout capped of with the anthemic 'New Generation' from 'Dog Man Star' at the end of the encore. I would go so far as to say it was a fantastically faultless show. Absolutely brilliant.

Rating: 10/10. 

On a sad note, it was also at the gig that I learned of the death of one of my favorite musicians, with the group dedicating one of the songs to Mr Lou Reed who had died that day. Thankfully I had the pleasure of seeing Lou perform twice. R.I.P. Lou, you helped give courage and confidence to many a deviant.

Film Review: The Blue Black Hussar (15) (U.K. 2013) (Director: Jack Bond) Sunday 06.10.2013 17:45 The Filmhouse Cinema Screen Three, Edinburgh 

This film is not yet on general release and it is not clear if it will get this form of exposure. 

There is mention that it may land up going straight to DVD or other such streams. 

This is a documentary that focuses upon the present day life of Adam Ant, my first ever hero. It is presented in the order that the filming occurred, and so although his previous mental illness is not explicitly discussed, it clearly presents a process of recovery. The film is very raw, unvarnished presentation of the man as he goes about his activities of creating music and collaborating with other artists. 

One of the producers of the film was present at the screening and explained that the director and Adam had been friends for a considerable number of years, and this is how they were able to get such authentic footage of the two of them just chatting as mates do. These are also some of the most revealing segments of the film where there is clearly no pretense. The film collectively as a whole also comes together to present a clear portrait of a very complex and intriguing man who has many and varied disparate interests.

This is a fascinating portrait of a man. Wither you may be intrigued due to his music or just interested in human functioning and behaviour, I would recommend this. I found it engrossing.  

Rating: 09/10. 

Film Review: The Pervert's Guide To Ideology (15), (U.K./Ireland 2012) (Director: Sophie Fiennes), Friday 04.10.2013 1900, The Cameo Cinema, Screen Two, Edinburgh

This is from a preview screening.
The film is not properly released until 18.10.2013.

This is a audio-visual context for the oratory of charismatic Slovakian Philosopher & Psychologist Slavoj Zizek. The director and Zizek had previously made 'The Pervert's Guide To Cinema' (2006) together, and this is a continuation of what they began with that film.

Zizek has a great interest in film, and 'the guide to cinema' utilized his interest in cinema along with his understanding of psychology to present an examination of many revered films through the lenses of Freudian Phychodynamic thinking. This I found enlightening and entertaining.

This new visual tome broadens the reference palate to also take into account actual events and the news coverage of these, such as the London riots of a couple of years ago. This is a very dense analysis of entertainment, news media and marketing/advertising to examine how people globally tend to accept some notion of a broad ideology generated by some authoritarian 'other', and then in time come to feed the ideology assisting its perpetuation.  

This 'film' requires absolute concentration, and is unquestionably stimulating. I suspect the film would reward several viewings as the information is so concentrated, I would find it hard to imagine most punters being able to process all of it on first view.

I don't feel the film to have been as entertaining as 'the guide to cinema', though I suspect it has further reach in terms of relevance.

Rating: 07/10.  

Film Review: Prisoners (15), (U.S.A. 2013) (Director: Denis Villeneuve), Saturday 28.09.2013 20:30, The Cameo Cinema, Screen Three, Edinburgh

This is a film set in a small community where two young girls disappear from families that are close friends. There is an oddball character who immediately becomes the focus of the community's attentions. 

There are two main characters, the father of one of the girls portrayed by Hugh Jackman & a police officer portrayed by Jake Gyllenhall. Both of the performances are admirable, and I don't usually like Jackman, so that is something. Hugh Jackman is doing his usual hunter-gatherer man thing, though in the context of the role I don't find this objectionable. Gyllenhall gives a usual sturdy performance, though with added elements of frustration and rage. I could not actually fault any of the acting, though specifically mention that leads as that is what they are. 

The film is very good at showing how different people would try to cope/manage differently in such circumstances. The futility of many inquiries is focused upon as well as the resultant frustration. There are questions presented to the notion of morality, as well as profferings to not to assume who is or is not community minded or of 'best' intentions. Further questions are raised as to what behaviour we would accept of ourselves and/or others if we understood the behaviour to be motivated by utter desperation. 

The film allows characters to get to half-truths and partial understandings from the off, though the misunderstood details allow the film to portray the prime-suspect to be as much a victim as anyone else (then at the end when the full detail of who that character is becomes clear it could be argued that they are the biggest victim).      

The film is long though I did not have a sense of this while watching. The film is, at times, not an easy watch, though it is very involving of the viewer. This is a very well considered and put together film whose structure does not forget the little details differing characters know which spins them off in differing directions. This is a film rich in detail and substantially rewarding, though due to the nature of what it covers I find hard to recommend. Never the less...

Rating: 09/10.    

Film Review: Filth (18), (U.K. 2013) (Director: John S. Baird), Saturday 28.09.2013 18:10, The Cameo Cinema, Screen One, Edinburgh

As with any visual work based upon writings of Irvine Welsh, they will always be compared to the adaptation of 'Trainspotting' (1996). I first saw Trainspotting on the night of it's world premiere at a midnight screening at the same cinema. From the screening that night you could tell that it was an important film with a zeitgeist quality about it. It may have been set in the '80's, though the 'choose life' sentiment was very apt at a time when brit-pop and new labour were on the rise.    

Filth does not have this good fortune of cultural relevance, though I still found it to be a very enjoyable and funny film. James McAvoy portrays the central character well, without any cheep shots for sympathy and has no problem carrying the film. Though I have to say I was even more impressed by Eddie Marsan, who portrays James's best friend with such skill that he can appear pathetic yet completely unsympathetic and very funny in a bumbling way. 

There is no question that this far outstrips 'The Acid House' (1998) and 'Irvine Welsh's Ecstasy' (2011) in terms of Irvine Welsh adaptations for the screen, and as enjoyable as it is, it does not have vitality and is not a classic. Though it is a jolly good laugh.

Rating: 08/10.  

Film Review: Ain't Them Bodies Saints (15) (U.S.A. 2013) (Director: David Lowery) Saturday 28.09.2013 15:15 The Filmhouse Cinema Screen Two, Edinburgh 

It is hard to know what time-frame to say this tale of hicks is set. The story essentially revolves around two young lovers on the lam, the woman is pregnant and lands up shooting a police officer. Her lover claims responsibility, taking the rap and the sentence, swearing to return to her. He escapes penitentiary and needless to say his root back to her is messy. There is nothing more to say...

The film is overly simplistic. It clearly has aspirations to be a new kind of 'Badlands' (1973) though falls well short. Whereas that film had intrigue and was beguiling, this was just dull, offering nothing new in regard to the notion that not even love can save you when you operate outside the law. I recommend anyone considering this, to instead rewatch (or if new to, watch) Badlands, that was you are at least assured of a quality film. 

Rating: 02/10.  

Live Performance Review: Laura Marling (Solo Acoustic), Wednesday 25.09.2013 19:00 The Usher Hall, Edinburgh

Perfect, Perfect, Perfect . 

Film Review: The Artist and The Model (12A) (Spain/France 2012) (Director: Fernando Trueba) (French, Catalan & Spanish with English Subtitles) Saturday 21.09.2013 20:45 The Filmhouse Cinema Screen One, Edinburgh 

I was interested in seeing this for two reasons. The first was that I saw this directors previous film, 'Chico & Rita' (2010) at the cinema and greatly enjoyed it. Secondly the central relationship of this film, focusing upon an older artist and a young and naive model, reminded me of one of my favorite films, 'La Belle Noiseuse' (1991) by Jacques Rivette. 

The film is set towards the end of the second world war, the model having escaped from Spain is hidden by the artist and his wife just over the French border, yet the setting allows all parties a good deal of respite from the troubles. Despite the context always being present, it never sits heavy on precedings. There are humorous moments and a general lightness of touch which does not feel to belittle the times, though to me reinforces the fact that people will always make efforts to have their lives and activities continue as normal whenever possible.     

The film has a languid pace that suits its ruminations on simple yet important elements of life. It is beautifully shot in high contrast black and white. There are shots which achieve a visually intriguing and entirely apt effect of being both crisp and slightly blurry at the same time. 

The central relationship between artist and model is well portrayed with both parties gently easing to and trusting the ways of the other; the model enabling the artist to complete one last piece and the artist assisting the model to find a way of making her way in the world. Each becomes able to be vulnerable and frivolous in the presence of the other. I also appreciate that there is no attempt to play to modern 'shiny' sensibilities in how the model is portrayed in natural unaffected beauty.  

The film felt to be a very gentle yet satisfying watch. Although it did not have the epicness of 'La Belle Noiseuse', it still has a depth and easily stays with me for the two days between watching and writing this. 

I have swithered over the rating and the rating reflects that I suspect that this film will be a bit of a grower and likely to offer greater rewards upon repeat viewing. 

Rating: 10/10.  

        

Film Review: You're Next (18), (U.S.A. 2011) (Director: Adam Wingard), Saturday 14.09.2013 23:00, The Cameo Cinema, Screen Three, Edinburgh

This is a horror film that centres upon a family reunion, that becomes attached by several people wearing animal masks. It is largely a slasher film with a few genuine jolts and surprises. The surprises are not that surprising in retrospect, though still the story development is well managed and the deaths are suitably gruesome. 

I found the film enjoyable, though I have one grumble. The trailer uses Lou Reed's 'Perfect Day' which then has not part in the film. I find this practice of uses elements in advertising that are not related to the film to be misleading and unnecessary. 

I suspect this is a film that many horror fans will enjoy, though it is not for the weak of stomach. 

Rating: 07/10. 

Film Review: Upstream Color (12A) (U.S.A. 2013) (Director: Shane Carruth) Sunday 08.09.2013 13:30 The Filmhouse Cinema Screen Two, Edinburgh 

I went to see this as it appeared to be getting near universally high praise and comment suggested it was visually striking. 

I found it to be very disappointing, impossible to follow what was happening and only very occasionally visually impressive. Despite this I did have a sense that the film did have a sense of what it was trying to convey, though sadly it alludes me as to what that may be. 

I also find it very hard to comment on the acting, and I feel this to be due to how difficult it was to follow. There were also elements left without explanation, such as why the central couple developed such a bond so quickly which appeared unsatisfactory.      

I did not find it annoying despite its slow pace and impenetrable nature, & not once did I consider leaving. With what I've said it will come as no surprise that I cannot rate this well. 

Rating: 02/10.  

Live Performance Review: The Staves, Oran Mor, Glasgow, Saturday 07.09.2013, 19:00

There was a male singer & acoustic guitar player in support, though not good enough to warrant further writing. 

The Staves were very classy. Lovely singing & harmonising. The three sisters also had a very comfortable and unaffected rapport with each other and the audience. 

The sisters were accompanied by two other musicians on guitar and drums for some songs. Although these songs were finely performed, I cannot hide that I would prefer if all of The Staves songs were performed by just the three sisters. When you can harmonise as well as they do, I feel it is a shame to add other sounds on top. Though this is a quibbling personal preference. 

They were very impressive and I would be up for seeing them again, once they have released more tunes and can do a longer performance. 

They are doing a performance towards the end of October 2013 at The Queen's Hall in Edinburgh. If you know and like the staves, I recommend going. I'm sure they will do a great performance and it would be a great venue to see them in. 

Rating: 09/10.        

Live Performance Review: First Love produced by Gate Theatre Dublin (Edinburgh International Festival (E.I.F.) 2013), Saturday 31.08.2012 19:00 Royal Lyceum Theatre, Edinburgh

This, as with Eh Joe on Tuesday past, is a performance of a Samuel Beckett work. Also as with Tuesday's, this was a single-hander, this time for the actor Peter Egan. To my mind this was a portrayal of a bitter and isolated old man whose intelligence fuels his cynicism. 

The writing was complex and stuffed with ideas and paradoxes. The end conclusion/denouncement is that people make a choice to either expose themselves to love and loving or they don't. It appears as though the character has realised that he has shunned opportunities for this richness in his life. I had greatly enjoyed this performance, as I had the one on Tuesday and to think I had been very wary of Beckett expecting it to be very dour and humorless. Both performances were in ways simple, though also profound.

Rating: 10/10.    

Live Performance Review: Estonian Philharmonic Chamber Choir (Edinburgh International Festival (E.I.F.) 2013), Thursday 29.08.2012 20:00 The Usher Hall, Edinburgh 

I had first become familiar with the work of this choir about three or four years ago. I had been particularly taken with some acapella singing towards the end of the Shane Meadow's film 'Dead Man's Shoes' (2004). The music did not feature of the soundtrack album and was not listed in the credits at the end of the film. I landed up staying up all night (on a school night) hunting it down on the internet. This resulted, by the end of the night, in my knowing that the hauntingly beautiful music was recorded by the Estonian Philharmonic Chamber Choir, and it was to arrive within days on CD. When I noted them in the brochure, I had no hesitation in knowing I wanted to see them perform.   

The entire performance was acapella. The choir consisted of 27 singers, 14 female & 13 male, and the conductor. 

This was an incredible performance. Phenomenal, in the literal sense. If I had to choose a section that was better than any other, then I would have to say the 'Rachmaninov All-Night Vigil', which was meant to conclude the performance was particularly of note. We were then treated to a lovely bonus encore piece of 'an old Estonian song'. Remarkable and staggeringly sublime, one of the finest performances I have ever had the pleasure to experience. I cannot praise highly enough. Perfect!

This I cannot rate. It was too great for such categorising.    

Live Performance Review: Ensemble musikFabrik performing A Tribute to Frank Zappa (Edinburgh International Festival (E.I.F.) 2013), Wednesday 28.08.2012 20:00 The Usher Hall, Edinburgh 

This began with a piece that had distinctly clashing elements. The second piece was disquieting and quite urgent. 

I felt the music of the third piece was sparse and somber, though also sadly depressing and dragging. It appeared to go on an age and I was aware of thinking when 'will this piece end, it is awful'. The very essence of tedium. And on it went...        

This was a very interesting performance and the musicians are clearly very able, though I did not enjoy it. It struck me as being akin to being present at a recording of incidental music for an abstract film. I also suspect that the sounds would work very well accompanying some films. 

I was also aware that when closing eyes, the sounds were more tolerable, when watching the performers I could not help but find it to be pompous. This was compounded by having a gentleman sat next to me who in every piece was doing a condescending smug chuckle to himself where he would make a single 'huh' sound without opening his mouth and shrug his shoulders at the same time. I could not see what he was finding humorous, and it did not appear as if others were 'getting it' either. His laugh confirmed he also knew that the masses would not be .getting it'. Clearly a proponent of pomposity. 

Rating: 02/10.  

Live Performance Review: Eh Joe produced by Gate Theatre Dublin (Edinburgh International Festival (E.I.F.) 2013), Tuesday 27.08.2012 21:00 Royal Lyceum Theatre, Edinburgh

This is a performance of a work by Samuel Beckett. I had got my ticket when I learnt that the actor Michael Gambon was going to be part of the performance. 

If I had paid closer attention to the information in the brochure, I would have noted that the work's director is Atom Egoyan, and that would have sold it to me straight away. He had directed one of my favorite films, 'Exotica' (1994). I had only noted this on the day of the performance and this caused me greater sense of anticipation. 

I had noted that the play was short though did not investigate further prior to the performance. Gambon was the only actor on stage. He played the part of an older man retiring to bed, to then have trouble sleeping due to being disturbed by a (female) voice that appeared to be internal. The focus appeared to be upon the man's troubled reflections on his life with shades of guilt, regret and shame. Gambon's performance was wordless with his unease conveyed purely by his facial and body language/expressions. 

The performance was riveting, engrossing and in my my view faultless. What Gambon was able to convey without speech was quite remarkable. I have not yet been to many theatre productions as is a medium I have felt cautious of, though even to my ignorant brain I could tell this was a production of the highest quality. 

Rating: 10/10.  

Live Performance Review: L.A. Dance Project (Edinburgh International Festival (E.I.F.) 2013), Monday 26.08.2012 19:30 The Edinburgh Playhouse, Edinburgh 

This was interested in as soon as I noted that the company was founded by Benjamin Millepied, the choreographer and a star of the Darren Aronofsky film Black Swan (2010). I also am quite often lead to consider dance performances by the pictures used to promote them and the main image for this company in the Edinburgh International Festival's Brochure I felt to be quite stunning.

There were three pieces.

The first 'Quintett', I thought used great light and shade (as did the second piece). The music was pleasant. The dancers movements I could not fault except for one very short section where I felt the movements did not appear quite as sharp as they could. Though this is quibbling as the vast amount of the time the dancers movements appeared sympathetic to one another as well as appearing very fluid and displaying a high degree of synchronicity. This piece to my eyes appeared to be about romantic love, courtship and jealousy.

The second 'Winterbranch' began to silence for the first section and then was set to discordant sounds (not noise, as some have said). The sound for this piece, to me, was strongly reminiscent of the soundscape that accompanies the film Eraserhead (1977). Eraserhead is a film I am very fond of and find to be unintentionally very funny. Though I suspect that my familiarity with the likes of that film means that I am likely to be accepting of the sounds, where others clearly were not (there was ignorant booing at the end of the piece). I had no issue with it.

There were industrial elements, such as a device that went across the stage and the performers being presented to appear very small on the stage, which to me was suggestive of 'cogs'. It collectively was suggestive of industrial dystopia, which again chimes with the film.

The performance its self caused me to think of another David Lynch film, Mullholland Drive (2001).

There was a darkness in tone to this piece that appealed. I feel it is a very brave performance, and brave is not a word I am usually okay with using in regard to a performance, as is a term I feel to have become used too liberally. The very monotone minimal and stark lighting, resulting in large areas of the stage being minimally visible I can imagine riling some, though I though this all added to the overall 'vibe' of the piece. I would not go so far as to say it was as enjoyable as the first or third performances, though I did feel it was very good and I liked it.

The third 'Moving Parts', was set to a loop of this lovely older spoken male voice, accompanied by sympathetic music. The lighting was very straightforward and not really part of what was going on except to ensure the performers were well illuminated. This piece was choreographed by Millepied himself, and was an enchanting display of hypnotic fluidity. All elements appeared well considered and complementary. As a whole the piece appeared to me to be an expression of the experience of being consumed by love. By how the piece ends I got the impression of the love being everlasting. Quite beautiful. (The photo in the brochure is a shot of on of the performers involved in presenting this piece.)

Collectively I found the three pieces to be highly impressive and enjoyable, with a nice change in tone in the middle to shake things up. I have no hesitation in the praise I give.

Rating: 10/10.                   

Live Performance Review: Scottish Chamber Orchestra performing Beethoven Prometheus (Edinburgh International Festival (E.I.F.) 2013), Sunday 25.08.2012 19:30 The Usher Hall, Edinburgh 

Beethoven's Creatures of Prometheus was preceded before the break by Hayden's Symphony No. 104 'London'. Both pieces sounded to be very well performed and I greatly enjoyed.

I was surprised to see a lot of empty seats to start with and even for for the Beethoven. I also did not understand why the audiences lights were dimmed in the first half though not the second. I also had a sense of there being something lacking even though the music sounded great, and I'm not sure what that may have been.

Rating: 08/10.   

Live Performance Review: Oper Frankfurt performing Dido and Aeneas & Bluebeard's Castle (Edinburgh International Festival (E.I.F.) 2013), Saturday 24.08.2012 19:15, The Festival Theatre, Edinburgh 

Firstly to explain my attendance. I am familiar with a version of Dido's Lament as performed by Jeff Buckley, and find the piece moving enough that I was wishing to go and see the whole thing performed live. Bluebeard's Castle was a bonus.

Now to cover in reverse order to how they were performed.

Bartok's Bluebeard's Castle I found musically very interesting and the singing was fine. The staging was overly minimal, and the story I found to be suggesting of polygamy and misogynistic. I was at least able to follow the story this time as the 'supertitles' appeared to be handled well.

Purcell's Dido and Aeneas I was extremely impressed by, and am now about to gush. The costumes were gorgeous, the staging simple though smart and the use of lighting was great. The orchestra sounded grand and the singing was fantastic. The build up towards and the ending (including Dido's Lament) I found to be very moving resulting in deep breathing and watery eyes. Overall I found this to be a scrumptiously ravishing performance. If only I could be assured that all opera would affect in this way.

If it were just Dido and Aeneas by itself, I would have said that it was so good that it was beyond giving a rating to (and would have been the fourth performance of this caliber). As it is...

Rating: 10/10.    

Live Performance Review: Bang On A Can All-Stars performing Field Recordings (Edinburgh International Festival (E.I.F.) 2013), Friday 23.08.2012 20:00 The Usher Hall, Edinburgh 

Not a can in sight...

Part of what drew me to this was that they were to be performing a world-premiere and E.I.F. commissioned piece by Laurie Anderson. This was not performed and the informing of this only happened upon arriving at the venue. Naughty... 

I have never done this before, though I took copious notes during the performance. The following is based on these notes which I am trying to decipher as best as I can - they were written in the dark. Some notes were just single words that sprang to mind and some of what is bellow is just me transferring these words as feel they capture my response quite well:

Track One: The sampling reminded me of two albums: Beyond Skin (1999) by Nitin Sawhney & Readymades (2002) by Chumbawamba. 

Track Two: The sampling reminded me of Nitin Sawhney's Prophesy (2001) album. Sadly the spoken word element of the sampling was drowned out by the music, so you could not make out what was being said and it became noise. There was also synchronizing of the sampling and live female vocal at the end of the piece which I did not feel to work.    

Track Three: This had edited together visuals along with the sounds. Many were film clips, so I found myself focusing on the visuals trying to recognise as many as I could, and I knew many. Being a film buff, I suspect this was an issue for me, though may not have been for others. I was aware of growing sense of disconnect between the music and the visuals. 

Track Four: I felt got better as it progressed. It sounded climactic and an uproarious rallying-cry. 

Track Five: Sedative, Calm, Transient, Auto-pilot, Hypnosis. Sound version of waiting in airport for flight. Then we have flight and this is then followed by senseless, buzzingly tiresome meandering. I feel with this piece it would have made sense to have finished it with takeoff. Up to that point this was a decent piece. 

Track Six: I have noted '???' + Boring.

Track Seven: 'Sounds of Somber Destruction'. Good though not in a Good Way. 

Track Eight: 'Turgid'. 

Track Nine: This sounded like someone having a mental breakdown. Literally painful to listen to, I was rubbing my forehead during this piece. It reminded of the work of Daniel Johnston (who I like) & the album 'Smile From The Streets You Hold' (1997), the second solo album by ex-red hot chili pepper John Frusciante. Although John is one of my musical heroes, this album I have only ever listened to once, it was made and released (for money to buy drugs) at his lowest ebb and is very difficult to sit through. A disturbed work. 

Track Ten: Sounded like a great improvement to begin with. Reminded of Circus/Fairground sounds & felt Zappaesque. Sadly this came to sound like a disjointed mess. It sounded as though the sounds were just being mashed together, and the separate sounds themselves were not convincing.        

Track Eleven: Sampled chanting and spoken word. The spoken word appeared to have purpose, though again it was drowned out by the other sampling and sounds, so was hard to be sure.  

Track Twelve: This appeared to visually (when paired with the sounds) be an attack on conventional senses of of beauty, which should be right up my street. This used somewhat dated footage of something called 'Real Beauty Turns' paired with very discordant and needlessly aggressive sounds. The whole thing appeared to attempt irony, though to me was posturing and posing with nothing to say.   

This was interesting, though I would not say I enjoyed it, I felt though who lasted to the end should have been given a badge or certificate to say that managed to get through it. It took me longer to write this up than the performance lasted. This is not music you (or anyone) could listen to for enjoyment or any sense of enrichment. Which begs the question, why bother making this din. For those making this, they must have enough resources from elsewhere to be able to spend there time creating this stuff. I don't see also how the musicians involved could enjoy producing this as it is not pleasant in anyway, I can only they assume they approach this as a technical exercise. This felt to be the very worst kind of pretentious.    

I would suggest the musicians familiarise themselves with the album PBX Funicular Intaglio Zone (2012) by John Frusciante. There is much they could learn in terms of sampling and melding discordant sounds in a way that audibly is interesting, surprising, rewarding and when considered as a whole is cohesive.     

There was a girl in front of me who could not have been older than 2 or 3, who was very well behaved and quiet. I felt sorry for her being taken to this. I have considered whether to say this as could easily be seen as overly dramatic, though I felt it was abusive for her to have have been taken to this when there is no way this could have been felt to have been accessible for her. 

There were walk outs after pretty much every piece and these appeared to increase as the performance went on. I also heard people outside after saying they were having to stifle laughter.   

This may surprise, though most of what I state above, I feel to be constructive. Despite most of the performance feeling like a challenge at no point did I consider walking out, though I also was not confused by those who were. 

Rating: 02/10.  

Live Performance Review: Pierre-Laurent Aimard (Edinburgh International Festival (E.I.F.) 2013), Friday 23.08.2012 11:00, The Queen's Hall, Edinburgh 

This was a performance which continually went back and forth between piano works by Debusssy & Ligeti. I know very little to say about this other than it was extremely good and a lovely start to the day. All three of this chaps performances were a complete punt, though all three were exceptionally good. Some feat to produce three very satisfying performances in a row, he is clearly a master of his craft. He is one I will keep an eye out for in the future. The gushing ends here...

Rating: 10/10.  

Live Performance Review: Pierre-Laurent Aimard/Marco Stroppa/Samuel Favre (Edinburgh International Festival (E.I.F.) 2013), Wednesday 21.08.2012 22:00 Main Hall, The HUB, Edinburgh 

This performance consisted of two pieces with an interval between. The first piece was Pierre by himself at the piano. The second piece involved Pierre along with his collaborators on percussion and electronics, to perform work of Stockhausen.

The first piece was of a similar nature to the second in terms of structure and timing appearing 'leftfield'. It was perfectly enjoyable, though the 'daddy' of the performance was the Stockhausen.

I feel I have considerable difficulty in trying to convey the nature of Stockhausen's music, though I know I enjoy the work of his that I am aware of. The piece was truly beyond description, except to say that there were elements that felt subtle and others brash, some elements felt funny and others somber, I could go on...I felt the work was able to elicit a myriad of emotional responses at various points in the piece. I was also aware that I had a 'Cheshire Cat' grin throughout most of the piece.

I found the piece both in terms of performance and structure to be fascinating. After the performance was done I felt a form of elation, and was aware of thinking that I was extremely happy to have experienced this performance.

Pierre performs by himself on Friday morning at the Queen's Hall. I feel a modicum of excitement.

Rating: 10/10.   

Live Performance Review: The Tragedy of Coriolanus Performed by Beijing People's Art Theatre (Edinburgh International Festival (E.I.F.) 2013), Tuesday 20.08.2012 19:30 The Edinburgh Playhouse, Edinburgh 

It is very unusual for me to willingly go to see a performance of Bill Shakespeare's work. What intrigued me was that the musical accompanyment is provided by two of China's leading heavy metal bands, 'Miserable Faith' & 'Suffocated'. The prospect of Bill being performed alongside sizable riffage was too tempting.

Sadly said riffage was not as prominent as one had hoped. Given the nature of how this aspect of the performance was mentioned the media/advertising blurb, I was expecting a harder sound and for it to feature more in the performance.

The english supertitles were on both sides of the stage, at decent height, though the positioning was such that it was not easy to glace. To try to keep up with the text I was having to take my attention away from what was happening on stage. Also the tiles were not well coordinated with what was happening on stage. There were times when quite a bit of dialogue had been said by an actor before any text appeared on screen, then it would move onto the next screen too quickly. Early on the titles appeared to be repeating themselves. The disjointedness between text and what was happening on stage was also an issue in the performance of Fidelio. This element of supertitles needs to be sorted, as at present it is compromising the ability to follow a performance. It was just as well for this performance, that I am familiar with the story of Coriolanus.

The costumes and set were impressive as was the scale of the production. Sadly I find it difficult to identify other elements that I found impressive about it, and impressive costumes and scale in my mind is not enough for the performance to be appear impressive. In the second half I was aware of finding myself to be feeling bored, which is fairly damming.

Rating: 03/10.          

Live Performance Review: Scottish Ballet performing New Voices (Edinburgh International Festival (E.I.F.) 2013), Monday 19.08.2012 17:00 On Stage Studio, The Festival Theatre, Edinburgh 

For the uninitiated (like me before I went to this performance) the 'On Stage Studio' involves the stage curtain being closed and the audience sitting at what is usually the back of the stage.

This performance consisted of five relatively short pieces.
The first was a very slick-synchronised performance by four young ballerinas, I found this piece very enjoyable.

The second featured two male and two female ballerinas, by the end of the piece all but one of the dancers was stood in their underwear, for which I could see no rationale.
The third piece featured two male and one female and the fourth piece was two male and two female. Both of these I enjoyed greatly. I found the third to have a staccato tempo and the forth's tempo to be quite ferocious, both had an urgency about them.

The fifth required the audience to move from where we were and move to the first floor foyer. I don't think the site-specific nature of this added anything, the performance could have easily been managed on the stage with a couple of simple props. This piece appeared cobbled together and rushed. I feel this was reflected in the music. The movement from one musical piece to another was quite abrupt, and this was the case repeatedly. The first time it could be seen to serve the purpose of jolting the audience out of complacency, though it appeared to occur so often that it just became jarring.
To paraphrase Meatloaf, three out of five ain't bad.

Rating: 06/10.

Live Performance Review: Pierre-Laurent Aimard/Marco Stroppa (Edinburgh International Festival (E.I.F.) 2013), Sunday 18.08.2012 22:00 Main Hall, The HUB, Edinburgh 

This was a performance that married piano with electronics. Some sections had the two elements separate and some appeared to have them sympathetically combined. 

The opening section to my ears sounded like the jagged piano heard  in Stanley Kubrick's 'Eyes Wide Shut' (1999), which I greatly enjoyed. It sounded as though notes were being allowed to fully finish before the next note was progressed to. The electronic contribution reminded me of the music from Goblin that forms the soundtrack to 'Susperia' (1977). I felt the electronic and piano elements were both very enjoyable, and their melding I felt to have been handled with a deftness of touch. This felt like no hokey bringing together of disparate sounds without care (as can sadly often be the case). This felt unfamiliar and invigorating. 

There is a further performance of these musicians and a further percussionist joining them, at the same time, same venue, on Wednesday eve. I am now greatly anticipating this. 

Rating: 10/10.     

Live Performance Review: Scottish Ballet performing The Rite Of Spring (2011) (Edinburgh International Festival (E.I.F.) 2013), Sunday 18.08.2012 20:00 The Festival Theatre, Edinburgh 

This was another complete punt, though was one that paid off. The set was stark and there was only three performers. 

The narrative I felt was relatively straight-forward to follow; this is the first dance performance where I feel I actually understood what was being conveyed. The story appeared to simply convey the difficult subject of adolescence, sexual awakening & confusion/uncertainty and how in the process of establishing our (sexual) sense of self, we can be very cruel to others. 

The score by Igor Stravinsky was bold with playful elements.The dancers attire was simple yet elegant. 

It would have been nice if this were paired up with other work, the performance overall felt too short. 

Rating: 08/10.   

Live Performance Review: Meredith Monk & Vocal Ensemble performing On Behalf Of Nature (Edinburgh International Festival (E.I.F.) 2013), Sunday 18.08.2012 14:30 Royal Lyceum Theatre, Edinburgh, preceded by Meredith Monk In Conversation (Edinburgh International Festival (E.I.F.) 2013), Thursday 15.08.2013 17:00, Main Hall, The HUB, Edinburgh

I went to this on recommendation. It was a complete punt, I knew nothing of this person's work beforehand, the person who made the recommendation thought I would find this interesting.

This performer and her collaborators relay upon a form of singing that does not use words, just sounds. This in itself should not be a problem, though I felt it made it very difficult to understand how the performance related to nature and could have just as easily have been said to relate to cake.

The costumes were made by recycling the performers own clothes and therefore can suggest environmental consideration/protectiveness. Though again if you were not aware that the costumes had this source, then it added nothing.

I don't wish to be unnecessarily rude, and won't be. I don't begin to 'get it'. Easiest to say 'not for me'. Though I will say that to my mind, the thought I was repeatedly having was that it appeared a case of 'emperor's new clothes'.

I don't feel it is possible or appropriate for me to rate this performance.

Live Performance Review: Paul Foot: Words (Edinburgh Festival Fringe), Saturday 17.08.2012 19:30, Belly Dancer, Underbelly Cowgate, (Unreserved Seating), Edinburgh 

Willfully abstract & absurd. One of the funniest performances I've ever seen. I laughed so much I am sore and tired. Get the sense that the show would not be much different if returned to see him in coming years. Though glad to have seen, and if you have not seen and don't need conventional structures to your comedy, I could not recommend highly enough. Fabby!

Rating: 10/10.  

Live Performance Review: Scottish Ballet performing Sea of Troubles & Silhouette (Edinburgh International Festival (E.I.F.) 2013), Friday 16.08.2012 20:00 The Festival Theatre, Edinburgh 

This was a replacement performance, and was not the show I'd originally booked for.

I'll not beat around the bush. I only stayed for 'Sea of Troubles' and was so disappointed that I did not stick around for 'Silhouette'. The performance felt like a disjointed under-rehearsed rehearsal. Movements felt unsure and cut-short. There felt to be a lack of focus, including uninteresting repetition which appeared to be to fill time as opposed to adding anything of substance.

If I am at a dance performance I usually find the movement interesting. I know this is at least in part due to unfamiliarity with the art form. It is very odd for me to feel bored and annoyed at a dance performance. That this was achieved was an achievement of sorts.

The worst dance performance I can recall seeing.

Rating: 00/10.    

Live Performance Review: Ardal O'Hanlon: Live (Edinburgh Festival Fringe), Thursday 15.08.2012 19:00, The Music Hall, Assembly Rooms (Unreserved Seating), Edinburgh 

There is one reason why I got a ticket for this: Father Dougal McGuire. In my mind always the best element to the mighty Father Ted. I was unsure what Dougal's stand up would be like, though was happy to take a punt on it. 

Dougal did a roaring trade in befuddlement and a likable charm with ease. It was like having continual rolling waves of gentle chucklesomeness. Very difficult to convey what he discussed as that is not what sustained him. Just like that other Irish comic, Mr. Carson, it was the way he telt them. 

A very warm and glowing time. I'm very glad I took the opportunity to see Dougal perform. Dougal for Pope!

Rating: 08/10.  

Live Performance Review: Mark Thomas: 100 Acts Of Minor Dissent (Edinburgh Festival Fringe), Wednesday 14.08.2012 19:30, Stand III, The Stand Comedy Club (Unreserved Seating), Edinburgh 

This was a return to politically based comedy that Thomas is known for after taking sixteen months out from the field due to family health, which produced the theatre show Bravo Figaro!. 

This was not up there with the best of Thomas, though even his seconds is better than most. In terms of how satisfying I found the show, I would say that it is equitable to 'The People's Manifesto', which coincidentally I saw him perform in the same room. Some of Thomas's shows, where he focuses upon a single subject I tend to prefer, though even though this show was slightly scatter-shot it was still very interesting and chuckle-some. Always a joy...

Rating: 08/10.  

Live Performance Review: The Poet Speaks: Homage to Allen Ginsberg Performed by Patti Smith & Philip Glass (Edinburgh International Festival (E.I.F.) 2013), Tuesday 13.08.2012 20:30 The Edinburgh Playhouse, Edinburgh 

The prospect of this performance was too intriguing to miss. To have two performers of the stature of Smith ad Glass focused on the works of Ginsberg was quite a prospect. It was only once the performance began that I realised I had never been to a poetry recital before.

The performance began with Glass accompanying Smith in reciting some of Ginsberg's work. There was then sections of Smith (with the accompanyment of some guy on acoustic guitar) and Glass doing solo performances. Smith did both her own work and Ginsberg's. Glass's section, if my understanding is correct, was three pieces performed as one flowing into another, that had initially been composed in collaboration with Ginsberg to accompany his poetry. Then towards the end Glass and Smith paired up again.

The work had an intensity to it that I liked. The words and their flow conveyed a power that confirmed the adage that poetry is a medium that should be heard. There is something about the flow (or at times lack of) to Ginsberg's work that I think requires a performer of some skill to convey. Phillip Glass's solo section I found very rich, subtle in areas and brooding in others.

I am in no way sure as to what I expected. I am aware that I had some in trepidation due to this being quite an alien form to me, though subsequently feel as though not much more could have been done for me to have found it more inviting. Patti's voice I found to have an assured quality that enabled it to sound calming, rousing and galvanizing.

I enjoyed this performance, more than I had anticipated. This is the most I am aware of having enjoyed poetry. I feel as though this may have gone some way to opening me up to more live poetry recitals in the future. This felt to be a performance of such quality, though also of such novelty for me, that I have a sense I will ponder and mentally return to this one for some time to come.

Rating: 10/10.            

Live Performance Review: Prom 40 (6 Music Prom) (BBC Proms 2013), Monday 12.08.2012 22:15 The Royal Albert Hall, London

At the point of having got my ticket for this, it was only Laura Marling's name attached to the bill. She is one of the two performers I assured myself I would try my damnedest to see perform this year, and at the point of tickets being available for this, it was not clear if she would be touring in any conventional sense. I got my ticket and it was only weeks later that I found out it was a mixed bill, by then national dates for a solo acoustic tour by Laura had been announced. Although I would have preferred a solo show by Laura I did not feel aggrieved, as I still felt that it would be interesting and it's not like it is One Direction she was sharing the bill with.

The point of this prom is an attempt to try to bring together classical and popular elements of music without resulting in a mass or compromised product.

The bill consisted of the London Sinfonietta performing work by themselves and accompanying The Stranglers, Cerys Matthews, Anna Stephany (Mezzo-Soprano) & Laura Marling. The couple of songs by Cerys, including one from the times of Henry V and Blueberry Hill, was very enjoyable. I find that every time I hear Cerys I am reminded how much I enjoy her singing. Due to having got a programme - which I don't often do - I became aware that last year she released an album, Tir, sung in welsh. I like how the welsh language sounds, and just from the samples I can hear on Amazon it sounds very promising.

The pieces that the London Sinfonietta did by themselves were very good. These were Ionisation by Edgard Varese (chosen as it was the first piece of recorded music purchased by Frank Zappa) and Principia by Steve Martland. The first solely though monumentally percussive and the second very funky and sounding as though the ends of musical phrasing has been left off.

The single piece that Anna Stephany did with the London Sinfonietta I was not impressed by. It appeared to be an energy drainer.

The Stranglers did the first song of the concert and the last three. These included 'No More Heroes' & 'Golden Brown'. All of The Stranglers songs were rearranged to be performed along with the London Sinfonietta. To be to the point, I did not enjoy The Stranglers, I did not feel there music was up to the same quality as that being performed by the other musicians.

About half way through the concert was Laura's section. Laura performed the suite that is at the beginning of her peerless new album. The final song of her performance 'Breathe' was accompanied by the London Sinfonietta and was rearranged for this. It was pretty clear that most of the audience were there to see Laura and I was impressed to see her hold a room of that size with such understated ease. I was very impressed and pleased to have seen this performance and am now even more excited by the prospect of her solo acoustic concert in Edinburgh on the 25th of September.

Rating: 08/10.    

Live Performance Review: La Belle et la Bete with live accompanyment from the Philip Glass Ensemble (Edinburgh International Festival (E.I.F.) 2013), Sunday 11.08.2012 20:00 The Edinburgh Playhouse, Edinburgh 

This performance uses the 1946 film by Jean Cocteau of 'La Belle et la Bette', removes the original soundtrack and adds in new music and words sung by four vocalists (2 male & 2 female).

The music, as with a lot of Glass's work, had both monotonous and hypnotic qualities. The music veered from sounding quite beautiful to absurd and irritating. Thankfully the irritating periods did not last long. The work itself did occasionally feel as though it was dragging, which I put down to both the edit of the film combined with passages of sound that sounded intermittently stuck.

On the whole I found the performance enjoyable.

Rating: 08/10.    

2013 1/2 TERM FILM REVIEW - TOP 5 FROM THE FIRST SIX MONTHS (ISH) OF THE YEAR

Prompted by the latest posting on the 'Kermode Uncut' Blog, where you were invited to submit your top 5 of the year so far. Below is my response:

My Top 5 Films of the year so far...

1.) Blancanieves (Spain)
2=.) Stoker
2=.) Frances Ha
3.) Before Midnight
4.) The Stone Roses: Made Of Stone (Documentary)

Just missing out are:
1.) The Sessions
2.) Side By Side (Documentary)
3.) Fuck For Forest (Documentary)
4.) West Of Memphis (Documentary)

ALL OF THESE FILMS I REGARD AS 10/10. 

Live Performance Review: Opera de Lyon performing Fidelio (Edinburgh International Festival (E.I.F.) 2013), Saturday 10.08.2012 19:15 The Festival Theatre, Edinburgh 

When I was thinking of what to try to see in this years international festival, I knew I was keen to widen the net. I knew I was keen to see more music performances though thought I would steer clear of Opera, thinking that would be a step too far at this point. Then in the brochure I spot Dido & Aeneas (still to come) which I knew I wanted to see though was not aware that it is considered an Opera. With Fidelio, it was the picture used to advertise it in the brochure that drew me to it (quite often what I first go on), then the clincher was noticing that the music is by Ludwig Van Beethoven, and I had not noticed it was an Opera until after I had bought my ticket.

I was relieved to find out that both Fidelio and Dido & Aeneas are viewed as fairly restrained Operas, I was not going to be met by a stage cluttered with people all doing differing things.

As with the performance of Alexander Nevsky, I don't feel qualified to review this as really have no knowledge in this area. I know I have been to one Opera previously, though was not there for purposes of seeing the Opera and remember nothing of it.

This performance of Fidelio is interstellar, the rationale for which I am not clear on. This has a knock-on for the staging/costumes/lighting which combine elements of sci-fi, two-tone palate, minimalism and a sense of dystopia. The performers mobilised around the stage on segways which gave a futuristic fluidity to the proceedings. There was also great use of screens and projected images which contributed to senses of control, claustrophobia, discovery and innovation. The use of digital imagery can also suggest both the present and the future.

I know I enjoyed the performance, though find it difficult to say why, beyond the fact that this was not an overly bombastic display and I know that I like what I know of Beethoven. My tackling of the medium of Opera, to overcome my apprehension of it, may have begun earlier than I would have anticipated, though it is of to a good start.

Rating: 09/10.  

Live Performance Review: The Royal Scottish National Orchestra performing Alexander Nevsky (Edinburgh International Festival (E.I.F.) 2013), Friday 09.08.2012 19:30 The Usher Hall, Edinburgh 

This was the opening concert of this years Edinburgh International Festival. I have never been to a performance like this, so feel unsure about doing a review of it due to my lack of knowledge.

The performance was in two parts. The first part was a performance of Piano Concerto No. 3 and the second part was Alexander Nevsky, both by Sergei Prokofiev. The first section featured pianist Daniil Trifonov and the second section featured Mezzo Soprano Yulia Matochkina and the Edinburgh Festival Chorus.

I was very impressed by the Pianist and the Chorus and less impressed by the Mezzo. I was also surprised to hear how short the Mezzo's section was. I know that I very much enjoyed the performance as a whole, though also feel I don't know enough in regard to this realm of performance to do any nit-picking.

Rating: 08/10.

Film Review: Only God Forgives (18), (France/Thailand/U.S.A./Sweden 2013) (Director: Nicolas Winding Refn), Saturday 03.08.2013 15:30, The Cameo Cinema, Screen One, Edinburgh

This is a re-teaming-up of director & star, who had worked together on 'Drive' 2011. I had seen Drive at the cinema when it was released and although found it enjoyable, also found it to be all surface and one of the most empty films I'd seen for some years. I certainly did not see cause for raving as some others did.

Only God Forgives is essentially the same film, though with all elements 'turned-up'. The pacing was so slow that it felt faintly preposterous. The lead actor (Ryan Gosling) appears to say even less and is even more impenetrable. It could be said that the film-makers mistake lack of detail for mystery & intrigue. The soundtrack is impressive and even more throbbing. The lighting even more neon to the point where some entire frames look queasily ill. The violence is extreme to a point of being uncomfortable, I considered walking out and I have a high threshold. The film is both nihilistic and narcissistic.

The film ostensibly concerns revenge, though this is never really fleshed out, and is just a means of having a frame to give a context to the violence, which is the real focus of the work of Refn & Gosling. If you were being generous you could state that the film has elements of culture clash and outsider ignorance of local customs & ways. Or the culture clash could be seen outsider stupidity, which could have been displayed in any culture.

This is a truly vacuous film though at least there is some enjoyable sounds and watchable lighting. I would not waste your time by recommending this for anyone's enjoyment.  

Rating: 02/10.    

Film Review: Like Someone In Love (12A) (France/Japan 2012) (Director: Abbas Kiarostami) (Japanese with English Subtitles) Wednesday 31.07.2013 18:10 The Filmhouse Cinema Screen Two, Edinburgh 

This a film revolving around three central characters, and how the roles they play for one another can be quite separate and yet have unintentional consequences for the other(s) in the triage. The film is a study in the minutia of human communicating and the acting appears very adequate in this regard. I wanted to enjoy the film more than I did, though sadly I just found it to not be that interesting.

Rating: 05/10.

Film Review: Blancanieves (12A) (Spain/France 2012) (Director: Pablo Berger) (Spanish with English Subtitles) Sunday 28.07.2013 20:30 & Saturday 04.01.2014 18:15 - The Filmhouse Cinema Screen One, Edinburgh 

This is a Spanish retelling of the Brothers Grimm fairy tale Snow White, relocated to 1920's Seville. This has ravishing lighting and monochrome photography. The film is a proper 'silent' film with title-cards and traditional 'academy' aspect ratio. The film also has a fantastic flamenco score and an abundance of charm. There are also nice post modern elements, such as who is revealed to be Snow White's prince.

My film of the year, last year, was the quasi-silent 'Tabu' from Portugal. Tabu had more of a sense of depth to it. That is about the only difference I can see in terms of tone & quality. This is an exquisitely attractive film, that I would recommend in the strongest possible terms for it's beauty alone.

Rating: 10/10. 

Film Review: Paradise Trilogy: Love (18) (Austria/Germany/France 2012) (Director: Ulrich Seidl) (German, English and Swahili with English Subtitles) Saturday 27.07.2013 15:15 The Filmhouse Cinema Screen Two, Edinburgh, Faith (18) (Austria/Germany/France 2012) (Director: Ulrich Seidl) (German and Arabic with English Subtitles) Saturday 10.08.2013 15:30 The Filmhouse Cinema Screen Two, Edinburgh, Hope (15) (Austria/Germany/France 2013) (Director: Ulrich Seidl) (German with English Subtitles) Friday 23.08.2013 15:30 The Filmhouse Cinema Screen Two, Edinburgh 

LOVE:
This is the first part of a trilogy, the following two parts are released in coming weeks. I was intrigued by this loosely connected triptych of films, each of which concentrate on a differing notion, following on from Love is Faith & Hope. After getting my tickets for all three films and prior to seeing this first part I had heard reviews where claims were being made about how difficult to watch this particular part was.

Despite the title, this film concerns itself with middle-aged overweight white european women going to Kenya for the purposes of sex tourism. The film's subject matter is handled in a balanced manner and the presentation of the story well paced.

I found the film interesting, though not enjoyable. There were scenes that portrayed the tourists exploiting as well as being exploited. There were some scenes which were intimate and bordering upon graphic in their presentation. I initially found these scenes degrading and without dignity. Though then by sticking with the scenes I found my notions of concepts such as dignity being questioned and their culturally bound nature being highlighted. I had contemplated walking out due to my discomfort, though at the same time my awareness that I had tickets for the other two films is what kept me seated.

This film felt like an ordeal. I would find it very difficult to recommend this to people, even if I knew them to have strong stomachs.

Rating: 08/10.    

FAITH: 
This second part of the trilogy has as its central character the sister of the sex tourist from the first part. The film begins showing the character as her work as what appears to be a radiographer. We then hear she is having a holiday from work though is staying home. We see this person using her holiday time to go to people living locally and harangue them in their own homes for their sinning ways while trying to introduce them to 'the mother of god'. Some of her visitations are more tolerated than others. It is very clear from the start that the central character has a profound devotion to her faith.

The film then 'goes up a notch' when the characters estranged husband, who is of differing though equally intense faith, returns having been away for a couple of years. It then becomes apparent that the central characters strength of faith and practice is a relatively recent development and although the reasoning for this development is never made explicit, it appears to have been a response to her husband's accident and subsequent absence.

The film brings in ideas about icon-based love-replacements, the blindness of fanatical religion and people's desperate need to have some sense connection and understanding, and that within times of crisis the expression of this can be manifest through very confused and absurd means.

This film had moments throughout that were very funny. The central character, despite her dogmatic ways, was portrayed with an endearing warmth. This whole film was a joy to watch and there were no moments of discomfort like with the first film.

Rating: 09/10.

HOPE: 
The final part of the trilogy centres on the daughter of the sex tourist, who we were introduced to at the start of the first film when she was being dropped of at her aunt's before her mother went on holiday.

Her aunt drops her of at a Fat Camp, which becomes the setting for the rest of the film. The daughter, Melanie, is a normal chubby 13 year old. There are very endearing scenes of the children in their shared rooms exchanging experiences, dancing and playing games such as 'spin the bottle', essentially being kids in a very normal way.

The film concerns itself with Melanie's fixation with the slightly creepy doctor at the camp, who she makes a point of trying to see each day. The fixation appears romantic/lustful. The doctor also appears inappropriately friendly towards her and gives cause for her fixation to develop.

There are several scenes which border upon exploitative before becoming either restrained/protectively sheltering from the adults, or highlighting the sweetness and naivety of innocent exploratory youth.

I was left intrigued by the title: was it titled 'Hope' due to the innocent and youthful nature of the central character who therefore had the potential to not become like her mother or aunt (both exploiters in their own ways). Or was it due to the fact that potentially exploitative situations did not become such due to people finding restraint or protective persons intervening. Or was it all of this.

I found this film on the whole enjoyable. Though as some scenes felt as though they were moving towards exploitation of a child, I was aware of a building anxiety followed by relief. This does not mean it was any less rewarding a film to watch, more that the characters were well enough portrayed that as a viewer you could not help but care for the girl.

Rating: 09/10.

Note on trilogy as a whole: the second and third films, in retrospect make me see the central character of the first film as even less likable. I have a sense that the character of the second film probably had very little support from her sister throughout the times of her marriage deterioration. Melanie, I suspect did not have a particularly supportive or nurturing relationship with/from her mother, and this may be a reason (along with just normal childhood) for over (or comfort) eating. The trilogy as a whole feels to have been very well considered, structured, and performed and as a whole gives the viewer lots to consider.

Rating (FOR THE TRILOGY AS A WHOLE): 10/10