To the next phase...

I've mulled this over for awhile and I've decided to bid adieu to this particular blog and switch to a new one. I essentially want to align it more with my new website, kjverma.com. So it's got a look closer to the website and will focus more on my writing pursuits :)

I'm still going to keep a section for film reviews but it won't be the main focus of the new blog. If you've enjoyed what I've been penning over the last few years then please do hop over and have a peek and may be follow if it takes your fancy. (DO IT!) And if you've ever thought that 'Geez, she mentions her writing etc and yet there's no showcase for it', well my fine friend, that is what the new website and blog will be doing a lot of - it's a platform to encourage/inspire me to post up work and get people to read, share, comment - all that jazz that web users are doing these days, non?

I've had a blast writing this blog and keeping it 'fairly' consistent (...right?) I'm determined to be more frequent with the new blog, a sort of weekly update schedule rather than a once month. Can I do it? Let's see y'all! NEW BLOG: A Very Published Affair

The Hobbit: An Unexpected Journey (indeed)

'The Hobbit' is a charming tale by Tolkien - sweet, uncomplicated and good fun. And not at all bloated or lengthy. But alas, Jackson has ignored the tone and the length at his peril. I don't want to be another voice adding to the complaining heap but, as a diehard fan of the LOTR trilogy, in which one has to give credit to Jackson and the production team for doing so damn amazingly well and giving the fantasy genre some credibility on screen, I expected therefore, that Middle-earth would be in their capable hands once more.

Overall, the film was enjoyable but my main issues with it was that it was bloated, boring and just plain unnecessarily nostalgic, with less than subtle references to LOTR, as if  Jackson thought his audience would love all of that. I am one who did not - though the first ten minutes were beautiful, the rest of the film felt a little confused. It felt as if they forced it to be a little too epic - when all the story really is, is the quest to defeat the dragon so the dwarves can have their home city back. Tis all.

There was too much 'padding', and if such material had been in the book, the editor would have taken a red pen to it and reminded Tolkien that this is a child-like tale - keep all the extra epic stuff to LOTR, where it makes sense - and seeing as the audience has all seen the grand scale stuff in LOTR, we kind of don't want to see it again, almost exactly the same way (same shot pattern sequences, sweeping over our heroes running over bridges, lots of clobbering of orcs and goblins, dwarves hating the elves because they didn't come to their aid, echoing Rohan's displeasure with Gondor in LOTR, yada yada - wait, I've seen these same sequences before ten years ago...damn) As a result, it was not to nearly as funny as it needed to be and far too serious when it needn't be.

The action is always top notch but still could have a third of them cut down - we were far too long in the goblin city place, far too long having the wargs chase our heroes across the plains, that brown wizard... It's as if Jackson's weight is inversely proportional to the film's weight - the less of him there is, there more 'fat' is thrown on screen. Ok, that's a little mean but still...*snicker*

The production design team should be given almost all of the credit in bringing Middle Earth so majestically to life. There are still plenty of jaw-dropping reveals of cities, landscapes and general detail to all of the film's mise-en-scene. It's really this that immerses one in the world and the story. Also, Martin Freeman does a FAB job of playing adorable Bilbo and no one is complaining about Ian McKellen reprising his role as Gandalf.

I'm not going to say much more, as I'm really trying to avoid giving away spoilers but to be honest, if you've seen LOTR, you've kind of seen it all before. The only thing that has me excited is the prospect of the dragon scenes. Canna wait. But because of two extra films, it looks like we're going to be MADE to wait. *sigh*

VERDICT: 6.5/10

Skyfall

Another film of the year that I got sucked into because of hype. I'm not feeling a great need to write much about the latest Bond film, which in due, in part, to the fact that I left the cinema feeling somewhat underwhelmed (should have known once Adele's voice rang out over the opening credit sequence - yeh, I said it, I don't like her).

Skyfall was a good and brave departure from the usual Bond fare, though enough of the typical elements are thrown in to still give it that flavour, so I appreciated the focus on M in this film. The only thing is that it was a little 'boring' and much of the story was just so messy and blase.

Firstly, there was a lot of talk about Javier Bardem as the villain but lo, he did not meet my expectation AT all. It was a classic, rookie mishap of 'telling' and not 'showing' vis a vis 'baddie' Silva. Because sorry, as a viewer, I didn't find him scary at all. We are only told that he is frightening - first rather convincingly by Severine, played by what's her name, who had NO role whatsoever, other than to fill the 'damaged, sexy girl Bond gets off with'.  Side note - apart from Dame Dench, no other woman on the screen was a three dimensional character - I know, I know, I should expect that, right? But I did expect a wee bit more from Naomi Harris - for all she was a bantering device for Bond - I know, I know! Back on track *SPOILERS ALERT* - when we arrive at the weird abandoned island Silva has as a base, we're only told that he was able to clear the place out by spreading some rumour and the people fled as if Diablo had come among them (might have added that bit in myself) Ok. He's badass.

Only when we meet him, we realise he's a dude with serious mummy issues with an agenda to get at M because, wah, he was screwed over on a mission. Poor show. The closest to badass was when he blew a hole in subterranean London and a tube crashed through - oh, but thank god, there were no people in it! (Sorry not that I'm a sicko who wants to see people dying en masse or whatever...)

So it comes down the old phrase, 'a film is only as good as its villain'. And the baddie was poor for me - not that it was Bardem but rather the writing of him. The only positive that came out of it was the conflict it created within M, so that we witness the crumbling pillar-like resolve of this stalwart figure. And the unwavering loyalty of Bond. That then led the best and commendable scene where Bond races through the streets of Westminster to save M, while she delivers a speech quoting Tennyson. Good show.

And also, what was a grave disappointment was the whole 'Skyfall' idea itself - in the trailers and film we're made to believe that something traumatising happened to Bond because he can't even get through word association when the name comes up. Oooh, dark intensity. Only we find out it's the old family mansion and he hid in the secret passage under the house for two days when he was orphaned. Are we shown that? Does Bond get uneasy flashbacks/feelings on his return to the mansion, or when he escapes through the passage? No. Instead, this back story, this psychological pivotal moment is neatly explained by the old Scot dude when he shows said passage to M. Hmm. Took all the drama out of that, Mendes. All potential psychological intensity was barely explored, indicative through one liners that are left hanging and lazy: "Orphans always make the best recruits." Ok...

Highlights were the scene in that tower in Shanghai with all those lights, projections and reflections; the opening chase scene through Istanbul, the fiery climax at the Scottish mansion, Daniel Craig delivering flawlessly and most of it being set in London and/or Britain.

VERDICT: 6/10.

Sridevi's majestic return in 'English Vinglish'

So I took the plunge and went for 'Bollywood' the other weekend. Shocker, I know. And p.s., the reason Bollywood is in quote marks is because the film, English Vinglish is a triumph and doesn't remotely feel like any of those lumpy, bloated and trippy saturated things that are churned out of Mumbai, supposedly passing as 'films'.

And so it is that English Vinglish rises to the highest echelons of film-making, another blessed example of brilliant writing, superb casting contained within a tight, focussed narrative. And of course, the wonderful Sridevi is the binding ingredient to it all, so long missing from our screens, so sorely missed because for once, the female character is central in the true sense, her seemingly 'small' battle made profound and dare I say, even epic, by an explorative and sensitive story.

Killing it in NYC in my 'exotic' sari bitches!

*POSSIBLE SPOILER ALERT*
She plays an Indian housewife, Shashi, famed for her super tasty ladoos (if you don't know what ladoos are, shame on you) not able to really speak or understand English, and severely put down by her bratty daughter who makes out she is some unworthy human being for not being able to master the lingua franca of the world. When Shashi's sister asks her to come to New York to help arrange her daughter's upcoming wedding, she has to go there all by herself initially. Once there, after an encounter with a overly grouchy woman at the till of a grungy cafe, (scene is typical Indian melodrama here), Shashi decides to learn English in secret by taking a class everyday, which promises she will have mastered the language in four weeks. Hilarity ensues - or there about - as well poignant moments of triumph. The film doesn't skate over the seemingly insignificant trials, which only wonderfully emphasises how potentially inhibited you are if you don't know the language (totally scared me off Tokyo, can you imagine trying to navigate the underground there? And I'm somewhat 'worldly').

Basically, it was a joy to watch, it was neatly paced and I just stared up at Sridevi absorbing what I have so been starved of since circa 2002. The writing and the character was perfectly considered for her  and she did it every justice, so props also goes to Gauri Shinde, the writer-director.  I hope other 'actresses' in Bollywood can take note and aspire to this but I doubt it.  Even the supporting cast were strong and thank god they cast *actual* American Indians as American Indians (it's a deal breaker when you have Indians pretending they're American Indian or British Indian because they cannot do it, or when Dutch or Eastern European people are cast as Americans/British - Lagaan passed the test and that's when you know the film makers took their job seriously and respected the work). Also, the filmmakers respected the location and setting, New York, rather than having people prance around it all shiny like. Aside from some 'funky fresh' montage sequences, the cinematography served the story and protagonist, without flashing itself around saying 'look at me!' And as a result, people, it was gorge.

Finally, what got me the most and raised the film from damn good to exceptional, was the profound pearls of insight the film bestowed, illustrating how such a simple story of struggle can really mean so much and teach you great lessons about the experience of existence, namely family and the 'art' of communication without understanding words and shit (the killer dialogue was when Shashi admits at the end that when you don't like yourself, everything connected to your life appears bad to you, so you then get attracted to new things. But when you learn to love yourself, that 'bad' life transforms and looks wonderful again - woo, some deep ancient wisdom right there). Did I cry? Yes and you know it's got you then.

Ok, I'll wrap by saying that English Vinglish is a great triumph - not only in its high quality but also proving that not all is lost in Indian cinema, where you can still have a great symbiosis of writing and acting. Brava!

VERDICT: 10/10

'The Snow Child' by Eowyn Ivey

Why these stories for children always have to turn out so dreadfully is beyond me. I think if I ever tell it to my grandchildren, I will change the ending...We are allowed to do that, are we not Mabel? To invent our own endings and choose joy over sorrow? 

(excerpt from the book)

It's been awhile since I've felt the need to really review a book but then it's so rare to come across a book that is so utterly enchanting and captivates you wholly. That is what I got from reading the achingly beautiful 'The Snow Child', the debut novel by Eowyn Ivey (jealous of the author's name!)

The narrative wraps itself around this fairy tale of an old couple who create a snow child in winter and she comes alive, a creature of the snowy wilderness. The book is split between the POVs of Mabel and Jack, a couple who've escaped to Alaska to start a life of their own after not being able to have children. It's a lonely and extreme existence but as surely as the snow melts, their lives are quietly transformed by the seasons, their neighbours - and a girl of the snow who lives in the mountains behind their homestead, who they alone can see after building a snow girl one night.

I couldn't get over how much the book affected me and overwhelmed me. I knew from the first page that this was going to be a keeper; it was the way the author spun the tale with sharp, simple but ever so vivid prose. After putting it down, I realised it's pretty much near perfectly weighted between the fantastical and practical, a subtle weaving of what it takes to carve a living off this harsh landscape and  being taken in by the mystic elements, largely encompassed by the ethereal character of the snow child herself.

It's coming of age, it's all the bittersweet aspects of parenthood and endurance, the fleeting moments of beauty life gives us - everything I adore. Some of it reminded me of 'Princess Mononoke', the film by Hayao Miyazaki about a girl of a primal forest, raised by wolves - that whole untamed beauty of the natural world that is both more substantial and more insubstantial than the working, 'human' world.
I can only urge you to pick it up and read it yourself. You cannot be disappointed by any of it. This book has firmly and surely placed itself at the top of my 'must read' list.

VERDICT: 10/10

Camp Myth: Phoenix Watching - a Kickstarter Project

I am absolutely thrilled to be writing about a Kickstarter project that contributed to some months back - which has now culminated in what you can see in the image below:

Camp Myth: Phoenix Watching is the first in a series written by the fabulous Chris Lewis Carter. I can't remember how I stumbled onto the project now but I was instantly taken with the idea (anyone who knows me even a little, will know that the word 'myth' in anything usually gets my attention somehow...!). So I knew I wanted to contribute right away - I mean it involved a story based on mythical creature teens going to camp, what's not to love? Chris kept us informed every step of the way and invited backers to be part of the collaborative process - so many were able to come up with characters, which then got beautifully illustrated in the final piece (every fantasy writer needs a good illustrator, non?). And when our rewards came, they arrived with personal notes of thanks, which always works!

Another reason why this project resonated with me so well was because of the approach - the way that something like Kickstarter can help not only get much needed funds but also create a community around the project, backers who have a vested interest in making it work and succeed. It's a great platform, validated by the fact that I know so many people who are now using it as a process also. Therefore, personally, I've keenly watched how Camp Myth has developed and have been making much needed notes, because once my novel is done, well I needs to gets it out there and get some buzz. So thanks Chris, for providing some much needed inspiration :) (Please note, Chris persisted with a second Kickstarter Project for Camp Myth with a revised approach because the original didn't meet its funding - so, with persistence and some wise re-evaluating, Chris made it work and that's admirable right there). I know this is going to send corny but there is nothing quite like the feeling of holding the shiny, paperback edition and knowing you had a part to play in bringing into fruition.

I'll finish off by saying that Camp Myth is a thoroughly enjoyable read, immediately engaging, the characters have that vivid,  jump-out-of-the-page feel and I'm greatly looking forward to the next in the series. So I urge you to check out the site here and give it a go in any e-book format. You won't be disappointed. It's even getting developed into a table top game, so there's plenty more success stories to come from this (always loving a snowball effect, non? I'm keeping my fingers crossed for this getting picked up as an animated show and/or mobile game!)

Blurb of the book taken from the Camp Myth website:

Welcome to Camp Myth, the only summer camp built exclusively for young mythological creatures. Forget canoe rides and knot tying lessons – these kids are more likely to fish for a Kraken, or learn the proper way to train a Chimera!
Join Felix, a rebellious Fae forced to attend camp as punishment for his obsession with humans; Argee, the first (and only) nerdy Cyclops; and Moxie, a Kitsune who would rather smart-mouth than shape-shift. Can these three mythic outcasts survive long enough to earn a merit badge for Phoenix Watching, or will they end up as just another campfire story?

The Dark Knights Rises to an impressive conclusion

Chris Nolan delivers a near triumphant conclusion to one of the most successful superhero franchise.

This highly anticipated film is not without its flaws- the voice of Bane, various plot mishaps, motivations of villains with silly back stories - for most superhero films have a certain quota of ridiculousness but nonetheless, it stayed away from farcical and conveyed some respect for character storytelling, in direct contrast to the apathetically vomited 'story' that was Avengers Assemble.
Moreover, I'm not a huge fan of this caped crusader, so I had less preconceived boxes that needed ticking, so it didn't fail me on too many accounts. This doubtless, plays a large part in my perception of the film because, as with previous posts, one can tell that once I'm acquainted source mythology etc, then I'm really particular about how they adapt it.

I did fear that the plot would be complex or a little confusing like Dark Knight, yet this film's plot considerably more straightforward and digestible for the average viewer - it's essentially about how the hero struggles with wanting to returning to the fray and being somewhat 'behind' in terms of real skill needed to overcome the bigger and badder enemies. Nevertheless, there were a couple of twists I did not foresee, both of which are saved until the end, which then elevated the plot from being somewhat run-of-the-mill, though arguably it was predominantly predictable. It doesn't break any new ground in that respect but I don't think this conclusion needed it - it was just more dark, more intense etc.

Despite its length, I wasn't bored at all and for once, it paid off to go in with relatively low expectations-  I literally went to see Anne Hathaway as Cat woman, and she was amazingly brilliant, so I  genuinely came out surprised and pleased, finally caring about Bruce Wayne. As such, the last five minutes had me sitting up wondering and the way Nolan decided to finish it just meant I left with mad respect for him.

*SPOILERS ALERT*
Joseph Gordon Levitt was a good addition, though his character's claim about recognising that Wayne was Batman right away was dubious - something about hiding anger and masks which came off rather overcooked. Michael Caine is always a gem and he elevated the film in each of his scenes.

My main issue with the film was the character of Bane - it's always a bit rubbish when you realise the big baddy is working for someone else and only because, well what do you know?,  he has a heart after all, as he's doing it for the one he loves. And while there were quite a few 'suspend your disbelief' moments, (the Ras Al Ghul/prison malarkey), it was pretty ridiculous how the thousands of cops who get trapped underground for 3 months emerge, fit and ready to fight - even the diabetic ones?

Additionally, I don't think the film should be a 12A - it's far too violent. I don't see how anyone under 12 coping with the 'back breaking' scene well. It was relentless and as such, the film should be a 12 - I think the British Board of Film Classification or whatever have forgotten that the rating of just '12' does exist.

VERDICT: 9/10

New Creation: Coffee Bean

My friend Arctic Bunny and I are finally getting around to collaborating on a creative project together - this one will be a comic strip based on characters I created in a short story, namely Coffee Bean, Tea Bag and Milk Shake :)

Arctic Bunny has posted some illustration work already, so swing on by to check it out. http://arcticbunnyblog.blogspot.co.uk/2012/07/coffee-bean.html

Avatar: The Legend of Korra

I'm departing from my usual material on books and film and jotting down some thoughts on TV show that I'm a huge fan of - Avatar: The Last Airbender (officially my most fave cartoon series of all time), but more specifically, its successor, the much awaited, Legend of Korra. This new series followed the next avatar after Aang,  a hot-headed and spiritually lacking Korra, who has mastered all three elements, bar Air. If you have no idea what I'm blabbing about, head on to Wikipedia or whatever.

Is it really tired that I shall now deliver my verdict of this new series in comparison to the predecessor? Why, yes and I shall do it anyhow. 

***SPOILER ALERT***

1. The Setting

The world of the newer series is more 'modern' with technology rearing it's wonderful head - electricity, mechanics, military weaponry, 1930s buildings yada yada yada. Some other fans have noted that it takes away from the fantasy, elemental nature of the original - and they're right. There's less mysticism and philosophy in this story's journey - and we're left with two forces really at play - bending and non-bending. While this political issue is intriguing and rather 'mature', the show never delves into the intricacies of this choice.  No one is really addressing the concern that these Equalists have - it's just all very confrontational, which sure makes more dramatic sequences but where's the honest conversation about it? I was looking forward to the episodes exploring it but it's either 'all or nothing'/extremism, represented by Sato and of course, Amon.

2. Character Development

There isn't much of this flying around - it likes getting a spent wedge of lemon and you have to work pretty hard to squeeze some out. And what a disappointment that is when you consider that Aang's series was all character led - there were layers, variety etc - all very commendable for a 'kids' show - but somehow the writers have reverted to cliches and archetypes. We know nothing really of the minor characters - Mako, Bo Lin and Asami. I ended up liking Asami the best because she had the more intriguing conflict (plus she wasn't stupid at any one point or annoying - which I cannot say the same of  Korra, the one were supposed to be rooting for). Also, why even bother creating that city council? They did sh** all! Exceptionally lazy - apart from Tenzin, who is so badass. 

On that same note, Korra was a great bender but just lacked any real promise of being avatar-like. To me, she comes across as just either complaining or whining, throwing herself at Mako (you're the avatar, you're better than that!) or rearing to get into a fight. I was waiting to engage with her more, i.e waiting for her to access her avatar state which never happened! And no, the end of season scene, which everyone is rightly saying was shockingly deus ex machina,  does not count - it was absolutely the right thought behind it (lowest points opening us up to greatest change - I got tears at that point because people who've been there know the deep truth of that) - but the worst, worst execution. I was totally banking on Korra achieving avatar state when Amon was at the point of taking her powers. I hated how helpless she was so often - and only fired up when Mako was in danger. Really? That's just poor. 

3. Music

Legend of Korra's soundtrack was 'interesting', which means I didn't like it. Sure, it was more in line with the modernisation themes and therefore, why not throw in Jazz etc? But in no way does it compare to the epic scale of the first series. I never skip the Season 3 Theme for Last Airbender on my iPod, that's how immense it is. If I had mind altering powers, I would command you to check it out now. Otherwise, here's the link on YouTube. 

4. Scale

It's based only at Republic City. I hope we get to see more of the world we love as fans in the next installment. 

5. Script

This also ties in with point 2 on character development but the show definitely pitched the production values on action etc and left little in the way of meaningful script. So much of what characters said were so run of the mill, I thought I might have dropped into another dimension and was watching some rubbish TV. I know, right? Writers - please stop having this silly scenes between Korra and Mako - it's just plain dumb and the source of 90% of vomit inducing dialogue. Also writers, you totally skimmed over how Tenzin and kids were captured. Just skip over the details of that, huh?

VERDICT for Legend of Korra: 7/10
VERDICT for Legend of Aang (aka The Last Airbender): 10/10

Annexe Mag's recent event - Et Al

A big thanks to Annexe Magazine for having me at their literary event the other week and kindly asking me to take a few snaps. Some results are here, otherwise head to Annexe's FB page to get the full snappage.

It was the first time I witnessed Charlie Dupre and I was completely blown away. He performed an imaginary slam battle between Marlowe and 'Shakey P' :D Nice! And then his dynamic, 'urban' version of Othello was pretty sublime as well - if you happen to get a chance to see him, I highly recommend it!

Avengers Assemble - a nonsensical mish-mash

When the trailers came out for this one, I really wasn't interested. But then people started saying it was 'way good'. So against my better judgement, I sat down to enjoy this and disliked almost every minute of it severely - apart from any moments with Mark Ruffalo who outclassed everyone.

This is what the kids' think is cool right? My get up is totes eye catching

**SPOILERS ALERT** The first five minutes killed it for me. The motivation for the prime antagonist, Loki, was so weak and flimsy, I'm surprised it got past script development phase. The moment he started spouting nonsense about humans natural state is wanting to be submissive, I thought this is a pile of fecal matter. I mean really? It would have worked better if Loki referenced the fact that he was a part of a pantheon of divine beings worshiped centuries ago and so he kind of wants to resurrect that - that would have made sense. Instead, it was just because he was still pissed at big daddy O for ....yada yada, boring.

The rest of the movie didn't even try to make sense. Dr. Fury made no sense (who the hell is he, what's his purpose?), the Hulk made no sense. One minutes he's the ultimate weapon/a risk to everyone, friend or foe, the next he's righteously fighting for the good guys, perfectly aware of what side he should be on etc. And if he's so badass frightening, the petty attempts at all the guards etc reaching for their guns as protection each time they feared he would break out was stupid - guns clearly don't work and they know it. So....?? I mean when Capt America mentions how that stupid suit of is might be old fashioned and Dr. Fury replies that 'sometimes you need old fashioned' I wanted to lament out loud at the sheer lost nature of this film. So there's an other-worldly force about to descend on Earth and you want old fashioned, despite being in some behemoth airship that has some mega cloaking device?

I thought bringing superheroes together would create some interesting dynamics. It didn't - it was just each one trying to show how much stronger they were than the other. I really expected something a little more from Joss Whedon. After fifteen minutes I thought 'Ok, let's just treat this as popcorn fodder, let's not try and gauge some sense of story' (and with that flashed an image of a manuscript with a sad face while the producers turn to it and say 'Oh no, sorry, you're not making it into the film, we're even using the first draft as toilet paper.' - just tried to sketch a cartoon - it didn't really work) - even then, I was bored. That's right. I didn't basically care two hoots who came out of this nonsensical rabble.

The action was good, I will give it that, but that's hardly a compliment, seeing as we all know films can do the action sequences so well these days. And I guess the alien fish ship thing was interesting. But I think that was all that I found mildly engaging. Rubbish name, rubbish film. And what better way to end a rubbish movie with 'news' footage on grateful citizens gushing about how amazing it was the Captain America et al came to the rescue (that blondie that managed to get some coverage was blatantly a producer's daughter or something), with one kid COMPLETELY missing the point of how close the planet came to being overtaken by freaky aliens and peeing his pants with excitement at all the stuff blowing up - disregarding the insane amount of collateral that probably killed his best friends parents. Over inflated mulch and barf-ness.


This film gets a big thumbs down. VERDICT: 3/10.

The Help - thoughts on the book

"I come home that morning, after I been fired, and stood outside my house with my new work shoes on. The shoes my mama paid a month's worth a light bill for. I guess that's when I understood what shame was and the color of it too. Shame ain't black, like dirt, like I always thought it was. Shame be the color of a new white uniform your mother ironed all night to pay for, white without a smudge or a speck a work-dirt on it." 

It's very rare that you come across something so charming that the mere thought of it makes you smile. That's the response attributed to the wonderfully written 'The Help' by Kathryn Stockett. I didn't have many expectations before reading this, as I understood the basic premise from seeing the movie trailers. I didn't expect it to be written in the speak of the South and so be full of such wonderful charisma and immediacy. I'm always envious of writers who can pen the sound and nuances of local language and dialect - and this is why books are so magical - they give you a window into a world and culture you would never have otherwise encountered.

All this and more helps to the make 'The Help' a real classic - there's plenty of laughs to be had (and you know they're good ones when you're chortling on the Tube or train), heaps of pathos and poignancy, all without any heavy handed author input - it's presented without overt exposition on the view points that could otherwise get too political and didactic. Instead, there's a subtler, more honest approach and there's enough variety in all the multiple POVs to give us a full flavour and wide berth, whilst stilling remaining intimate. It's always a tricky balance to get right, as there's the bigger arena of race relations in Mississippi and the South to represent (and on lesser scale all of the USA), as well as just these vignettes of the 'real' people in these closed off, behind doors situations.

I don't have anything negative to add - when I finished, I thought the author didn't 'wrap' up the story lines of Skeeter and her mum very well but in a way, as with the rest of the narrative, it was just right because the Civil Rights Movement was still underway and there was (and still is) a long way to go. I kind of respect the fact that things weren't polished off neatly - while there were small victories to be had, most of the revolutions came from within and as a result, the journey never really stops then, does it?

I highly recommend this book as a must read. It's definitely up there with all the best loved American classics. 

Earth 2 Hub - Blog article on nature in film

Whoops, a little slow on posting this up here but the kind people at Earth 2.0 Hub have published an article I wrote for them about how film can be used to initiate the concept of integrating with nature. I basically wrote it in response to the whole idea that when we go about our days, our stories and our pursuits are completely human-centric and there's no sense of nature or the wider environment at all.

 The site has gone under a radical new transformation - looking all swish and exciting, so I'm grateful the post was released once the new site when live. 

I'm rather chuffed about penning this because for once, I don't take a middle ground and take a clear stance on the issue - i.e. being environmentalist doesn't require an 'add-on' mentality, it requires a whole shift in perspective.

If you have a mo, please check it out here and share if you fancy!

Also really thrilled that I'm on the contributors list.

Merci in advance :)

The Hunger Games - just misses the mark

Ok, so totes in dange of (sorry, sorry) - and again...! I'm in danger of sounding like a broken record when it comes to novel to film adaptations (and slightly aghast that peeps in the biz aren't reading my reviews as wonderful analyses of how adaptations could work and applying them to their own work - it's free consultancy, yo!)

Anyhow, getting back to the necessary task at hand - The Hunger Games viewing for moi et Arctic Bunny was last night. I had pegged this as a 'must see of 2012' as most others did and I refrained from reading reviews, though I cracked when Incredible Suit posted this week (gah!).

*SPOILERS ALERT* Dare I say it, but it was an all around decent film but exceptionally and lazily adapted from the book. It took too long to 'get to the good stuff' and there were some other obvious flaws that have nothing to do with flaws from the book itself - it's all down to the film-makers.

I kind of guessed at this the moment the film opened and we see Game-Maker, Seneca Crane talking to blue haired presenter (played solidly well by Stanley Tucci) - and it became a continual problem - removing us out of Katniss's POV and the games and into the 'behind-the-scenes' world of the Capitol. UGH. It completely leached the strength of menace that an antagonist has - seeing Presi Snow chatting to Crane on various occasions, I sat there trying to fathom why this was in the narrative at all. It's like seeing the most bad ass robot and then they take you to see it nuts and bolts - or find it works on water. Lame.  Another classic example is when Katniss is in that ante-room before entering the pod-lift into the arena. It's suspenseful stuff and then [cut], we're in that control room with some lady telling us 'Ok, they're in.' Geez - talk about removing oneself from the suspenseful moment of Katniss entering the arena in one seamless sequence. That warrants a hit to the head, editor. 

Another issues were Peeta and Katniss - it wasn't good chemistry between Jennifer Lawrence and Josh Hutcherson, but Josh came across stronger in his performance as the 'boy with the bread'. Which also brings me to the 'bread' scene - why is it raining and why wasn't it made clear that Katniss was literally starving to death with nothing to take to her family? The flashbacks were lazy and confusing. There could have one sequence of 'father's death - starving - bread via Peeta - daffodil' but no, that would have been too simple. If we knew she was at the end of her tether, that moment would have been more significant and so to, their relationship. Instead, when it's time for Katniss to turn on the 'charm', it's not even obvious that she has turned on anything. And then we kept cutting to see Gale in District 12, *shakes head*. And if they'd done the bread scene properly, we'd have known that Katniss does whatever it takes to survive - she's survived near death before - this is her trait, her winning element - not the bow and arrow.

Sites of Alternative Publishing - 1st piece of work exhibited!

I owe a lot to Annexe Mag once again for giving me one of my 'firsts' (*snicker*) - this time, my first piece to be properly showcased at an exhibit, in a very random but funky space in Hackney.

Nick Murray, the editor of Annexe, went beyond just plastering words up - he printed them on paper reels that were run through a tape played on a bespoke tape-player/reader thing. It's better in person  - I do no justice here at all. Perhaps a rather unbecoming photo of my goofy self, goofily happy at seeing my own personal tape will help to emit how awesome it all was. You can also see a demo of it here.

So naturally, you want to go check it out for yourself, non? There is other wonderful work on display courtesy of Pigeon Magazine and Very Small Kitchen's - all put together by Ladies of the Press. 

The exhibition is Sites of Alternative Publishing and is running until March 4th at the Five Years Gallery. So if you happen to be around, drop in and have a peruse.

Kina Grannis - Youtube sensation and sensational live performer

American singer-songwriter Kina Grannis is as cute as a button and seeing her live at The Union Chapel this week was a real treat. The acoustics and settings were a perfect match for her music, (her guitar work accompanied by an excellent cello accompaniment) and her stunning voice, one that sounds more sweet and strong live than recorded - not to say there's anything lacking in her album, 'Stairwells' vocally, but rather it's such a rare thing to experience - and all props go to Kina, who started out her career jamming to a YouTube audience.

Her songs were pitted with banter, all of which kept coming back to how 'insane' or 'crazy' it was that she was performing to real, live people - her humble remarks and the awe she held for having an opportunity to come before us and play was all the more endearing - can you tell I'm now a huge fan? ('Let's be bezzies!)

Personal highlights for me were 'In Your Arms' and 'Strong Enough', a track that isn't included in the European deluxe album (why, oh why??!), so figures - and then there was the unplugged 'Message from Your Heart', where we all sang along. Fun times, we had fun times. 

 

War Horse

There is something to be said about a film that is simply beautiful. It's not complicated, it's not trying too hard to create some supra aesthetic (*cough* Immortalz *cough*); it's content and natural approach brings together a lovely film.

I say lovely because I do not think it great exactly but War Horse's cinematography and composition is splendid and though I have not seen the play, it feels inspired by such tonal and mood set by the lighting within a theatre. Otherwise the sweeping shots of European countryside are wonderfully captured. And at the heart of it all is a splendid performance by a horse.

No risk of clunky dialogue and more emotional range than Kristen Stewart (boom!), the horse, Joey, is a wonderful personification of spirit. And yes, I do loves me a spirited animal character and one that can race across fields, wind sweeping through mane.

It's totally revived my childhood desire to have a horse companion.

All of this is set beside some touching human conflicts, displayed through Albert's father who has suffered through a previous war. The horrors of the First World War contrast to the romantic, picturesque opening in Devon and that animals are party to the brutal conflict, forced to race into fire and pull abominable heavy artillery brings home how awful it was on these creatures as well - human lives alone weren't lost in the thousands.

As with any Spielberg film, the performances are all first class, with Jeremy Irvine playing the heart and determination needed that sees him united with his horse. The rest of the stellar cast, including Benedict Cumberbatch and Emily Watson, all play their parts admirably and I was particularly impressed by Celine Buckens who plays Emilie, the French girl who takes in Joey and the black stallion (watch out for her). But no one comes close to the horse (or horses), who captures the film and resonates the universal truths about humanity (ironic? - nay!) and enduring friendship. And the script is tight, with no line wasted or arbitrary. Altogether it feels contained but epic - the winning combo for a masterfully made film and there are precious few directors who can balance this as Spielberg does.

In Speilberg's hands, the entire film is a moving experience with John William's soundtrack sustaining this throughout. I will understand that for some, this will not be their cup of tea. For me, it was completely my batch of favourite brew - soothing and warming with a bit of bittersweet bite (if you brew it strong - which I do). Not sure why I ended it on such a note but seeing as the film is made up largely of British contributions, I'll let it be.

VERDICT: 8/10.

Sites of Alternative Publishing - Volumes of Text Teaser

I'm meant to be writing a review of 'War Horse' but in the mean time, you take a gander at this - a teaser of what Annexe Magazine will be showcasing at the A Pigeon, A Kitchen and An Annexe: Sites of Alternative Publishing exhibition. 

I believe my work is being displayed there via this awesome tape reader - a poem I dared to try to pen after not trying verse for quite some time. A gamble? Perhaps but it's just better to write stuff and get it out there than try to attain some grand idea of pure verbal perfection.

So, if you're around, please come along! I'm actually really excited, seeing as it'll be the first time my work is exhibited.

'Hugo' - a far cry from being a masterpiece

I was rather excited about watching this - I had no interest when it initially came out but when I read a couple of reviews and saw the trailer, I was taken with its magical and exciting feel.

I think it aspired to be both those things but didn't quite reach them. The film is gorgeous to look at, the world of the station brought brilliantly to life and the it was pitted with some great moments but as a whole it was lacking and so drawn out. I was expecting something gripping that would have me utterly absorbed (thanks to the reviewer on IMDb - grrr) but I found myself wondering when it was going to kick start. There was too much time wasted on the annoying 'give me my notebook/No/I need it/No, go away thief/Give it back' exchange. I suspended my frustration hoping their would be an intriguing pay off in the mystery around the automaton, the father dying etc - but no it never came about. Instead it became about dreams and the first hooray years of film making and 'searching for an adventure' but not really having one other than to unveil the history of 'Papa George' played by Ben Kingsley. And Chloe Moretz's (she is everywhere these days!) character was rather useless - she was more of a half device to bring about a little colour but she had no real reason in the story as a whole. Her concluding speech as narration at the end was poignant but it didn't match the journey of the main character, Hugo, played bravely but passably by Asa Butterfield.

For a Scorcese film, it was not up to the task for me at all. As a child's story, it was still so drawn out but it did have the feel and a pace more akin to a book unfolding measuredly and assuredly, with the character's pivotal moments easing in rather than 'hitting' home. I think 'The Artist' probably makes a better go at celebrating early film making - in 'Hugo' it falls rather flat. There were other small vignettes of life and 'opening up', shown by Richard Griffith's character and Sacha Baron Cohen's character but he's not nearly menacing enough as an antagonist.

Some people are calling this film a masterpiece but the story is littered with problems and as a viewer, I just couldn't engage. I think what gets me most is that it has so much promise and beauty yet it failed to bring it all home.

In the words of Mooderino on the blog, Moody Writing, which I concur with:

'A sweet message about the love of imagination, but quite a long, drawn out narrative structure with lots of Tell me/It's a secret/ But you must/No, I can't/Oh, go on/No, really, I can't... And quite a few plot holes too, where stuff that's important one minute is totally forgotten the next.'

VERDICT: 6/10

Review of Mission Impossible 4

This is not my usual cinema fare - I tend to wait for such movies to appear on TV or whatever but sometimes you gotta get out of the house.

I will readily admit that I *enjoyed* it as an entertaining, action led film. Otherwise there is perfect reason to label it pants on the grounds of story, plot, yada yada. I still don't really get the whole IMF thing and why it always blamed for stuff - the sort of cathartic release that Ethan Hunt's character gets from putting that all behind him at the end of MI3 gets kind of wiped clean away.

*SPOILER ALERT*
There just was no character drive other than to stop the Russian whacko starting a nuclear war. It would have been more interesting if the antagonist wasn't bad just for the sake of it. As a result, Ethan has nothing to overcome other than crazy stunt work. The only character to have a 'battle' of some kind was the agent chick and well, that was dry as...as the Sahara. Actually the 'analyst' character does have an arc per se but again that's just resolved by a conversation, yet that was a relatively 'intelligent' dynamic, I suppose.

But the fact that it's directed by Brad Bird means you don't really linger on such issues - you get propelled along and the visual spectacle doesn't disappoint. You cannot help but be impressed by Cruise's shimmying up the what's-it hotel in Dubai. But that tracking device working in a sandstorm - pssht, yeh right! And I love how Ethan happens to pick up the most trendy leather jacket from some random washing line, with badass hood and evra-tin!

There was a fair few laughs generated by Simon Pegg's character (plus the 'Bollywood' scene with Anil Kapoor was major - for once he was in the *perfect* role!) and the jet setting between locations gave it a Bond-like feel but otherwise the film didn't feel punchy enough, though it left it with a sweet moment and the promise that the gang can get back together to another impossible mission of some kind, always operating underground, while we mere mortals plod on obliviously.

But I did enjoy it, despite all that it lacked - weird, right? Lunar activity clearly...or probably because it wasn't in 3D!

VERDICT: 6/10