Film Review: Carol (15) (U.K./U.S.A./France 2015) (Director: Todd Haynes), Filmhouse, Screen One, Edinburgh, Saturday 12.12.2015, 18:10

This is a film I was initially very sceptical about as do not generally like Cate Blanchett or her work and the only previous film I've seen of Todd Haynes, 2007's 'I'm Not There' I found to be a horrifying experience in the worst possible sense. I went to see this as it was getting so much positive buzz and the subject matter should be within my ballpark of interests. 

I'm delighted to report, having just seen it, that I too regard this to be one of the finest love story's I've ever seen in film. The acting of Cate Blanchett and Rooney Mara is sublime and the film is simply perfect in every possible way. I am delighted that I put my scepticism to the side and went to see this masterpiece. Bravo!

Rating: 10/10. 

Film Review: The Lobster (15) (Ireland/UK/Greece/France/Netherlands 2015) (Director: Yorgos Lanthimos) (English and French with English Subtitles), Filmhouse, Screen One, Edinburgh, Monday 30.11.2015, 20:30

This is an incredibly absurd work of art, though not as absurd or as good as his previous film 'Alps' (2011), which is almost impossible to distil down to an essence which could adequately convey the complexity and breadth of the piece. Having said this, I laughed from the first scene (I think I was the only one to laugh at the first scene in a packed cinema) and remained engaged throughout. 

This is a surreal film that is based upon the idea that everyone has to be in a couple. If a person's relationship disintegrates for whatever reason, they have to go to a hotel where they have a set period of time to find a new 'mate'. If unsuccessful, they are turned into an animal of their choosing. The lead character played by Colin Farrell, chooses to become a Lobster, hence the title. 

I have to agree with what I have heard various critics say about it loosing it's focus once the action shifts from the hotel to the escapees in the forest. Though it is only in this part where it also becomes clear that the film is also about how most people misunderstand what empathy is. 

Although not perfect, it is great that films like this exist. Although I have more time for 'Alps', I feel it would be a lot easier to introduce people to the director's work via 'The Lobster', which is more accessible. 

Rating: 09/10.         

Live Performance Review: Dynamo: Magician Impossible - Seeing is Believing, Sunday 29.11.2015 20:00, The Playhouse, Edinburgh

Regrettably, to a large extent, the only way I can write about this performance is by referencing how it compares to the only other magician/illusionist I've seen perform, the Master, Mr. Derren Brown. 

It was a shorter performance by some considerable margin. It was far less intense in pace and due to this I felt it was easier not to concentrate as much. The illusions, I would also say to on the whole be a less impressive. If you have seen all of his television programmes, there was nothing new. 

The illusion that started the 2nd half did not feel to be particularly well carried off, being a case where I could tell what the illusion was before it's climax. 

There were some impressive parts, though I also feel there was far too much referencing back to his childhood, again nothing new having seen his programmes. I have to keep in mind that this was his first live tour and the only comparison I have is a hyper intelligent slick performer who had already done several tours before I saw him for my first time of four. It looks as though the Master may be retiring from touring, though I don't feel excited enough by Dynamo to have him replace his superior. Despite the negative comments, I did enjoy myself though did leave feeling slightly short-changed. 

Rating: 07/10.        

Live Performance Review: Dave Gorman Get's Straight to the Point, Sunday 22.11.2015 20:00, The Alhambra, Dunfermline

This is the fifth time I have seen Mr. Gorman, king of the geeks, perform since 2006 and I have still never been disappointed. I probably would not have gone, due to the travel involved, if it weren't for the fact that I have a friend who was keen to see him.

There was support from a Nick Doody, who was a lot better than an audience has any right to expect from a support act. 

Mr Gorman himself did close to two hours all of which was very enjoyable and geeky. I would say this was not quite as good as the previous tour, though that relates to the material being presented not the delivery. We were treated to two 'Found Poems', just as he did on the last tour and it was lovely to hear him get such a jubilantly joyful response from packed crowd in this more provincial venue than I am used to. 

It was lovely to hear that Mr. Gorman is now a dad. It was even better to hear his response to the audience's cheers, saying along the lines of 'Don't applaud the fact that my cock works, we are not American'.

I had thought of giving this a top rating, though this did not feel quite right. It was a fantastically engaging eve. 

Rating: 9.5/10.    

Film Review: Love 3D (18) (France/Belgium 2015) (Director: Gasper Noe) (English and French with English Subtitles), Filmhouse, Screen One, Edinburgh, Wednesday 18.11.2015, 20:30

I went to see this film solely upon the strength of the director's previous film, 2009's 'Enter The Void', one of my all time favourite films and if you have not seen this masterpiece, I cannot recommend this more highly. 

I was aware of the sexually explicit nature of this film, though this neither intrigued or put me off. 

This is monumentally dull film. Every element was tedious. The dialogue was numskullish in the extreme. The three central characters are completely unengaging, with the most central character being a misogynistic prick who spends the film very self-indulgently hankering after a past lover while being unable to appreciate what he has or his own agency in creating his circumstances. All of this echoes what I have subsequently heard some film critics say of the film.

Gasper Noe has commented that he sees the film as being sentimental, which suggests to me that he struggles to understand  how his produce may be received by normal viewers. I really have no time for what I understand to be Gasper's first two films, 'I Stand Alone' (1998) & 'Irreversible' (2002), and now having seen  his latest dirge I can only conclude that 'Enter The Void' was a fluke. I don't know after this whether I will allow him any more chances with new product. I cannot rate or recommend this film in any way.         

Film Review: Spectre (12A) (U.K./U.S.A. 2015) (Director: Sam Mendes), VUE (OMNI), Screen Four, Edinburgh, Tuesday 27.10.2015, 18:30

This is obviously the latest of the 'James Bond' films. It is by the same director who had helmed 'Skyfall' (2012) and I would say that it is of equal quality. Having said this, I do feel 'Spectre' to be better paced and more playful than the previous effort. I would say that this film, in terms of it's acting and storytelling, has subtleties that feel uncommon when considering the 'Bond' cannon.  

I was going to this with the sense of this being potentially the last Bond for me. This is due to finding the character of Bond a tad rapey and the films generally far too male. I was then very pleased to find that the female lead character of Madeleine Swan, performed by Lea Seydoux, is the most equal to Bond of any of the female characters from the 23 films. The film is also, in my mind, the least misogynistic of all 'Bond' films.

The story is a good yarn and there are no parts that sagged or were uncomfortable. I found this to be genuinely mostly harmless fluff. There are a couple of scenes which cause me to question the wisdom of a 12A certificate. I think it should have been at least a 12, as though couple of scenes are not for the eyes of young children. 

The film also ends in a way unlike any other 'Bond' film. I agree with what Simon Mayo said on Radio 5 Live, that with how the ending is, that it makes sense for Daniel Craig to now step aside. The film also nicely brings all of the previous Daniel Craig 'Bond' films into the same greater narrative, which was a nice touch, considering that 'Skyfall' had previously always been talked of as being a stand-alone story.

As I said before in regard to 'The Raid 2' (2014), I think action films are a curious thing in that you cannot really consider them alongside other genres of film. Though within the field of action films this is another top-notch effort and a perfectly enjoyable way to spend a couple of hours (and a bit). 

Rating: 10/10.      

Film Review: The Dance of Reality (18) (Chile/France 2013) (Director: Alejandro Jodorowsky) (Spanish with English Subtitles), Filmhouse, Screen Two, Edinburgh, Saturday 10.10.2015, 17:55

I first began to check out the work of Jodorowsky earlier this year when I found out that it is a key influence on the latest album by Laura Marling. I watched 'El Topo' (1970) on television, and saw 'Santa Sangre' (1989) during the Edinburgh International Film Festival this year. I also have 'Holy Mountain' (1973) on disk waiting to be watched. I have heard 'The Dance of Reality' being compared favourably to 'El Topo' & 'Holy Mountain' both of which are regarded as Jodorowsky's early hallucinogenic masterpieces. 

If you are not familiar with Jodorowsky's work, two little titbits that may give a sense of his output are that Marilyn Manson considers him the greatest director who ever lived, and Jodorowsky was meant to direct Dune before it got passed to David Lynch. From what I understand of what Jodorowsky's film would have contained, It sounds as though it would have been a far more interesting film than Lynch's, if he had been allowed to finish it.  

The film I understand to some degree to be based upon Jodorowsky's memories from early childhood, when his father was enamoured by Stalin and we are shown his mother only vocally expressing through operatic singing. The film has some funny moments, but on the whole is a far more abstract work than you could come across in the work of most other directors. It feels hard to describe the piece in anyway that would come close to describing how wonderfully weird it is, or that could give a fair snapshot of the story. This is a film which requires a leap of faith, for the viewer just to go with it and not judge too quickly. It feels difficult to say more about it, without given away vital plot details. Suffice to say I greatly enjoyed the piece and it has some spectacular Chiliean landscape scenery. 

I would say that the Russian film from last weekend 'Hard to be a God' (2013) did feel slightly more engrossing, though I would say that I had absolutely no idea what to expect of that film. I feel that I certainly did know what sort of work to expect this time round, though I don't feel that makes it any lesser a film. 

Rating: 10/10.      

Live Performance Review: Pokey LaFarge, Friday 09.10.2015 19:00, The Art School, Glasgow

This is the third time I have seen Pokey live and he never disappoints. Good-times inflected blues performed by musicians of a very high calaber. Pokey is a high-class showman and his band have presence and character as well. The audience were very enthusiastic, in fine voice having a good time. What more could you possibly ask for. 

I had the added joy of having my dad come along to a gig of my choosing and thoroughly enjoying himself. A special evening that will live with me.   

Rating: 10/10. 

Film Review: The Martian 2D (12A) (U.S.A. 2015) (Director: Ridley Scott), The Dominion, Screen One, Edinburgh, Sunday 04.10.2015, 17:00

This is the latest si-fi offering from Ridley Scott. When I was initially aware of it I was not keen from the information I had to go on. As the publicity crept-up I became more intrigued and had a mate ask if I was interested in seeing it, hence going yesterday. 

It was refreshing to have a space film that was not solely ponderously serious. I don't know enough of the science to know where all of the plot holes were. I understand that it is regarded to have made a good effort in regard to the science element, though there were still some aspects I could tell to be fairly ludicrous though they did not jar in terms of conveying the story. Visually it is very engaging and I found it to be an enjoyable watch, though I would not personally go as far as to suggest excellence. A good, fairly engaging watch which did not just feel like fluffy pop-corn. 

Rating: 08/10.       

Film Review: Hard to be a God (18) (Russia 2013) (Director: Aleksey German) (Russian with English Subtitles), Filmhouse, Screen Three, Edinburgh, Saturday 03.10.2015, 13:30

This is a film of epic proportions. From conception to completion the film took fifty years. The film is just shy of three hours though as with any very good film of epic length it is very well paced and never drags. The film essentially concerns a group of Russian scientists travelling to the planet Arkanar, which is still going through a period that we would understand as being medieval. The visitors are meant to be detached observers, though it's Hard to be a God...

The film starts on the alien world and has an unrelenting though steady momentum from start to finish. The films environment is stunningly realised and benefits greatly from the tactile black and white presentation. Most frames a crammed full of squalid, torturous, deformed and grotesque details, drenched in all manner of fluids. There have been entirely justified comparisons to the art of Hieronymus Bosch, and I think this is particularly apt when considering the Hell panel of his triptych 'The Garden of Earthly Delights' (1500). 

This is a film that rewards playing close attention, and it may be hard to follow if you don't. There are also parts of absurd humour which in ways reminded me of both the works of Monty Python, and Vivian Stanshall in the film version of 'Sir Henry at Rawlinson End' (1980). 

Some may find the film a bit grim, though the entire experience is so complete that it truly feels immersive. This is a film which will in no way appeal to a large audience, though there is no question that this is a cracking masterpiece.      

Rating: 10/10.   

Film Review: Mistress America (15), (U.S.A. 2015) (Director: Noah Baumbach), Tuesday 08.09.2013 14:30, Filmhouse, Screen One, Edinburgh

This is a new film by the writer/director, Noah Baumbach, and star, Greta Gerwig, of the excellent 'Frances Ha' (2012). This is a subtle comedy of manners, where the main protagonist for most of the film appears to be a very unsubtle self-obsessed narcissist. The joy of the film is in the attention given to fine details that are brought to life by fine performances, particularly by Gerwig (Brooke), and Lola Kirke (Tracy) who is expected to become Brooke's sister via an up-coming marriage. 

I would say that the film is very good, though I still prefer 'Frances Ha'. The reasoning for this is very simple. Frances Ha's main character was an agendaless naive innocent who was just trying to find some semblance of a way to be. There was no bitterness, resentment, competitiveness or sense-of-entitlement which sadly dog a lot of Brook's actions and expressions. Obviously there is more to Brooke, and I would say that the reason I stuck with this fundamentally largely objectionable character was due to the quality of the portrayal. 

Although the film was very engaging, I cannot consider Brooke to be endearing in the way Frances was. That pretty much sums it up; two very good films, one has a central character who could be considered charming and the other has a central character who I would want to run away from. 

Rating: 09/10.         

Live Performance Review: Laura Marling, Saturday 05.09.2015 19:00, The Forum, Kentish Town, London

THIS IS NOT A REVIEW. FOR REASONING AS TO WHY, SEE THE ENTRY FOR LAURA'S GLASGOW CONCERT ON 25.04.2015.

I indulged myself with the treat of going to this with the reasoning of it being a way of marking a major development in my life. 

This was a special one-off concert which is not part of the touring schedule for most recent album, 'Short Movie' (2015). Due to this I was expecting something a bit different and I was not disappointed. I was in the middle of the front row being treated to a selection drawing from all five of her albums, plus a cover of a Dolly Parton song. 

The performance also included a couple of songs I was keen to hear live though had not heard her perform before, namely 'Once' ('Once I Was An Eagle' 2013) and 'My Manic And I' ('Alas I Cannot Swim' 2008). She was also reworking older songs such as 'Devil's Spoke' ('I Speak Because I Can') in forms I had not heard before, though which worked well and had clearly been carefully considered. 

There was also older songs presented in familiar form such as 'Goodbye England (Covered in Snow)' & 'What He Wrote' (Both from 'I Speak Because I Can' 2010). From what I recall, these songs have been played at most of the performances I have seen her do. I know that 'Goodbye... is one of her favourites which I find very pleasing, though 'What He... is one of my favourites and always beautiful to hear. 

The crowd were crazily enthusiastic and parts of the concert were like a mass sing-along, which was lovely to be a part of. The venue was not particularly big, I would estimate about halfway between the size of the Picturehouse (which used to be in Lothian Road in Edinburgh) and the Academy in Glasgow. A good size of room for harnessing the enthusiasm of her devoted followers. 

So my favourite living musician has again put on a great show. That's now nine times I have seen her perform and I have never yet been disappointed. I now look forward with anticipation and intrigue for her next Long Player. Fabby. 

Film Review: 52 Tuesdays (15) (Australia 2013) (Director: Sophie Hyde), Filmhouse, Screen Two, Edinburgh, Friday 21.08.2015, 20:15

This is by the same director who made 'Life in Movement' (2011), the excellent documentary about the choreographer Tanja Liedtue. Though I only became aware of this fact after I became interested in seeing this film due to it's personal relevance to my life. 

52 Tuesdays focuses upon a mother transitioning to be male and how this impacts on his teenage daughter. The title refers to their agreement to meet every Tuesday throughout the first year of the transition, while the daughter stays with her father. 

I will get my one tiny quibble out the way, it did feel ever so slightly long. Having said this I felt it was a beautifully acted, balanced and considered film. If people find it difficult to define what exploitative is, they should watch this and then consider what would be the polar opposite to it, and they would be on the money. I feel quite overwhelmed that there is such a positive though complex portrayal of this nature publicly available. 

I found the film very moving, though as I said at the start, I have to acknowledge how personal this is to me. Having said this, I would find it hard to imagine any decent person seeing this as anything other than a profoundly humane and engaging film. For the average punter I would still give this ten out of ten, though due to how affecting I found it, I don't feel I can give it a rating reflecting my feelings towards this. In a completely different way, I see this as being just as important a film as my favourite film of last year ('Ida' 2013). 

I'm sat feeling and thinking I should try to say more. I don't feel I really can without getting silly, I think this is more of a reflection of how positively affected I am by this. Thank you Sophie Hyde and everyone who worked on this.   

Film Review: The Diary of a Teenage Girl (18) (U.S.A. 2015) (Director: Marielle Heller), Filmhouse, Screen Two, Edinburgh, Thursday 20.08.2015, 20:45

The film is set in 1976 San Francisco, a time oft referred to as sexually permissive. British actress Bel Powley plays the teenager of the title, Mini, who at the age of 15 is going through her period of sexual awakening. Kristen Wiig plays her hedonistic flake of a mother and Alexander Skarsgard plays her mother's highly dodgy boyfriend. 

I felt that the film did a good job of capturing the nievity and sweet innocence of a child at this stage of adolescence, without falling into the typical American trap of having to make it overly sweet and mawkishly sentimental. It was also refreshing in that the only character who appears to do any learning is Mini who appears to learn from her various experimenting (and to an extent betrayals) in terms of sex (with males and females) and drugs. By the end of the film Mini is more self-assured and is no longer desperately reliant upon the displays of interest from others. 

The film has some very frank and funny passages without becoming overly explicit. I don't really understand why this needed to have an 18 certificate, as I don't feel it contains anything that a 15 year old would not be able to handle, and there may even be some 15 year old's who would benefit from seeing this. 

A very enjoyable watch and recommended, particularly for the younger viewer. 

Rating: 08/10.  

Film Review: A Girl At My Door (18) (South Korea 2014) (Director: July Jung) (Korean with English Subtitles), Filmhouse, Screen Two, Edinburgh, Thursday 20.08.2015, 18:10

This is a rarity from South Korea, being a film by a female director that also contains elements about homosexuality. The film begins with  a female police chief arriving at a new post in a remote fishing village. The film contains themes regarding child abuse and how communities make allowances for this sort of thing, alcoholism and the manipulative prejudice directed towards someone for what could be seen as the merest public display of sexually transgressive behaviour. The film also has plot development hinge on the community assuming that if someone is homosexual then any interest they show in trying to assist someone who is younger than them and of the same sex must be sexually based. 

I felt that the film managed a very fine balance of these differing elements. I also felt that the film did a fine job of capturing the sorts of maladaptive behaviour that can be displayed by someone who has experienced verbal, physical and possibly sexual abuse for a very long time. 

The subject matters I felt to be sensitively handled and the film never veered into gratuitous sensationalising. The film also left me as a viewer with many elements to ponder. A fine piece of film making and highly recommended. 

Rating: 10/10.      

Film Review: 13 Minutes (15) (Germany 2015) (Director: Oliver Hirschbiegel) (German with English Subtitles), Filmhouse, Screen Two, Edinburgh, Thursday 20.08.2015, 13:15

This is a film by the director of the chilling 'Downfall' (2004), which details the story of Georg Elser who in 1939 attempted to assassinate Adolf Hitler missing by 13 minutes. This is an excellently acted and in ways nuanced film which is careful to show that there were people whop supported Hitler who contained good in them and there were also people who opposed him who at the same time were not decent in how they treated others. The film was very good in showing the small community that Georg Elser came from, throughout the period of the rise of Nazism, and how the community became divided right from the start of this period. 

It was also very good in portraying how Hitler found it impossible to accept that the assassination attempt could have been the work of one man, the early seeds of what would ultimately do him in; underestimating the ability and determination of the opposition. 

This was a humane and respectful portrayal of ordinary decent German folk trying to do their best for themselves and others while not falling in line and colluding with the fascist scum. It took decades for Georg to be recognised for the resistance fighter that he was and I feel this film is a fitting tribute. A thoroughly absorbing watch and highly recommended. 

Rating: 10/10.        

Live Performance Review: Lo Real / Le Reel / The Real : Performed by Israel Galvan (Edinburgh International Festival (E.I.F.) 2015), Wednesday 19.08.2014 19:30, The Festival Theatre, Edinburgh 

This was a performance of flamenco dance and music that I understand to concern itself with the persecution of Romany people by the German Nazis around the time of the second world war. 

The dancing was of a very high standard and felt innovative in terms of the materials used in the performance. Sadly the singing was not quite up to the same standard. More of an issue was the staging. There was what I think of as a middle section what regrettably felt impenetrable in terms of trying to understand what was being conveyed. 

The super-titles did not help much either. I tend to try to not pay too much attention to these unless it is a play where you need to engage with them. Though I was aware that there were passages not being covered by the super-titles and sections which were not in English. There was also a section of the performance which was in German which again had no super-titles. In this regard though I did afterwards wonder whether this was deliberate. The people the play focuses upon would not have understood the German being spoken at them by the Nazi invaders, so maybe this not having any translation was deliberately adding to confusion. 

The performances saving grace was the quality of the dancing, which is what I went for, it is just a shame that other elements compromised the performance. 

Rating: 7/10.      

Film Review: Best of Enemies (15) (U.S.A. 2015) (Directors: Robert Gordon & Morgan Neville), Filmhouse, Screen Three, Edinburgh, Tuesday 18.08.2015, 20:40

This is a documentary focusing upon the commentary/debates between the liberal Gore Vidal and the right-wing nutjob William F. Buckley Jr., that coincided with the 1968 Republican and Democratic conventions. This was the effort from the derided broadcaster A.B.C. Network to do something relatively innovative though cheap. The two intellectuals were known to despise one another and as the film clearly shows these exchanges descended into eloquently charming mud-slinging. 

The film was very informative about a part of U.S. broadcasting history of which I knew nothing prior to watching the film and it proposes that modern news-broadcasting debates have their roots in these exchanges from '68. I was aware of Gore Vidal and I know that I recognised the wildly gesticulating and searing Buckley though from where I cannot be sure. The film has made me curious to check out some of Vidal's writing. 

I only have one criticism, though it is not really of the film. The advertising I saw for the film listed one of the contributors as (one of my heroes) Noam Chomsky. I was already intrigued, though to have Noam contributing would have been the icing on the cake. I was a bit miffed that the only presence I could see of him was a clip of about a second or two within a collage of others who had debated with Buckley. This though is a minor quibble. The film overall was very absorbing and I found it entirely refreshing to hear two people as capable as each other, so eloquently and charmingly slagging each other.   

Rating: 09/10.      

Live Performance Review: Mark Thomas: Talking Comedy (Edinburgh Festival Fringe 2015) Sunday 16.08.2015 14:00 The Assembly Rooms, The Ballroom (Unreserved Seating), Edinburgh & Mark Thomas: Trespass: A Work in Progress (Edinburgh Festival Fringe 2015) Sunday 16.08.2015 17:00 Summerhall Festival, The Dissection Room (Unreserved Seating), Edinburgh

Talking Comedy: 

This was a one-off show which featured Mark being interviewed by someone from the University of Kent's British Stand-Up Archive. The interviewer is also someone who has known and been friends with Mark for many years. 

I have been going to see Mark perform for 19 years; he is my favourite 'comedian' and this is reflected by the fact that I have seen him perform far more often than any other spoken word performer. I don't know if this would have had appeal to someone who is not already familiar with his work though I found it very informative particularly regarding his early years. The only gripe I had was that it was only for an hour. 

Once Mark gets going with a tale it can be hard to get him to stop; exemplified by there landing up being only time for one question in the Q&A section at the end of the show, due to his rambling though interesting and informative answer. The time allowed appeared to only really touch the surface of his nearly 30 year career and I'm sure he would have been able to have easily filled a slot of twice this length without it become tiresome.  

A nice first part to my Mr. Thomas Double Bill. 

Trespass: A Work in Progress:

This is Mark's new show that focuses upon the fact that a large proportion of 'public spaces' are not really so, although we are allowed conditional access and the situation is getting worse. 

An example of this is that in London, the only land not owned by the landed gentry, the super-rich, multinationals, foreign countries or royal families, is the 'yard' outside St. Paul's Cathedral where the 'Occupy' protesters were corralled a few years back. There is shockingly intolerant behaviour being displayed by private landowners towards behaviour which they just don't care much for - even if no law has even so much as been sniffed at.

There are also a plethora of Councils who are in the process of trying to introduce new draconian laws covering the areas within urban areas that the public are allowed access to.      

The show is called a 'Work in Progress' solely to reflect the evolving nature of what he will be discussing on stage on any particular day depending upon where his mischievous actions have got to. As always with Mr. Thomas this was an informative an hugely entertaining hour with many a laugh. Still never a disappointment. 

-----------------------------------

Talking Comedy: Rating: 09/10

Trespass: A Work in Progress: Rating: 10/10 

  

Live Performance Review: Antigone Produced By the Barbican and Les Theatres de La Ville de Luxembourg (Edinburgh International Festival (E.I.F.) 2015), Wednesday 12.08.2014 19:30, King's Theatre, Edinburgh

The tickets for this went on sale early, in the autumn of last year. I got my ticket with no knowledge of the play and this was solely due to it staring Julliette Binoche in the lead role. 

I found the story dense though engaging enough and the acting was solid across the board. I also appreciated the minimalist set and being a fan of the Velvet Underground, I greatly enjoyed the fact that the play closed to the strains of their classic 'Heroin'. 

I was delighted to see Julliette Binoche performing live, she did not disappoint. Even though everyone else's acting was perfectly watchable, I did feel she was a notch up on the rest. There was greater range and subtlety to her performance. Her dialogue feeling fully lived in and physical expression strangely genuine. I feel that she generally appeared to inhabit her role to a greater degree. 

She has been one of my favoured actresses for coming on 20 years, and I feel this performance exemplifies why she is regarded as one of the best actresses presently working. A heavy-going piece made a treat by Binoche's superb turn.     

Rating: 10/10. 

Live Performance Review: Life in Progress: Performed by Sylvie Guillem (Edinburgh International Festival (E.I.F.) 2015), Sunday 09.08.2014 19:30, The Festival Theatre, Edinburgh 

This is a performance I attended upon recommendations from my sister and aunt. Sylvie is a French Ballerina of world renown who throughout 2015 is on a world wide final tour at the age of 50. The programme contained four different dance pieces mixing old and newly commissioned. One of the pieces did not appear to contain Sylvie in any way and I did wonder why it was included. Having said this all four pieces were of a very high standard. Sylvie herself was captivating and remarkable to watch in terms of strength, flexibility and fluidity. An absorbing and uplifting treat. 

Rating: 10/10.     

Film Review: Maidan (12A) (Ukraine/Netherlands 2014) (Director: Sergi Loznitsa) (Ukrainian with English Subtitles), Filmhouse, Screen Two, Edinburgh, Wednesday 30.07.2015, 18:30

This is a documentary detailing events within the period of the 'Maidan' resistance in Ukraine from late 2013 to early 2014. 

The form of documentary was both unusual and familiar. There was no talking heads as has become the fashion with documentaries. Putting to one side the use of minimal title-cards to assist with minimal context, there was nothing added to the sound and vision captured by the camera (except the necessary subtitles for the non-Ukrainian audience). This causes the film to have a similar film to a 'Dogma '95' film, where the objective is to not add any (or minimal) artifice enabling the film to have a hyper-real quality. This might sound like an odd comment in regard to a documentary, though quickly consider the amount of documentaries you have seen which have had stirring music added, or other additives to manipulate. This assisted the film, although initially difficult to get into and requiring of full attention to engage with, to become a very immersive  and engrossing experience. 

This was a humbling and humane film which demonstrated real community, when a genuinely significant proportion of the populace felt they had no choice left but to use their collective might. 

I would recommend the film to folk, though it is likely to be hard to find at the cinema; the screening I was at was a one-off. I would envisage that this is the sort of film that is likely to be shown on BBC4 at some point and I don't think it would loose much by being seen on a television screen. I feel it is only fair to mention that the film is 2 and a 1/4 Hours and I am sure this would put some off from watching. Never the less, I had felt glad that I had seen it and feel more informed as a result. 

Rating: 09/10.        

Film Review: Slow West (15) (U.K./New Zealand 2015) (Director: John McLean), Cameo Cinema, Screen One, Edinburgh, Sunday 05.07.2015, 18:15

This is the feature début of a former member of Edinburgh's The Beta Band. It is a Western, though everything I heard about the film beforehand lead me to understand it is not a typical Western, thankfully as I am not a big fan of the genre. The poster looks woozy and colourful and the lead looks rather effeminate. The basic premise is that a young man called Jay (Kodi Smit-McPhee) from Scotland travels to the United States of America seeking out his childhood love. Near the start of the film, he gets some company on his adventure, in the form of Michael Fassbender, whose purpose is unknown to Jay. 

There are nice bits of dialogue, particularly a phrase that stayed with me, which goes along the line of 'in a short while, this will be a long time ago'. Which struck me as encapsulating the way that humans reflect on time, how this is so disconnected to the greater scheme of things, and essentially reflects the transitory nature of everything. 

The lead was portrayed as a quiet, sensitive character, which I found very refreshing for a Western. The film was short, it did not drag, yet had a nice languid pace. The film had nice framing and use of light. The sound and music used was to a degree unusual, though was fitting to the general mood of the film and was pleasing on the ear. Although there are many things about this film that are praiseworthy, it did overall feel rather insubstantial. Over all a decent watch.

Rating: 08/10.          

Film Review: Going Clear: Scientology and the Prison of Belief (15) (U.S.A. 2015) (Director: Alex Gibney), Filmhouse, Screen Two, Edinburgh, Saturday 04.07.2015, 15:35

This is a documentary by the person who made the Oscar winning 'Taxi to the Dark Side' (2007) & 'The Armstrong Lie' (2013). 

I would say that this is a riveting watch as the film-maker presents what appears to be a very thorough and well researched case showing the Church of Scientology may be a glorified tax haven. Though there appears to be an even stronger case to say that those at the very top of this tree, subject at least some of those below them to physical abuse and there are testaments stating that the Church imposes or tries to impose divides between families. 

Most appalling are the testaments claiming that female members who have to have a 'top-up' of Scientology ways, are deprived of their liberty while having to go through this. - If they have young children, it is claimed that they are kept separate from their mothers during this, and there is a mother who speaks of finding her young baby neglected in a cot with their eyes covered in a mucus.

On a lighter note, there is footage of Mr. Thomas Cruise Mapother IV, speaking at events and on behalf of Scientology, which I feel shows that pretty much all of his mannerisms and gestures that you see in other interviews and in his limited range of acting, is directly and strongly influenced by this hooey. There is also a case presented that at one time Scientology lackeys had been instructed to find Mr. Thomas Cruise Mapother IV a new girlfriend. Footage is then shown of Mr. Thomas Cruise Mapother IV with this lady who I had never heard of before. On a sterner note there are voices in the film, that suggest that they think that it is Mr. Thomas Cruise Mapother IV, who is the one close to the top that should be taking an interest and a stand in regard to the allegations concerning abuse and accumulation of ridiculous wealth. 

The Catholic Church may still, though certainly used to encourage their congregations to not read to Bible themselves and to just accept what the priest spouts from the pulpit. The Church of Scientology apparently tell their followers not to Google Scientology. This should not be surprising, though I do feel that it is sad that in this age of free access to so much information, that there are still people in supposedly advanced nations who will voluntarily accept a curb on their liberty and ability to make informed choices. 

There is no fancy jumps or anything which stands out in any innovative manner regarding the actual presentation of the film, though it is a solid absorbing film. I fully understand if people feel 'well I already know they are weird' and who may therefore ignore the film, though I would say that it is always good to be clear as to exactly why something is not acceptable. This is not a film which needs to be seen at the cinema, though if you spot it in the television scheduling, give it a go.

Rating: 10/10.   

Film Review: The Wolfpack (U.S.A. 2015) (Director: Crystal Moselle), Filmhouse, Screen One, Edinburgh, Friday 26.06.2015, 20:30 (Edinburgh International Film Festival 2015) 

This is another film in the film festival, where I know I have read about it, though don't know where. This documentary focuses upon six brothers within the Angulo family who live in an expansive apartment in the Lower-East-Side of Manhattan. The apartment reminded me breadline-bohemian residences I have been in in the past. The family's mother and father met when she was hiking in South America, and he was a local guide she met in this time. He holds a kind-of reverence for Krishna, who is said to have had ten children with each of his wives. Mr. Angulo intended having ten children with his wife, though after the six sons and a daughter (who they say is stuck in her own world), she could not have any more. 

Mr. Angulo comes across as a very fearful and insecure man, who is also a heavy drinker. He is also a feckless urban-hippy who excuses his inactivity by uttering quasi-spiritual guff. The essence of controlling passivity. He would at times restrict the movements of all of his family members. For years the members of the family were only allowed out for short times, a few (or less) times each year. Mr. Angulo would encourage his family not to look or engage with others. 

Mr. Angulo is the one who would go to get groceries each day, and also is responsible for encouraging the sons all-encompassing devotion to film. This isolated family have amassed a collection of thousands of films and the sons faithfully recreate and capture favoured scenes, having firstly spent the time required to painstakingly go through the film writing down the script, and typing up copies for each participant. All of this in modern times when I'm sure these scripts would be freely available on line.

In the beginning of the film, it feels like the documenting of a case of abuse, where the family have essentially been kept prisoner within this metropolis which they can see from their windows. This nature of the situation does not escape the sons. One of the sons ways of communicating with the camera in this early section is not 'normal' and he does appear sadly affected by his circumstance. The first part of the film causes a lot of questions as to how is this possible, for a family to be so isolated in such an environment and why had authorities not intervened. The sons mother did have a licence to home-school, though still there appears to have been no consideration in terms of normal socialisation. 

The film all begins to change and be a lot less troubling once it becomes clear that one of the sons had started to challenge the constraints placed upon them (which had lead to involvement of authorities and all of the sons being in counselling - and is clearly what lead to the contacts that lead to the film being made). The audience is then shown how the sons gradually began to push at the boundaries of their world and how this has further affect to the mother and father. The sons breaking free has a very real affect upon the mother who we see out running and speaking with her mother on the phone for what appeared to be the first time in many years. The grandmother did not appear to know of the existence of any of her grandchildren. 

I found the film very engaging and the people within it very interesting; the sons having the good fortune of being friendly and charming. I did feel the film let itself down by not addressing why authorities had not intervened earlier. I had a sense that the film should have ended with text saying something along the lines of 'the New York child welfare authorities are conducting an investigation into...', though no. I feel the films focus was too narrow. I feel it did not need to say much in regard to the negligence of authorities, though to not address this feels negligent of the film-maker. 

An interesting, but by no means perfect film.

Rating:08/10.  

Before the film started, the audience was informed that this had been awarded the 'Best Documentary prize for the Edinburgh International Film Festival 2015. Neither screening had happened yet, though it is still being declared the best? It has been awarded as the best documentary, though is not being included in the 'Best of the Fest' this coming Sunday? Best of the Fest features 17 films of varying form. Best of the Fest features the documentary 'Amy' which I would say is better than 'The Wolfpack'. Why then did 'Amy' not win the prize for best documentary? Or why did 'Chuck Norris Vs.Communism' not win, as is better than 'Amy' or 'The Wolfpack'? All of this contributes to my not trusting Film Festivals.                  

Film Review: Chuck Norris Vs. Communism (U.K./Germany/Romania 2015) (Director: Llinca Calugareanu) (Romanian & English with English Subtitles), Odeon, Screen Two, Edinburgh, Wednesday 24.06.2015, 21:00 (Edinburgh International Film Festival 2015) (European Premiere)

A title to make Bill Hicks proud! This is a film I had known I had read about, though not sure where. This documentary film tells a story of defiance from 1980's communist Romania. The film begins by detailing the extreme lengths censors went to, to try to prevent any pro-western messages getting to the people of Romania.

The film then goes on to discuss the 'underground' operations led by a Mr. Zamfir, who hired a Ms. Irina Nistor to dub full-uncensored western films for covert distribution on V.H.S. cassettes. We hear from enthusiastic people who regularly attended 'film-parties' held in peoples flats. It is made clear by them, that in an age before the internet and when state censorship was easier to manage, this was these people's vital window to a different world, and also a way of being able to tell that their government was lying to them about the west. 

Ms. Nistor already worked for the censoring state doing dubbing and voice-over when she was approached by Mr. Zamfir. She is now regarded as the second most known voice in Romania during the '80's after the leader Ceausescu. This is largely down to the proliferation of the underground video network. In '80's Romania it was forbidden to own a V.C.R. yet after a period of these underground groups spreading, there were reckoned to be 20,000 V.C.R.s in Bucharest. The film also revealed how those using this resource went as high up in the government as just below Ceausescu himself, including his son. 

The film presents a not-unreasonable argument that this underground-culture contributed towards the 1989 revolution that resulted in Ceausescu loosing power. By 1989 Ms. Nistor had dubbed over 3,000 western films for distribution. She did not just dub the action, she did all voices of all characters and also added emotion into her dubbing. She also did her own very charming form of censorship as there are words she is not comfortable translating. The film gives very humorous clips of this to demonstrate. She would also do marathon dubbing sessions where she would do up to eight or nine at a time, and once managed to do ten in a row. Ms. Nistor states that she was motivated to do this as it enabled her to see all of these (full) films for free, though also saw it as a duty, enabling her countrymen to also have the chance to decide whether they wished to engage with this entertainment or not.

The film could actually fairly be called 'docudrama'. A term I usually find wince inducing. The use of re-enactment in documentaries is something I feel has to be approached with caution. Though this film made very good use of this approach. These passages had an authenticity that made them appear as if they were actually bits of footage from the period.   

I found the film charming and moving. A tale of dignified defiance, that also helped to remind that areas of culture which we may commonly deride in the west, such as bubblegum-blockbuster-eighties-American-action cinema, may have far greater importance and influence, depending on the day-to-day context of your life. It also served to remind of how fortunate we are in the west. 

I had not engaged at all with the Edinburgh International Film Festival for the past two years. I tend to stay clear of 'features' within the festival programme as feel, if they are good enough they will go on general release anyway and also there is no way to make any judgement as to how good it may be based upon what is written about it, as the programme is 'P.R.' with no 'Critique'. I do give more attention to Documentaries as still feel they have less chance of getting a general release. Of the four documentaries I have seen in the festival this year, this is without doubt the best and I hope this does get a general release, so that this passionate and hopeful film can have a wider audience.   

Rating: 10/10.               

Film Review: Remake, Remix, Rip-Off (Germany/Turkey 2014) (Director: Cem Kaya) (Turkish with English Subtitles), Cineworld, Screen Twelve, Edinburgh, Sunday 21.06.2015, 20:35 (Edinburgh International Film Festival 2015) (U.K. Premiere)

The advertising blurb for this film states that it is about 'Copy Culture and Turkish Pop Cinema'. Ostensibly it is, though pretty soon it becomes clear that the film has no real sense as to what it is trying to say or what it is focusing upon. 

There are several very funny clips of films that look awful in terms of visual quality (for example pinched Star Wars footage with some Turkish footage plonked on top) and where the same stories are being blatantly retread again and again. 

There are several amusing anecdotes as well, though there are passages that don't appear to add anything. Sadly the film dragged towards the end. The large font text on screen, there to help understand what the examples are that are being shown, sadly add to the confusion, as try to say too much in too many languages at once. 

Regrettably a film that should have offered some understanding as to why Turkey had this conveyor-belt of nonsense whilst at the same time producing reputable films, in my eyes waisted it's opportunity to be interesting. 

Sadly, just before the end of the film, there is a glimpse of the frustration felt by a 'director' who never got to make a proper film. This is far more the detail I would have liked the film to focus upon. Maybe this is a way of some mystique being kept. Possibly Turkish Pop Culture Cinema needs people to just accept without understanding the nitty-gritty. It is after all harder to laugh when you know the details that are lamentably pitiful and tragic. Sadly I don't feel I can recommend this even for those interested in the weirder elements of life. 

Rating: 04/10.        

Film Review: Amy (15) (U.K. 2015) (Director: Asif Kapadia), Filmhouse, Screen One, Edinburgh, Thursday 18.06.2015, 20:35 (Edinburgh International Film Festival 2015) (U.K. Premiere)

This documentary was helmed by the man behind 'Senna' (2010), and has a similar presentational style. All footage is archival and the detail is fresh and insightful, giving voice the childhood friends and others who had substantial relations with this bright and brassy musical voice. 

To consider how much this young lady was pushed into the spotlight and how relatively recently this was, the fact that this does not feel tired or rehashed, reflects on what must have been considerable care taken by those piecing this together.

I would pretty much take it as a given that any one going to see this will already be aware of the tragic nature to the ending of this tale and the film is suitably sombre in this regard. There are no great surprises in terms of story arc, the sustenance is in the details. Details such as she did not expect her sort of music to become huge in the way it did and she had a sense that she would not handle that level of fame. Sadly the film also shows that due to a mixture of nievity, ignorance and self-interest, a number of significant people around her could not consider her best interests at times when this is what she really needed.

I still find Amy's classic second and final album, 'Back to Black' (2006), difficult to listen to, knowing the spiral she entered and could not leave. The film has raised again my sense of voyeuristic discomfort at how life turned out for this young lady with such (mishandled) potential. Despite the film drawing me to this heavy area for my thoughts to dwell, I am very glad I saw the film and feel that it is much richer than I had anticipated. For those who found pleasure in her voice, although it is not happy experience, I recommend this film. 

Rating: 10/10. 

           

Live Performance Review: Chet Faker, Tuesday 09.06.2015, 19:00, O2 ABC, Glasgow

This was pretty much a punt. Colleagues had suggested it and it was not expensive, so I thought why not. The music had similarities to the likes of Massive Attack, generally had a nice groove and most of it was quite easy to loose yourself within. The music was mostly of a good standard while Chet was accompanied by other musicians on drums and guitars/keys, though when he was by himself he did become slightly overindulgent at times. At times it also appeared as though the vocal levels were swamped by the music levels, making the vocals hard to discern. The lighting was well controlled and used impressively to assist with conveying the tunes. Mr Chet did also have a bit of a 'white-sole boy' look about him both in dress and in movement, though also managed to not be annoying with this. There was also some nice (Aussie) banter especially when he asked the audience to not use there phones for the duration of a song. I have a sense that what I have written is a very mix bag, though I am very definite in saying that this was in all an enjoyable evening with some pleasant and pleasing tunes.

Rating: 06/10.         

Film Review: A Girl Walks Home Alone At Night (15) (U.S.A. 2014) (Director: Ana Lily Amirpour) (Persian with English Subtitles), Cameo Cinema, Screen One, Edinburgh, Saturday 23.05.2015, 13:40

This is a film which has been termed as an 'Iranian Vampire Western'. It was shot in California with money from the U.S.of A. by an Iranian woman who was raised in the U.K.. 

The film is set in 'Bad City' with the titular girl going out and about the city at night on her skateboard, shrouded in her hijab, sucking blood from locals. The film is beautiful to look at in striking monochrome and it has a very pleasing soundtrack. Sadly this is where the positives end. The story itself was very flimsy and this was most certainly a case of style over substance; by the end I was aware of thinking 'O was that it?'. Despite this I did enjoy the film though I would see no need to return for a second screening. The end result did not compare to the prospect of the premise. I would neither encourage or try to dissuade people from going to see this.   

Rating: 07/10. 

Live Performance Review: Derren Brown: Miracle, Wednesday 20.05.2015, 19:30, Edinburgh Playhouse, Edinburgh

This is the forth time I have seen the master perform live and he does request that his congregation don't spill the secrets of the show, and I wouldn't wish to let him down. 

Suffice to say the second half does delve into the miraculous. This performance had what I would consider to be the biggest 'what the f***' head-scratchers yet from any performance I had seen him do. There were also elements of the show that I consider overwhelming in terms of the profundity of what he conveys. There are nuggets of philosophy imparted which it would be beneficial for me and I suspect many attendees to hold onto. 

The terms 'awe' and 'awesome' strictly speaking should only be used with religious connotations. Since I don't believe in higher beings or 'gods', strictly speaking I should not use these terms. Having said this, within a secular context, there are things that he did that I would consider to be as 'awesome' as it is possible to be. 

Derren Brown is truly capable of so much more than magic or illusion. Seeing the evolution of this grand showman, confirms him to be just that. To anyone who has reservations about 'magic' shows, I encourage you to put this to the side and give him at least a shot. 

Earlier in the year, as part of my plans to scale back on expenditure, I thought to myself that this time being the forth time, would probably be plenty and would surely sate my appetite in this regard. 

I now sit here at my laptop thinking where can he possibly go next in terms of feats of wonder to dazzle his followers with. Given that he tends to come to town every couple of years, I don't feel it is too much to allow myself to add Mr. Brown to the hallowed list of now three artists who I would always try to catch on any new tour. He now has the privilege of sitting amongst the finest of company. 

A cracking evenings entertainment. 

Rating: 10/10.        

Film Review: Mala Mala (18) (Puerto Rico/U.S.A. 2014) (Directors: Antonio Santini & Dan Sickles) (Spanish & English with English Subtitles) (Scottish Premiere), Filmhouse, Screen Two, Edinburgh, Sunday 17.05.2015, 20:35

This is a documentary which follows 9 individuals who reside in Puerto Rico, all of whom identify as transgender in some way or other. It felt refreshing for such a subject area to be focused upon in this manner. 

In the initial section of the documentary it appeared as if the usual stereotypes regarding being trapped in performing drag-acts or as some part of the sex industry where the focus for the film makers. Though I am glad to say that the scope of the film broadened as it went on. 

The film showed mark contrast between people modifying themselves physically to achieve some sense of self-expression and examples where the process either had not gone well due to some back-street/illegal approach or it appearing as if the person had made the modifications for the benefit of others. The film in a gentle way also focused upon prejudice/persecution experienced in terms of normal opportunities within job markets and the ghettoisation of communities and creative self-expression. 

The film also showed that these strong characters are making very reasoned approaches to try to breach the ghettoisation and reach for normal visibility within their society and wider culture. 

I felt the film overall to be fairly well balanced. I appreciated the fact that they did not deny the difficult elements of life for these people, though they did not dwell on the negative either. I did feel though that if the film was slightly longer they could have had greater depth the their depictions of these characters. 

Overall I found the film well made and I have little criticism of it. One thing of note though , towards the end of the film there was a lot of focus, and quite rightly so, on how people who are transgender are so much more than their bodies/sex. This was then followed up by one of the characters dancing around in an overtly sexual manner while the end credits are shown, which felt a tad contradictory. A minor issue, in what was largely an enjoyable and engaging documentary. 

Rating: 09/10.             

Film Review: The Tribe (18) (Ukraine/Netherlands 2014) (Director: Miroslav Slaboshpitsky) (No Dialogue - in Ukrainian Sign Language without Subtitles), Filmhouse, Screen Three, Edinburgh, Saturday 16.05.2015, 20:35

The detail I read about this film before seeing it states that the story is told via Body Language and Ukrainian Sign Language. This sounded intriguing in itself and was the basis for my attending. The film is set in what appears to be a very poorly run residential school for people who are deaf. The characters seem to embrace a feral life and there is abuse within the setting that appears endemic. 

The film appears to very faithfully adhere to the strict requirements of 'Dogma '95'. There is a rawness and brutality to the tone throughout the film, along with a kinetic nature to much of it, which I found to strongly contribute to my experiencing a sense of entrancement. Due to having to focus so much on the visual side of what is presented, there are some scenes which I found to become too much. I was wincing and partially obscuring my view at a couple of points, which is very unusual for me. 

I would not call the film entertaining. I had a sense of it as a film to be endured. The film is by no means an easy watch and I would be vary cautious as to who I recommend to. Having said this, I feel it is only fair to also say that I am very glad I saw this, and that this is a very fresh though unusual film. This is easily the most engaging film I have seen so far this year and it has passages that I am sure will stay with me for some time to come. 

Rating: 10/10.    

Film Review: Mad Max: Fury Road (2D) (15) (Australia 2015) (Director: George Miller), Cineworld, Screen Two, Edinburgh, Saturday 16.05.2015, 12:00

I have not seen any of the previous incarnation of Mad Max and due to having issues regarding Mr. Gibson, am unlikely to. I was curious due to Tom Hardy stepping into the titular role and became more intrigued when I began to get glimpses of the steam-punk visuals, which turns out to be one of the most impressive elements of the film. 

The plot is perfunctory at best and I have to agree with Dr. Kermode, that there is not enough light and shade. In terms of plot it is fairly unrelenting. I also agree that the film could have done with a tad of a trim as is slightly over-long at 2 Hours. 

It is easy to see why comparisons between Sigourney Weaver's Ripley from the Alien films and Charlize Theron's character, Imperator Furiosa, have been drawn, though I question the idea that there is a (strong) feminist element to the film. 

The visuals in general, not just the styling, were very impressive. The vibrancy of the differing light and details in the likes of the dust are captivating. 

Though ultimately due to the flim-flam story, by the end of the film, I was not left with any sense of greatness. It was a fun romp, with nothing left lingering. The film did not cause any excitement at the prospect of this becoming a franchise in its own right and although I enjoyed the film, there is not enough depth to it to wish to return to it for further nourishment. The rating given below is only in terms of 'Action Films' as I don't feel they can be compared with other genres.  

Rating: 08/10.      

Film Review: Cobain: Montage of Heck (15) (U.S.A. 2015) (Director: Brett Morgen), Filmhouse, Screen One, Edinburgh, Sunday 02.05.2015, 20:30

Nirvana are a group that I enjoyed back to when I first heard the album 'Nevermind' (1991), sometime in the summer months of '92. I was in my final year of school when Kurt killed himself. I was curious about this film due to Kurt's daughter, Frances Bean, being one of the executive producers. I hopeful that due to this there would be no access issues in regard to what materials the film makers were able to draw upon. This was not one of the issues by some margin...

The film is poorly structured and appeared to lack any sense of direction or purpose. There were entire animated sections which I would expect to fundamentally be conjecture. Scenes such as these tended to be accompanied by re-workings of Nirvana songs which at best were distracting. There appeared to be an imbalance of focus within the film, towards Kurt's early life. I found the film wilfully chaotic and at times hard to follow. I don't think this film adds anything in regards of trying to understand this iconic musician. The only thing that grew within me as a result of watching the film is greater sympathy for Frances Bean.  I did think about walking out as was bored, though something made me stick it out. I cannot recommend this to anyone who is not an absolute Kurt die-hard. Maybe I should be reminding myself of the age I am now at and question myself as to whether films like this are really my cup-o-tea. 

Rating: 02/10.     

Live Performance Review: Nick Cave, Tuesday 28.04.2015 20:00 The Edinburgh Playhouse, Edinburgh

This gig was advertised as a solo performance. This was not the case. He had some 'Bad Seeds' with him, though it was a parred back version to that which I have seen before and he did some songs by himself, which was nice. The setting and lighting was very nice and the view from where I was in the 3rd row could not have got much better. Nick and his chief collaborator, Mr. Warren Ellis, were superb showmen as always. 

This was the fourth time in total that I have seen Nick and his Seeds. I have seen them twice on the first leg of a tour after albums have come out and now twice with more distance to album releases. I prefer seeing him in the performances that have more distance to album releases as he tends to do more of a spread of work from across his career with the Seeds. This show had works spreading from his most recent album, back to the very first and contained many of my favourite songs by Mr. Cave. The performance lasted 2 & 1/4 Hours and was top notch throughout, what more could you want.  

Rating: 10/10.    

Live Performance Review: Laura Marling, Saturday 25.04.2015 19:00, O2 Academy, Glasgow

The following is not a review, although I will mention details about the performance. As with Josie Long during the Edinburgh Festivals in August last year, I have to admit that I can no longer be objective in regard to how great I think they are. 

This is the eighth time I have seen Laura perform since the first time in 2009. This time, Laura performed with people on drums, bass and guitar. Although I have seen her perform with a group of musicians a couple of times before, the tone of this performance was a new area for Little Miss Marling (as I like to think of her). Laura herself was using a range of electric, semi-acoustic and acoustic guitars. The performance itself, I would not class as rock, though it had a harder element to the sound than what I have heard from her before. She played songs from her second album, 'I Speak Because I Can' (2010) to her most recent 'Short Movie' (2015), along with a couple of covers and (I think) a newie. 

With some of the songs from previous albums she was approaching them within the manner of her new work. I have seen musicians previously do this well such as Iron & Wine, and others do this really badly such as Bon Iver. Thankfully Laura was able to manage this with aplomb. She was performing songs that I know well, that were still instantly recognisable to me, though which sounded quite different. The manner in which she has evolved her sound causes me to think that it is no longer fair to consider her within the stricture of being a 'folk' musician, though she should just be considered as a great musician.  

Her musical skill in terms of guitar playing and singing were faultless. There were a couple of times where she stumbled onto a wrong note, gave humble recognition and moved on, which in my eyes just added to the charm. There was very sweet banter and interaction with the very appreciative crowd and there were several songs where I was having goosebumps. This also appeared to be the most relaxed I have seen her when she has been performing, laughing and smiling at various points throughout the performance, which is always nice to see.

Within the opening suite of songs I was already transfixed and aware of mentally saying to myself, 'who am I kidding with (occasionally) questioning how great I think you are, you're perfect'. In my mind, there is nothing sexier than someone who is a masterful musician. When this is matched with physical beauty and a manner of poise & dignity, along with being intelligent and eloquent, that becomes for me a package of perfection. I used to feel slightly like a 'dirty-old-man' finding her hot with being 14 years older and her being this refined youthful beauty. From this performance it was evident that she still has that refined beauty, though for me, this is now balanced with a sexy bad-ass element to her, and it is this new aspect which enables me to no longer feel like a pervert.

I feel this is probably a good point for me to wrap this up otherwise I will dribble and get to a point of embarrassing myself. If it were not already clear and by means of summing up, I am besotted. 

Live Performance Review: Blonde Redhead, Thursday 26.03.2015 20:00, Orion, Ciampino, Rome

Blonde Redhead, for the uninitiated are a trio of musicians from New York. They are: Kazu Makino from Japan on vocals, guitars and keyboards, and the twin brothers Simone & Amedeo Pace from Milan. Simone is the drummer and Amedeo does vocals, guitars and keyboards.

I find it hard to describe to people what their music is like, though Wikipedia terms them as American Alternative Rock with elements of dream pop, nu-gaze & psychedelic and experimental rock. I tend to think of them as electronica and I feel it is justified to see some of what they do as coming under this banner. Despite this being how I term them, I also have a sense that this in no way conveys breadth of what they do. Blonde Redhead, to date, have done nine albums. The first five I don't rate and only discovered in retrospect. The sixth, and in my view still best album they have done, is 'Misery is a Butterfly' (2004). This album has sweeping strings, a sense of grandeur in places and melancholia throughout. I regard it as being perfect.

Since then the group have produced a further three albums all of which I feel to be very good, though not quite as good as 'Misery'. These subsequent albums are '23' (2007), 'Penny Sparkle' (2010) & 'Barragan' (2014).

Blonde Redhead are not particularly well known in the United Kingdom, and they are the final artist/group that I am presently aware of who I had not seen though was very keen to see, so I decided to treat myself with a trip to Rome to see them.

Ciampino is a small town just outside Rome and the venue is small with a capacity of approximately 1,000. It did feel to be particularly pleasurable to see them in such a small space, though the venue was clearly not full (a local at the gig reckoned this would largely be due to the fact that it is difficult to get public transport out to there from Rome). As usual I was in the middle of the front row.

There was a support, who's name I didn't catch, they were okay though every song progressed in a similar manner.

The group's set covered a good selection from across their last few albums. I was delighted that they did several songs from 'Misery' and also performed a good range of other songs I am familiar with. There is clearly a very good connection between the musicians particularly between the two brothers. Kazu comes over as a very shy lady though a very able performer. The performance was very absorbing, causing a sense that although I was tired having spent the day walking around Rome, I would have happily have stood there listening to them for hours.

There was only one slight blip in the whole show. During the encore, they had just begun to perform 'Melody' from 'Misery' when Kazu stopped the others and went over to speak with them. I am not sure what the issue was, though it was dealt with and then she asked the audience if we wanted them to restart the song or move on to the next. Happily the audience asked for them to begin the song again. I like the fact that a musician stops the performance to enable getting it right, rather than just bumbling through and trying to just move on. The only negative about this was that it appeared to affect Kazu's mood and at the end of the gig she appeared lost in her own world though quite sad and Amedeo went to comfort her and to assist her off-stage. I don't feel this really detracted from the performance, though it is not nice to see a performer get upset.

The performance was very good and the crowd seemed to love it, though I can't quite say it was excellent. I am though very glad that I went and did greatly enjoy myself. Though the downside is that I now have no musicians left who I have a burning desire to see, which I have to admit feels a bit odd.

09.5/10.    

Live Performance Review: Martin Carthy, Monday 23.02.2015 19:30, Traverse Theatre Bar, Edinburgh 

This is a musician I have wanted to see perform for some years. I have read in various publications this musician being cited as the greatest living English Folk musician. Martin primarily performs solo acoustic with a guitar, this is the form I wanted to see him perform in, and this is what we got.

The set-up was intimate with a tiny stage and comfortable seating. Martin performed with mastery and humble wit. It was one of those charming performances where each piece, while he was tuning up, was being introduced with some genuinely interesting information about the songs. 

At the beginning of the second half Martin performed a song written by a brother-in-law of his. From the intro it sounded intriguing and low and behold it turns out it was the one song of the night that I already knew very well. Before the end of the gig, Martin encouraged people to approach him afterwards if they had any comments or questions. I don't need asking twice, so I checked if he was aware of the version by Chumbawamba called 'Stitch That'  from the album 'Shhh' (1992). It turns out he had heard of it, though not heard it. I took the opportunity to suggest, that if he were to seek it out, in my view the more interesting version by the Chumbys is on a Japanese Mini-Album called 'Amnesia' (1998), where it is done in a Country 'n' Western Stylee.

This was an utterly absorbing evening at a good reasonable price. You can't ask for more. 

Rating: 10/10.          

Film Review: Whiplash (15) (U.S.A. 2014) (Director: Damien Chazelle), Filmhouse, Screen Two, Edinburgh, Sunday 08.02.2015, 18:20

This is the film that J.K. Simmons won the B.A.F.T.A. Best Supporting Actor Award for this evening. As some will know this is the film that centres around jazz drumming. J.K. Simmons is good as the tutor, though I found to be sadly quite one-note. Some of the dialogue I found to be quite clunky and not very believable. I also found the progression of the story to be utterly predictable with nothing to say.  

The biggest issue I have with the film though is that both of the lead characters, tutor and student, I found to be as much of an egomaniac as each other. Even worse the tutor is a bullying homophobe and the student is an arrogant dick. The central characters are so reprehensible, that when the student is involved in a serious car-smash while trying to get to a performance in time to keep himself in the ensemble and prove himself to the bully, I found it hard to stop laughing. I have a sense I should have felt sympathetic towards the student though the only way he could have improved his standing in my view is by standing up to the bully, which he never does. 

Predictably this period of the story results in the tutor and student going separate ways. Though by the end they are back together, without addressing any of the previous behaviour towards each other, clearly for what they can both get from each other without any mutual fondness or respect, i.e. they are both users. 

Not that I am a big fan of 'learning' in films, as people tend not to learn in life, though this is a film that could really have done with some. I found it hard to give a monkeys about any character by the end. 

The defining characteristic of the film is narcissism. This is an element the film shares with 'Raging Bull' (1980). It is this reason why I find that film very hard to care about. Now Whiplash can join this select band of films that mean nothing to me (Oh Vienna).   

Rating: 04/10.        

Film Review: Ex_Machina (15) (U.S.A./U.K. 2015) (Director: Alex Garland), The Cameo Cinema Screen One, Edinburgh, Sunday 25.01.2015 17:40

This is a triple-hander of a film. The three central characters being a C.E.O. of a search engine company, one of his low-level employees and this 'artificial intelligence' that the C.E.O. has created called Ava. The CEO having invited the employee to his secluded residence to be part of a 'Turing test', where he is to interact with the machine and detect if he can at some point loose the sense of it being an artificial being. 

I was drawn to the film due to it's visual style, which did not disappoint. Sadly the rest of the film was a bit of a let-down. There is a supposed twist towards the end, though I felt the films progression to be fairly clear and guessable from the start. 

It is not to spoil anything to say that  the employee reaches a point of seeing the machine as having consciousness. How is this possible when all of the machine's drawings throughout the film are clearly hexagon based. Also the machine's facial micro-expressions are always slightly stilted and therefore clearly not human. This is clearly down to good acting, though it does make other characters look a bit stupid. Maybe this is part of the point. Maybe the film is trying to say that if you put an attractive face on anything then (horny) man will not notice these little things, as they don't fit the reality the man wants to see. Emotion overrules intelligence. This is a film I would neither recommend nor try to dissuade others from trying to see. 

Rating: 06/10.          

Film Review: Enemy (15) (Canada/Spain 2013) (Director: Denis Villeneuve), Filmhouse, Screen Three, Edinburgh, Saturday 03.01.2015, 20:35

I was drawn to this film due to the fact that it is another film staring Jake Gyllenhall and directed by Denis Villeneuve, who previously worked together on 'Prisoners' (2013). Jake plays a university history lecturer who is listless and disinterested in life. A colleague suggests a film he may enjoy and within that film he sees his exact doppelganger who he then pursues. I don't wish to say more regarding the plot, though do feel it is fare to say that the film approaches the idea of a doppelganger in a fresh manner. 

The film makes very good use of lighting to induce a queasy/twilight sort of quality. The editing is done in a manner that, along with Jake's nuanced acting, gives the film a  mysterious/enigmatic quality. Having given the film my full concentration, I am still unraveling it now the day after having seen it. It is not often that can be said in these times where most filmmakers feel they have to spell out exactly what is happening. The sudden ending is both bamboozling and revealing, as long as you don't allow the bamboozling element to lead you to dismiss what you have seen.  

I feel this is a fundamentally more interesting film than 'Prisoners', as good as that was, though don't feel I can go quite as far as saying it is excellent. Jake is developing quite a habit of making very good films that are not quite excellent. I find myself having to give the same rating as 'Prisoners' & 'Nightcrawler' (2014). 

Rating: 09/10.