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Skepta – Doin’ It Again

Artist: Skepta Album: Doin’ It Again Location: London

Skepta, who is arguably one of the most influential MC’s on the grime scene, has come back hard with his third studio album “Doin’ It Again’.

The CD was released on Boy Better Know Records, which Skepta is a co-founder of along side grime artist and brother JME. Before its official release four singles from the album were available, all of which made there way into the UK top 40.

This album has a much fuller and dare I say professional sound than his last, perhaps because it features a grime remix of ‘Hello Good Morning’ featuring P. Diddy himself. It is clear that not only grime is moving towards the mainstream direction but also it is no longer just appeals to primarily UK residents and branching out to an international market.

I can only give praise to Skepta every thing he produces is insanely addictive and he deserves all the up and coming international success he will receive. Go out and buy this album, all his previous albums and order his brother JME’s albums too.

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Barbara Black Smacked with a Graffiti Fine

Ten North Hollywood High students were commissioned to paint a Graffiti Art mural on a homeowner’s private fence. But the City came out and fined her, and is now forcing her to paint over it. You can help.

Save Barbara Black’s North Hollywood Graffiti Art Mural


North Hollywood resident Barbara Black finds herself in the middle of a dispute with the City of Los Angeles over her 90-foot fence that she decided to make into a mural.  Barbara wanted to give upcoming North Hollywood Graffiti artists a canvas to show their art and to help the students feel a sense of pride and dignity for themselves and this art form.  The principal at North Hollywood High School helped her find 10 students who were good Graffiti artists and very enthusiastic about the project. 

For a month these students worked on the mural and were almost finished when Barbara received a citation from the City of Los Angeles for violating Building & Safety’s “advertising signage” codes.  The City considers this mural an advertisement, NOT ART. There is no Coca-Cola ad, no iTunes ad, no Nike ad, no ad whatsoever on this mural. So why then does the City consider this advertising? What, in fact, is it advertising? Isn’t this her property?

Barbara was slapped with a $336 fine and the mural must be removed by March 24 or she will face other penalties up to $1,900 if she tries to appeal and fight to keep the mural up.  The City wants her to paint over the art with white paint prior to March 24 but she will still be forced to pay the $336 fine as punishment for putting up the mural in the first place.

However, Barbara is on a fixed-income and can’t afford to pay the fine much less fight “City Hall.”  For several decades, she was a costume illustrator for film/TV but now lives modestly as an artist.  Barbara is just trying to encourage an art form and, most importantly, to give a few local North Hollywood kids an opportunity to feel good about themselves and their art.

This brings us to the second, much larger issue at hand: Graffiti ART as an art form. Graffiti has been synonymous with vandalism but Graffiti Art is simply a style of art. Not everyone gets it. Not everyone appreciates its aesthetic. The actual practice of Graffiti goes back to the Mayans, but it was not thought of as an art form until the 1970s when the art world saw the work on the New York subways. The Graffiti Art movement produced such famous artists as Keith Haring and Jean-Michel Basquiat and this street art influenced Bansky, Shepard Fairey and countless others.  If Graffiti Art is not your taste, that’s fine. But, it should not be disqualified as an art style.

So Barbara’s mural was not an act of vandalism but a commissioned piece of Graffiti Art. Across the street from Barbara’s mural you will see another mural that was painted several years ago but was never cited by the City. Guess what, it isn’t Graffiti Art.  Can we believe that this is happening because one neighbor decided he/she didn’t like Graffiti Art and called the City? Why didn’t this same neighbor call the City about the other mural?

While we may not be able to change someone’s mind about Graffiti Art being a legitimate art style, we can at least try to change the outrageous government ordinance that is prohibiting North Hollywood from creating murals to beautify the neighborhood all under the guise of a “City of L.A. signage issue.”

Please stand with Barbara Black and our young, North Hollywood Graffiti artists. Email, Tweet, Facebook, etc. this article and tell North Hollywood Councilman Paul Krekorian:

SAVE Barbara Black’s North Hollywood Graffiti Art Mural

Tweet: @paulkrekorian
Facebook: http://www.facebook.com/PaulKrekorian
Email: councilmember.krekorian@lacity.org
Call: (818) 755-7676     
Fax: (818) 755-7862
In Person:
6350 Laurel Canyon Blvd., Ste 201
North Hollywood, CA 91606

Editorial Team
NoHoArtsDistrict.com

New to DVD: Woody Allen’s You Will Meet a Tall Dark Stranger

You Will Meet a Tall Dark Stranger
 
Don’t get your hopes up too much with this Tall, Dark Stranger––while this latest effort from the prolific occasional expatriate is a vast improvement over Whatever Works, it’s still a minor entry in the Woody Allen oeuvre.  The assorted characters in this London-based opus are all in the midst of questioning their life choices or in the aftermath of having made some poor ones.  Anthony Hopkins has left his wife to marry a much younger female who enjoys “the good life,” one which Hopkins is hardpressed to supply– either financially or physically.  Meanwhile Hopkins’ daughter Naomi Watts is unhappily married to a creatively stalled author (Josh Brolin) who has his eye on the comely–and engaged– lass across the way (Frida Pinto).  While all this is going on, Hopkins’ ex-wife Gemma Jones) has been consulting a psychic who  leads Jones on the path to emotional and spiritual fulfilment–even if it means tossing a few curve balls in the process. 
 
There are a number of good performances on display here: Hopkins does a fine job as the senior swain whose life is slowly being sucked dry; Watts and Antonio Banderas ( as Watts’ boss, a married gallery owner) share some well-played scenes; Gemma Jones is touching as the wife who decides to let fate guide her.  Brolin however seems a little off as the struggling author–there are certain scenes where it seems like the actor doesn’t believe in what he’s saying.  In the end, Allen doesn’t supply easy resolutions for anyone (except for Jones), but I don’t think you’ll be waiting for the sequel.
 

Brit Awards 2011 – Surprises? Not really.

London’s 02 Arena was packed with celebrities and fans alike (although the tickets were a hefty price of around $140), for the Brit Awards, 2011.  Host, James Corden, was at times a bumbling presenter who seemed to be out of his depth on this occasion, often appearing nervous and his timing left a lot to be desired.

Cee Lo Green was on form when he performed Forget You but let’s not forget the part where he nearly went head first into the audience after he tripped on (and actually ripped) the dress of Paloma Faith.  But all in all it was an entertaining evening with no great surprises, other than that one.

Tinie Tempah was nominated for 4 awards and walked away with two and Plan B, who was convinced he would lose to Take That, received the Best British Male Solo Artist award.  Can’t wait for his next album, which he hinted would be Reggae style.

A disappointment in the International Breakthrough Act category was Justin Bieber. Why? Because he won.  Marketing talent he may have, but musical talent?  I think not.  A far better choice would have been, in my opinion, The Temper Trap.  I haven’t heard many Indie Bands from Australia,  but what they do produce is always of immense taste.  The Temper Trap has a unique flow and lead vocalist, Dougy Mandagi, is capable of an amazing range of vocals.  Although classed as an Indie band, The Temper Trap has a complete originality about them, gaining fans from all over the world and from all walks of life.  Bieber?  Come on!  

There was an emotional performance from Adele, who ended up in tears by the end of her rendition of Someone Like You.  When asked what made her so emotional, she said that she was thinking about her ex who was probably watching her on TV – laughing at her.  I’m sure Adele can laugh all the way to the bank though, because after her performance her sales shot up 800% and hit number 1 on iTunes with that live performance. 

So, another year over and the winners are… 

Another Bone to Pick with the Oscars and This Time it’s Winter’s Bone

 
Debra Granik’s Winter’s Bone has been nominated for a number of Oscars, including Best Picture, so I keep asking myself–have I missed something?  I mean, it’s an atmospheric, well-acted picture about Ree Dolly (Jennifer Lawrence), a teenager trying to hold her family together in the Ozarks.  This isn’t easy–her mother is a catatonic mess (too many drugs??), her meth-making father is on the run from adate in prison (his collateral for bail being the family home) and unless he makes a sudden appearance, Ree and family will be out in the streets–or woods.  Consequently,the stubborn Ree tries to find her father, and this plunges her deep into the meth underworld–in other words, walking a number of blocks from her home to be greeted by people warning her to “stay out of it.”  This happens repeatedly, and after disregarding this advice yet again from the particularly fierce wife (Dale Dickey–and you don’t want to mess with her) of the local meth druglord, the wife and her cronies (spoiler alert) savagely beat her and threaten her with worse.
Don’t let me mislead you into thinking the movie carries some momentum–it moves at a pace that would make a snail seem speedy; the more time, I suppose, to revel in the various unsavory goings-on.  The performances are fine (Garret Dillahunt as the sheriff and Oscar-nominated John Hawkes as a dangerous uncle excel), but the movie is a singularly uninvolving experience, and a certain plot development near the end–in the aftermath of this horrific beating–demands a leap of faith that’s difficult to make.
If you want to catch up with another Oscar nominee, you would do better to spend a few hours with David Michod’s The Animal Kingdom, an Australian crime film about a family of criminals both falling out and falling apart–thanks to the strong arm of the law and some angst in the newest member–a teenage nephew who’s been taken in by the “loving mum”(Oscar-nominated Jacki Weaver) of this criminal clan.  In a way, the milieu of The Animal Kingdom is just as seedy and unappealing as Winter’s Bone, but it’s compelling throughout, with well-delineated characters (Ben Mendlesohn as the dangerous uncle is the banality of evil incarnate, while Jacki Weaver deserves the Oscar for her subtle turn as the mother with no shortage of steel), bursts of brutal violence, and unexpected yet credible plot developments.  Definitely worth seeking out.

SUNNY AND LIGHT – MORNING GLORY

MORNING GLORY
 
You might be forgiven for thinking Morning Glory, in which co-stars Diane Keaton and Harrison Ford play vain and bickering TV show hosts, was a standard rom-com about two cranky geriatrics who eventually fall in love.
 
But no!
 
Writer Aline Brosh McKenna’s smart, funny and endearing screenplay is all about showcasing its adorable young star.
 
Rachel McAdams plays Becky, an enthusiastic television producer who accepts the challenge of reviving a struggling morning show program with warring co-hosts. While the camera loves the sunny exuberance of its gorgeous leading lady, filming her in warm light and flattering angles and dressing her in pricey Louboutin shoes and flowing silk outfits, it also presents her as a mildly neurotic workaholic who’s unfailingly passionate about her floundering career. Somehow all this irrepressible enthusiasm doesn’t come off as annoyingly perky; we’re always rooting for her, even though people keep asking her if she’s about to burst into song.
 
Take the scene of her first day on the new job. During the intense show meeting, she’s overwhelmed by a barrage of questions. Does she have what it takes? Her steely, decisive approach proves that she does, and this is one of the film’s many gratifying “yeah!” moments.
 
Later, the story evolves to include the required romance with a hunky, fellow producer (Patrick Wilson). But it’s the development of her relationship with seemingly intractable host Mike Pomeroy (Harrison Ford) that gives this movie a surprising depth and complexity. Ford seems to be phoning it in, playing yet another curmudgeon – in this instance, a renowned investigative journalist who has virtually been put out to pasture and who feels reading the morning news is well and truly beneath his dignity. (It is.)  Yet, when he warms to Becky, culminating in a touching scene they share, it reminds you that a lot of what Ford does only appears like he’s not trying.
Keaton is wasted in her sidelined role, given an insufficiently convincing arc and change of heart, but she’s always great to watch. Jeff Goldblum’s small role is played to perfection.
 
Review by Pauline Adamek

UK Artist: Jose Vanders Album: Blue Notes

Artist: Jose Vanders Album: Blue Notes Location: Bristol

Jose Vanders is one of those rare gems that seems to release only brilliant music and her fourth EP ‘Blue Notes’ is no exception.  Going from strength to strength with every track the four beautifully composed tracks, my personal favourite being ‘Me Without A You’, leaves your ears wanting more from Vanders. I have been listening to her for a while and I can’t understand why she isn’t a superstar, she really doesn’t get the attention she deserves, but I can see big things for her in the future. 
What I like most about her music is the originality. She has a unique voice and one of the few artists where you can actually hear her maturing in her music with each release and this EP takes a more personal turn than the previous, with each one of her songs tells its own little story. Please go out and buy this EP I promise you will not be disappointed; it’s the perfect compliment for just about any occasion.

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The Company Men: Alas, Even Downsized by the Oscars

Once again, it’s time to catch up with one of those buried treasures: an end-of-year gem that was lost in the last-minute deluge of prospective, presumed Oscar worthies and is even  now, swamped by the box office returns of here today, gone tomorrow popcorn fodder such as The Rite.  As it is, The Company Men, beautifully written and directed by John Wells, has received no love from Oscar, even in a field that allows ten entries for Best Picture–yet it deserves to be there.
You might look at this as a modern-day Best Years of Our Lives-with its three protagonists dealing with a malaise that reverberates throughout 21st Century America. The Company Men is a heartbreaking film that addresses corporate downsizing through the eyes of three dismissed executives: one relatively young (Ben Affleck), one retirement age (Tommy Lee Jones), and one who is not yet ready to retire (Chris Cooper) and finds himself considered to be useless in today’s market.  
 
It’s not as if this picture of heartlessness in the corporate world is brand-new–anyone who is familiar with Death of a Salesman knows that sentiment has very little value in business-especially with the CEO of a conglomerate. But rarely has this material been covered so honestly and movingly.  Cooper, in particular, carefully etches a heartrending turn as the 60ish exec who cannot cope with the fact that the world is quite ready to go on without him.  Affleck and Jones do top level work here too.  Affleck does a fine job conveying the wounded pride that won’t allow him to admit he’s in dire straits, striving to keep up appearances, and unaware that others are making sacrifices even if he’s not.  Jones epitomizes the exec as wounded idealist, someone who looks at industry as a way for men to work hard and create something they could be proud of–and not in terms of the venal mentality (personified by Craig T. Nelson) that insists on building elaborate corporate headquarters while ruthlessly cutting employees so as to enhance stockholders’ already sizable profits.  Kevin Costner also contributes an affable, shrewd  turn as Affleck’s brother-in-law, a blue-collar contracting company owner who offers Affleck a much-needed job.  Costner’s role is another kind of grace under pressure–the heroism of a working  man who provides for his family -and even sacrifices a little to help others.  
 
The Company Men isn’t perfect–Maria Bello’s role as corporate cutthroat involved with Tommy Lee Jones fixes that–but it has so many pleasures and builds to such a satisfying, cautiously optimistic conclusion that it’s well worth seeking out.
 
 
View Trailer
 
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Chase & Status- No More Idols

Drum & Bass icons Chase & Status return with their long awaited second studio album ‘No More Idols’.  The duo has definitely evolved their sounds creating a more mature and fuller album; featuring an army of big talent in the UK music scene, from new artists such as ‘Clare Maguire’ to established acts such as ‘Plan B’ and also international star ‘Cee Lo Green’. 

This is what, in my opinion makes this CD so different to most albums in the Drum & Bass genre, the versatile range of artists featured on the tracks. Each featured artist adds their own influence to the album creating a collage of different styles.

Despite the huge range of styles and vocals on the album it is still none the less another amazing Chase & Status album that has been mixed and edited seamlessly to give the listener a mixture of Drum & Bass and Dubstep beats. If you like upbeat tracks with a hint of grime then this album is definitely worth buying – the perfect sound to listen to when you are getting ready to go out!

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The Kids Are Alright & The Larry Sanders Show

Worth catching on DVD: Lisa Cholodenko’s The Kids Are All Right, for the sterling work of an ensemble cast led by Annette Bening and Julianne Moore as a couple whose kids open the proverbial can of worms when they discover the identity of their biological father.  That he’s handsome, successful, yet earthy Mark Ruffalo inspires the kids to some degree of hero-worship, while arousing varying levels of passion in a taken-for-granted Moore and a distrustful Bening. 
 It’s being billed as a comedy, and while there are some laughs, it’s a pretty serious look at family life in America and the consequences when a combustible passion endangers a comfortable relationship.  
 
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Also on DVD: the long-awaited release of the complete run of HBO’s The Larry Sanders Show.  If you’re a fan of edgy, often uncomfortable humor; if you want to see great comic talent at the top of their game; if you don’t want to see it broken up by commercials on IFC (Why IFC–WHY!!!), then rent or buy the series.  The series, for those of you in the dark, is about the goings-on at a fictional talk/.variety show hosted by the talented, insecure Larry (Garry Shandling’s finest  hours), with help from his sidekick Hank (ditto Jeffrey Tambor) and trusted, crafty producer Artie (double ditto Rip Torn).  Add to the mix able support from cast members Janeane Garafolo, Sarah Silverman, Wallace Langham, Jeremy Piven, Penny Johnson…guest spots from Jim Carrey, David Duchovny, Jon Stewart…I could go on and on–do yourself a favor, see Larry Sanders in its uncut, unadulterated form.  You won’t be sorry.


The Fighter

In David O. Russell’s entertaining enough true-life boxing/dysfunctional family saga The Fighter, Christian Bale acts up a storm as Dickie Ward, former fighter turned unreliable (though undeniably knowledgeable) crack-addled trainer to Mark Wahlberg’s quietly determined Micky Ward.  But while Dickie knows his stuff inside the ring, outside the ring, he’s an unreliable, possibly dangerous mess who quite possibly will drag his talented, luck-starved loyal brother down with him.  
It’s the type of showy performance that wins–but not necessarily earns Oscars (my heart lies with Geoffrey Rush from King’s Speech) and Golden Globes (as in the recent awards show).
 
 As boisterous and wrenching as Bale can be (watch for the scene where Dickie sees himself in the HBO documentary about crack in America), you may find yourself longing for the quieter scenes between Micky and his feisty girlfriend, nicely played by Amy Adams.  She has the sass to take on Micky’s monstrous mother (a ferocious Melissa Leo in take no prisoners mode–alas, a mode that would steer anyone in the other direction) and the banshees who pass for Micky’s sisters.  Miss Adams finds just the right blend of vulnerability and guts for her character; the same goes for Wahlberg’s Micky.  You feel his fierce loyalty to his brother, a loyalty that leads him to some spectacularly bad decisions–and yet you understand why he feels he needs Dickie in his corner.  By the end, the movie is soundly in Rocky territory but it covers the terrain well.  
 
View Trailer
 

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Ed Sheeran

Ed Sheeran is the UK’s newest talent and at just nineteen years old he has five independent EP’s and one DVD under his belt. His latest work, No.5 Collaborations Project, which was also released independently with no publicity and very little radio play, has thrown him into the limelight. It also briefly knocked Rihanna’s album ‘Loud’ off the top spot of the UK iTunes album chart in just two days.
On the EP he collaborates with a number of England most successful grime artists, and this is what makes it so unique; a mainly acoustic singer/songwriter doing an entire EP with urban artists. It gets two massive thumbs up from me. It’s original and has blended two completely different but equally talented genres together. After the release, Ed decided to sign with Atlantic Records, and has started recording his first studio album. I’m sure we will see very big things from Mr. Sheeran this year. If you haven’t heard of him you should give him a listen, I’m sure that you’ll love it.
 

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The California Budget: A World Without Libraries

LAT Central Library.bmpWhat’s going on in California regarding its libraries is pretty terrible. For a start, the new governor Jerry Brown has a $25.4 billion shortfall, and his proposed budget doesn’t cut library spending — it eliminates it. By doing that, he’ll save $30 million, according to the Los Angeles Times.
In the past, state funding has reached as high as $56.8 million — but that was more than a decade ago.
The LAT quoted the president of the California Library Association, Paymaneh Maghsoudi, saying:
The proposed cuts unveiled by the governor will not only jeopardize library hours, staff positions, and the availability of books and materials, they will also potentially dismantle the cooperative system of borrowing and loaning books, known as Transaction Based Reimbursement (TBR), that has existed statewide for over three decades. Incidentally, a cut of this magnitude to the TBR could make the state ineligible for the federal match that is a part of this program.
Too late, for Los Angelenos anyway. A July, 2010 article in the LAT said that the LA Public Library had moved to a reduced hours schedule that kept the library closed not only on Sundays but also on Mondays. The central (above) and branch libraries are open two nights a week, Tuesday and Thursday, until 8 p.m.
I just checked, and that’s still true. Not a single one — central or branch — is open on Mondays. That strikes me as draconian. Couldn’t some remain open on Mondays, and close another day?
Libraries, in the digital age, are becoming more central to us, not less. I sympathize with Gov. Brown’s goals — he has made other drastic cuts — but something seems out of whack here. Must we leave our libraries totally in the hands of philanthropists?

Olly Murs

 
When X-Factor finalist, Olly Murs, released his debuted self titled album I really didn’t know what to expect. I mean, I was backing him on the X-Factor (sadly he came 2nd) and I loved his number one hit ‘Please Don’t Let Me Go’. However, we all know that many TV singing competition finalists often have a tendency to release a few good songs and then disappear into talent show limbo. Despite these doubts I got the album and I love it.
 
A nice refreshing pop album, with a surprising amount of catchy songs which I could see all easily becomming singles. My personal favourite track is ‘Love Shine Down’ a real feel good song, which I have a feeling will become a hit. 
 
What I liked most about the album is that Olly co-wrote all but one song on the album, showing that he isn’t just a good voice and adding something new to the usual drone of X Factor finalists. If you like albums that are easy to listen to and sing along with than this is the album for you.

JLS

 
Artist: JLS Album: Outta This World Location: London

The JLS boys are back to reclaim their place of top UK boy band with their new album ‘Outta This World’. The album entered the UK album charts at number 2 and has claimed two top spots in the singles charts. 
I found the CD more upbeat overall than the last and JLS have not let us down and included a good range of songs. From slow Boyz II Men style R&B songs such as ‘Love You More’, showing off their talented voices to dance floor fillers like ‘Eyes Wide Shut’ that make you want get up and dance. Though I have nothing bad to say about this CD, as they did a great job with it, I was a little bit disappointed; it wasn’t as good as the first album. It was a bit more poppy and slightly less R&B. Nevertheless it is still a fantastic album well worth the purchase price.

Cheryl Cole

Artist: Cheryl Cole           Album: Messy Little Raindrops Location: Newcastle

Cheryl Cole is one of those celebrities who always seem to be in the limelight, whether it’s for being one of Britain’s most annoying talent show judges, going through a very long divorce or releasing her new album. When I got her album I genuinely didn’t know how good or bad it was going to be and I really did listen to it with an open mind.

What can I say? It was honestly one of the worst albums I have ever heard. It is 12 tracks of complete generic wash , and even after studio enhancement, her voice can barely be passed for good. The only upside to the album are the two tracks featuring Travie McCoy and Dizzee Rascal. How this woman has an established music career is beyond me and how she could judge people in music competition is insane.

My final verdict is another half hearted attempt at making an album from Cheryl Cole is that she should stick to being in Girls Aloud because she really doesn’t have the voice for a solo career. Don’t waste your money on this album.

True Grit: The Coens Do It Lean and Mean

 

When it was announced that the Coen Brothers were doing a retake on True Grit, this reviewer was intrigued, since he held the earlier version in very high esteem-and still does. That being said, The Coen Brothers’ adaptation of Charles Portis’ classic western novel turns out to be a beautifully photographed (by Roger Deakins) if slow-moving tale of a determined girl named Mattie Ross who hires the resolutely drunk yet fearless U.S. marshal Rooster Cogburn to bring her father’s killer to swift-and deadly justice. They are joined in this quest through a wintry landscape by Texas ranger LaBoeuf, and the three quarrel and spar, all the while developing some mutual respect enroute to their date with destiny.  There are few surprises in this tale-and the biggest one is that the Coens don’t reinvent the wheel here–in fact, they stick pretty close to it. The stilted, distinctive speech patterns and almost all the memorable lines are lifted straight from the novel. In addition. the movie follows the book’s structure fairly closely in that it unfolds like an extended elegy of an Old West (augmented by the haunting strains of Leaning on the Everlasting Arms) filtered through the prism of a proud woman’s memory of a defining moment in her youth. This is a West of hardbitten men with codes all their own–including some of the bad men. The movie also echoes other Coen works in that it keeps the viewer at an emotional distance. One can admire Mattie’s steely resolve in Hailee Steinfeld’s performance but feel detached, as with Jeff Bridges’ somewhat overly debauched Rooster. Bridges does a decent job, but one can see the wheels turning: pour on the drunken rambling here, almost to the point of being inaudible, bring out the rueful regret there. The whole is a little less than the sum of its parts. Matt Damon makes a fine LaBoeuf, determined in his own way, proud, flawed, and doing all he can to protect Mattie-especially from some of her foolish whims. Damon more than holds his own-in many ways, his is the best performance in the film. Barry Pepper and Josh Brolin also contribute good work as the outlaw leader Lucky Ned Pepper and the bemused killer Tom Chaney (Why do these things happen to me!). In the end, there is a lot in True Grit to respect–your choice if you want to make the journey.

Seeing the remake of True Grit might give you a hankering to do one if not two things: read the excellent source novel by Charles Portis, now back in print in a lovely edition and well worth reading for the lovingly crafted dialogue and Mattie’s musings on all kinds of matters. It might also make you want to see the original movie and that’s not a bad thing. Certain reviewers have been patronizing to the original while highlighting the Coens’ fidelity to the novel. Well, the 1969 Henry Hathaway-directed classic starring an Oscar-winning John Wayne is also quite faithful. If it changes a few things, especially toward the end, it makes for a more emotionally involving and moving experience. Kim Darby does a lovely job as the determined Mattie, making her even likable; Glen Campbell is an OK LaBoeuf, while Wayne positively inhabits Rooster, balancing the character’s many flaws with his inherent heroism. If there’s a big difference between the two movies, it’s in the tone: the remake comes across as solemn and mournful, and a little distant; the original is a vibrant, rousing adventure-and a meditation on honor and mortality. There’s room enough for those two interpretations-and probably more in times to come. Check it–or them out. You won’t be sorry.

The Overtones

 
Artist: The Overtones Album: Good Ol’ Fashioned Love Location: London
The Overtones defiantly have to be the UK’s most unique band of 2010. The five piece doo-wop boy band were discovered by a scout whilst they were working as decorators in a shop in London and were heard singing on their tea break. 
 
Their debut album is titled ‘Good Ol’ Fashioned Love’ and it brings something original to the music scene; perhaps it may even revive the doo-wop genre. I found the album quite enjoyable to listen to and a good overall effort for a first album. It was by no means the best thing I heard this year, but it was nice to hear something different and if you’re bored of the same music or just want to hear something new then I would try this band out. The album is full of catchy tunes that I’m sure you will find yourself singing along with.
 

How Do You Know is not ‘As Good As It gets’

James L. Brooks’ latest, How Do You Know has its moments, but overall it’s a meandering, lazy (cue some jaunty music to accentuate those nonexistent laughs) romantic comedy with a sprinkling of social commentary.  The plot in a nutshell: fading athlete Reese Witherspoon (cut from the US team in softball) is caught in a romantic triangle between very rich baseball player Owen Wilson and naïve, innocent corporate exec Paul Rudd who’s been set up to take the fall for falsifying financial documents.  An overacting Jack Nicholson plays his father (no points for guessing who set Rudd up to take the fall).
While Miss Witherspoon is generally a charmer, she really doesn’t have much of a character to play, so it’s hard to get caught up in her romantic/life dilemma-in fact, everyone else is given a type to play with very few shadings:  likable, if insensitive jock; sincere, fumbling exec; dictatorial boss/father.  The outcome of the triangle is never in doubt-although you wonder what any of these characters would see in anyone else.  That being said, Wilson has some good scenes with Witherspoon; Rudd is amiably sincere (if not all that interesting or believable) as the put-upon exec; Nicholson’s performance is so overbearing that’s it’s one of the few times one wishes for less Jack in the film—or at least a return to an earlier, more subtle Jack.

T.I- No Mercy

The King of the South T.I. returns with his long awaited seventh studio album ‘No Mercy’. There has been so much anticipation lingering around the release. When the first promotional single ‘I’m Back’ was released earlier this year in March, fans were eagerly expecting something big, especially as it was the first album out since T.I’s release from prison earlier this year.

In my opinion No Mercy, is the best album of 2010 hands down. T.I. never fails to disappoint with featured artists on his album, and he certainly chose a diverse cast, with artists such as Chris Brown, Eminem and Christina Aguilera. The usual swag and cockiness of T.I. remains, but he seems to have made a very optimistic album with many uplifting beats. My overall verdict is not only the best album of 2010 but also T.I.’s best work to date. I honestly can’t praise this enough, go out and buy a copy or download it now.

DVD: Toy Story 3 and Remember the Night

toy story 3 logo toys Toy Story 3 Review (3D)
On DVD:  if you haven’t seen Toy Story 3, do yourself a favor and see it.  Beautifully animated as only Pixar can do it, it’s a heartwarming tale of friendship and loyalty as the discarded toys (Andy is going to college after all) try to find a place for themselves—and fall prey to terrible tykes and wily stuffed animals.  The voicework by all concerned is exceptional: the movie is at once funny, exciting and moving.  What are you waiting for?
Also on DVD (but I bet you didn’t know it—and maybe never even heard of it).  There’s a wonderful, relatively unsung holiday film with Fred MacMurray and Barbara Stanwyck called Remember the Night.  In a nutshell, district attorney MacMurray spends the holidays with accused shoplifter Stanwyck in MacMurray’s hometown. Mitchell Leisen directed from a Preston Sturges script and you would be hardpressed to find better work from either of these men.  Rent it or look for it on TCM.

Black Swan: Are There No Happy Ballerinas

 
Darren Aronofsky’s Black Swan is a riveting, florid walk on the wild side of dancing, desire and self-destruction, wrapped inside a scenario that incorporates elements of “The Red Shoes,” “All About Eve” and even a little “Single White Female.”  The exquisite Natalie Portman is Nina, a New York ballerina who pushes her body and punishes herself in an everlasting desire for perfection.  
It’s this desire that leads her to try for the lead role of the White Swan—it’s the same rigid obsession with perfection that leads the ballet director (Vincent Cassel) to question whether Nina has the wild abandon to convey the White Swan’s dark side.  (I’ve never seen a complete performance of “Swan Lake” but I’m guessing the lead role is like the “Hamlet” for dancers).  To her surprise, Nina is given the lead, and thus earns the wrath of the former prima ballerina Winona Ryder, the friendship-and possible rivalry-of free-spirit ballerina Lily (Mila Kunis-who can do the dark side-very well), the watchful,  and possibly unsavory eye of Mr. Cassel—and the smothering attention from her ambitious stage mother (a blazing Barbara Hershey).  

Aronofsky , working from a script by Andres Heinz, Mark Heyman, and John McLaughlin, has created a compelling melodrama that constantly plays with expectations, as well as illusion vs. reality. The rehearsal scenes provide an intense display of what the dancers must endure on a daily basis; in Portman’s capable hands (and feet), we see her rigidity and repression which present a striking contrast to the rapacious Lily.  As Nina strives to capture (apparently unsuccessfully) the dark side in art, forces compel her to flirt with the darker side of life.  Ambition, guilt, paranoia envelop her and there’s no easy way out: an evening  with the ambitious,  fun-loving, Lily turns into a drug-induced unleashing of pent-up sexual desire—yet Nina’s alternative, staying in with her fiercely possessive mother- is an altogether repulsive option.  Aronofsky’s passionate filmmaking keeps the viewer a little off-balance throughout, punctuated by violent episodes almost out of a slasher film—especially in the last section, as Nina tries to overcome immense opening night anxieties in her quest for perfection.   I won’t tell you what happens—as it is certainly worth accompanying Nina on this dark journey.

Ellie Goulding

 
Artist: Ellie Goulding Album: Bright Lights Location: London
 
Ellie Goulding’s new re-release of her debut album ‘Lights’ includes an additional seven tracks including a hypnotic cover of Elton John’s ‘Your Song’; and also features a new album name ‘Bright Lights’. 
I’m not usually a fan of the re-release trend, because it just seems artists do it when they can’t be bothered to record a new album. Having said that however once I listened to the new material I recommend buying it. All seven extra songs on the album are chart quality and make the album well worth purchasing again. Overall I think this was a smart move by Goulding to remain in the limelight in between the time of her next album. I’m looking forward to seeing what Ellie does in the future for her sophomore album, I’m sure it will be just as brilliant as the first.

The Wanted

Band: The Wanted Album: The Wanted Location: London

Newest boy band in the UK music scene The Wanted have released their self titled debut album. Their number 1 hit ‘All Time Low’ was exceptionally catchy and surprisingly unique for a manufactured boy band, and after hearing it I had high hopes for this band.

The Wanted – All Time Low

To my disappointment however most of the album is sadly a letdown. Listening to the album I was given a selection of the same generic wash of music that comes from a typical boy band; with most of the songs sounding pretty much the same. The only other track that I felt really stood out was their other hit ‘Heart Vacancy’.  I noticed how they suitably placed their two hits tracks one and two on their album. Maybe I am being a little harsh as it is the boy’s first album, but after listening to the full album I’m really not impressed with it, especially after all the media attention it got. My verdict, the lads should go away mature a bit and come back with something a bit more heartfelt.

 

The King’s Speech

Prince Albert of England certainly does have his share of problems.  Plagued since youth with a perpetual stammer, his position in the realm requires him to speak publicly at a growing number of ceremonial occasions.  A particularly painful address at Wembley Stadium is dramatized by screenwriter David Seidler in excruciating detail at the beginning of Tom Hooper’s The King’s Speech.  

Colin Firth does a masterful job of portraying the king’s halting delivery before an unmerciful microphone that amplifies every repeated consonant and syllable.  As difficult as this is for the reluctant prince, events on the world stage such as Hitler’s rise to power, King George’s death, followed by the swift ascension-and abdication of Albert’s brother Edward (giving it all up for “the woman I love”) will cause Prince “Bertie” to become a very unhappy King George VI.  In desperation, Albert and his wife (charmingly played by the beguiling Helena Bonham-Carter) turn to a somewhat unorthodox expatriate Australian speech therapist (a quietly compelling, immensely likable Geoffrey Rush) who insists on a degree of equality with the man who might soon be king—or no deal. And there’ll be a need for stirring speeches from Albert, especially as England moves to the brink of war…

Well, enough with the history lesson.  The King’s Speech, like its title, works beautifully on many different levels.  It succeeds as a look at the royal family in turmoil, from events both within and without (Guy Pearce makes a good haughty, lovestruck Prince Edward); it captures the tumultuous times– and the emerging power of technology to make or break people and nations.  However, the movie, in spite of the world-shaking events in the background, most strongly succeeds as a very intimate look at two strong-willed individuals who have something to prove despite (or because of) feelings of insecurity and inequality.  To look at the well-developed, witty, occasionally intense scenes between Geoffrey Rush and Colin Firth is to view master classes in the art of acting.  One marvels at what they can do with phrases, inflections, looks, and timing. Their first scene when they meet at Rush’s workplace and proceed to poke, prod, and generally test each other; the lovely scene where Rush introduces the royals to his wife (he hasn’t told her!); the gradually heated walk during which Rush challenges Firth to be as good a king as he can, should the situation arise—which is interpreted as “treasonous” by Firth; the emotionally charged confrontation at the dress rehearsal before the coronation where Firth berates Rush for not being “official.”  Such scenes from the heart of the piece, but there are other pleasures: the sterling supporting work of Derek Jacobi, Jennifer Ehle, Michael Gambon (as a formidable King George); the scoring by Alexandre Desplat; the artfully recreated period settings.  In the end, The King’s Speech is an extremely satisfying work that has all the attributes of high quality filmmaking: a strong, insightful script conflict and, players at the top of their game, assured direction.  If only we had more films like this… 

Watch the trailer: 

Tinchy Stryder – Third Strike

 

 

Tinchy Styrder’s highly anticipated third studio album, Third Strike, hit shelves Monday and has been open to great reception, rapidly climbing into the Top 10 album downloads. Having the chart single ‘In My System’ already, there are sure to be many to follow from this album, with anthems such as ‘Game Over’ and ‘Stereo Love’. 

Tinchy Styrder has some of the finest artists on the UK music scene today featured on his new album.  After the mainstream success of his second album, Catch 22 in 2009, fans were worried that Stryder would leave his grime roots and continue to produce commercial albums, but he has completely outdone himself and created, in my opinion, his best album to date. Could this be the album that rockets Mr. Styrder into international success? I think it just may be.

The Script – Science & Faith

Irish Boys, The Script, released their sophomore album Science & Faith recently, with one smash hit and a number 1 album already, the follow up CD hasn’t done too bad so far. In the second album we see The Script take a deeper and personal direction; however, they have still kept the same unique sound we heard on the first album. 

Their emotional first single from the new album ‘For the First Time’, was given great reception peaking at 4 in the UK singles charts. In an interview the boys stated that this album address the hardship of constantly being on the road, whilst reassuring us that they are not complaining about their life, they are simply stating they miss their family and friends at home. The Script seems to have put their heart and soul into their second and album and it has definitely paid off.

I would have liked to have included a video here but apparently they don’t like to share their music…hmmmm!  Link to video: http://www.youtube.com/watch?v=ScJezHweiYc 

Red and The Social Network Well Worth Your Time

Two of the most enjoyable movies out right now probably don’t need my recommendation for you to see them-but I’m going to supply it anyway. Red
and The Social Network are both vastly entertaining films with assured direction, witty scripts, and enough twists and turns to satisfy the moviegoer looking for a modicum of intelligence with his entertainment.
 
Robert Schwentke’s Red (based on the comic book series) is probably the bigger and most welcome surprise.  A retired agent (a loose, funny, believable Bruce Willis) who passes the time chatting on the phone with a customer service rep (an engaging Mary-Louise Parker) finds himself a most wanted man for reasons unknown—at least at first…  
However, facing down these killers helps rejuvenate him, in a way (and his involving the lovely Miss Parker doesn’t slow him down any), and he decided to round up his old team when he realizes they too are in danger.  That the team consists of cancer-stricken Morgan Freeman, an exhilaratingly (and endearingly) off the wall John Malkovich, and the refined yet deadly Helen Mirren (toting all kinds of weaponry) should be reason enough to get thee to a multiplex.  Toss in Ernest Borgnine as a helpful government worker (I know….it seems like an oxymoron), Richard Dreyfuss as a shady industrialist and Brian Cox as a Russian agent who is cultivating a “thing” for Dame Helen and you have a thrill-packed caper with a soupcon of appealing romance and a whole lot of good-natured banter.
 
There is plenty of wit on display in Aaron Sorkin’s script for David Fincher’s The Social Network and the wonder of this movie is how entertaining and involving it is, given the antisocial, insufferably intelligent nature of its lead character, a certain Mark Zuckerberg who went on to become the founder of Facebook.  Jesse Eisenberg is exceptional as Zuckerberg, who, in the framing device, is being sued by various individuals who claim he cheated them out of their rightful financial position in the Facebook pantheon.  One in particular, Eduardo, ( a very sympathetic, appealing portrayal from Andrew Garfield) is presented as being Zuckerberg’s only friend…and the one who suffered the biggest betrayal when Facebook hit it big.  The film doesn’t purport to depict the facts; rather it presents a fast-paced version culled from some available accounts (definitely not Zuckerberg’s) and the creativity of its makers. (The first scene, by the way, which depicts a date that goes badly, is a small masterpiece in revealing character, particularly the way some incredibly intelligent people can lack any and all social graces). What you get is a driven Zuckerberg who, for various reasons (spite, acceptance) is willing to do whatever it takes, in his own quiet way, to get what he wants.  It may not be the Zuckerberg that is, but I suspect it might be the Zuckerberg we imagine him to be.  You also get a Sean Parker ( Justin Timberlake) who is kind of like the Snake in the Garden of Palo Alto, and is presented as playing no small role in the events that lead to Eduardo’s ouster.  And let me not forget the Winklevoss twins, (both played by Arnie Hammer),athletic, imposing members of Harvard’s elite who wished to utilize Zuckerberg’s skills—and wound up being definitively used by him.  If people continue to flock to this film, and I suspect they will,  it’s because of the fine performances and exceptional storytelling (in short supply, this summer) that keep you riveted and entertained every step of the way.

Stone

I looked forward to John Curran’s Stone and really wanted to like it, but I felt something lacking.  I’m going to chalk it up to Angus MacLachian’s script which, though it provides one of Robert DeNiro’s best parts of recent years, still lacks a satisfying third act.  

The premise is a good one for a cat-and-mouse tale: retiring correctional officer DeNiro on one of his last case studies , (and as we know, no one can retire without a last-minute monkey wrench thrown at them) meets arsonist up for parole, “Stone” Creeson (Edward Norton).  Since the initial interview doesn’t go swimmingly (Stone’s refusal to take responsibility and his needless taunting of DeNiro probably don’t help his cause), Stone turns to his lovely young wife (an alluring Milla Jovovich) to help get the job done—any way she knows how. What should be a slow, simmering tale gets bogged down in discussions of faith, hope (no charity), guilt, responsibility, and redemption. I kept anticipating a few more plot developments—instead I got mournful looks, muddy motvations and murky behavior.  It becomes very hard to sympathize with Stone, and even harder to care about the eventual outcome.  DeNiro, however, does a good job as a struggling man trying to make sense of things—if only the script didn’t let him down.

The American

Movie poster for The American starring George Clooney

 The American starring George Clooney is attractive to look at…and that’s about it. The plot deals with an assassin/weapon maker who wants to get out of the game (following a taut opening sequence that leads us to expect more from the movie). 

 Alas, he cannot leave this nasty business without angering his shadowy employer (don’t these hit men ever watch movies about other hit men). So we get a series of scenes set in Italy, with Clooney being taciturn, suspicious, pensive—all with little meaningful interaction with others (don’t get me wrong,-the movie thinks it’s meaningful, but it really isn’t). I looked at my watch a lot, but the time didn’t move any faster.