Christmas time is here again, like every year before. And like every year before, all the old Christmas hits are upon us once more. From "Merry Christmas Everybody" to "Merry Christmas, Everyone", here are the top 5 Christmas songs...
Of Allllllll Tiiiiiiiiiiiiiiiime
5. Feed the World - Band Aid/Band Aid 20 (And any other versions there may be)
It's pretty damn hard to argue with a song with as much moral high-ground as this one. Normally I'm fairly lukewarm towards songs like this because very often the music is sacrificed for the song's message. Here however, there is no such sacrifice: The song is actually pretty damn good, it has a big chorus, a wealth of singing talent the likes of which has never been seen before or since, and yes, what they're singing about is important, and shouldn't be forgotten about. I say, don't feel guilty about having been lucky enough to be born into a wealthy country... but spare a thought for those who aren't so fortunate as you tuck into your Turkey this Christmas day
4. Merry Christmas, Everyone - Shakin' Stevens
God. Damn. This. Song. It's SO catchy. The Grinch himself would sing along. It's certainly not the most lyrically complex or thematically diverse song you'll ever come accross, it's as simplistic as it gets, but it just doesn't matter, such is the infectious nature of it's melody, and that DAMN chorus. The key change at the end of the second chorus is the icing on the proverbial Christmas cake as it kicks off a superb ending to a superb song.
3. Merry Christmas Everybody - Slade
Do I really need to say anything about this song? Everyone knows it, everyone loves it, and with good reason: This song is Christmas. The anthemic chorus, the resounding "IT'S CHRIIIIISTMAAAAAAAAS" that bookends the song, the eminently identifiable lyrics, the song is utterly synonymous with Christmas, and tightly deserves to be considered one of the greatest Christmas songs of all time.
2. White Wine in the Sun - Tim Minchin
This song isn't quite as well known as the others on the list, and may be a little more polarising... but I don't think anything better sums up what Christmas means to me, on a personal level, than Tim Michins magnum opus, White Wine in the Sun. I, like Minchin, am hardly religious. And sometimes I get asked, as an Atheist, why do you celebrate Christmas, a traditionally religious holiday. This Christmas, as with every other, I will celebrate the fact that, for one day, my family will all be under one roof, and this song, this beautiful piece of art... reminds me what Christmas really is all about.
1. Fairytale of New York - The Pogues ft. Kirsty McCall
How on earth could it possibly be anything else? This song is one of those songs that reminds me why I listen to music in the first place. It's music goes from beautifully sentimental to wild and merry, it's lyrics effortlessly transition between contempt, pity, happiness, sadness, optimism, pessimism, love and hate in a song that has more emotion, more poignancy, more intimacy and more heart in 4 minutes than the Twilight saga has in it's 10+ hour running time. This song... is perfect. Every line, every note, every beat, every second. It reaches as high a point as any piece of art has ever reached. This song... this beautiful, wonderful song... is perfect.
22 December, 2012
14 December, 2012
UEFA Champions League 2012: Analyzing the Candidates
The group stage of the UEFA Champions League has concluded, the stage is set and now the cast is confirmed. 16 of Europe's elite will now do battle to claim the most prestigious prize in club football, and become champions of Europe. Four wins are all that separates the remaining teams from failure and immortality...
But, cliche ridden wank aside, which of the remaining teams has the best chance of lifting the coveted trophy, come the end of March? Let's take a look at who we have left, as we (and by we, I of course mean me) rank these elite clubs, and Arsenal, starting from least likely to win and moving up...
16. Galatasary
The Turks barely escaped group H by the skin of their teeth, even having an inferior goal difference to 3rd placed Cluj. They would be underdogs against any of the other 15.
Prediction: This is the team everyone will have their fingers crossed to draw against in the second round, where Galatasary's European quest will almost certainly come to an end.
15. Arsenal
One of just two English teams in the draw, Arsenal only qualified by a point from what was one of the relatively weaker groups, and are now very likely to face a difficult draw in the next round.
Prediction: Considering their second placed finish, Arsenal are highly unlikely to progress any further, barring a very kind draw.
14. Shaktar Donetsk
Shaktar progressed through the group stages at the expense of reigning champions Chelsea, and could be a tricky challenge on their own turf, but are unlikely to cause much trouble over two legs.
Prediction: Barring some luck on and off the pitch, Shaktar probably won't get much further.
13. Porto
Porto currently sit joint top of their domestic league, tied on both points and goals with Benfica who are only top due to having scored one goal more. They have they talent to cause problems, particularly James Rodriguez who may well have sought pastures new by this time next year.
Prediction: A tricky draw for whoever the meet, but Porto would be fortunate to reach the quarter finals.
12. Schalke
Despite reaching the semi-finals of the UCL in 2011, Schalke are unlikely to cause much damage this year. They currently sit in fifth place in the Bundesliga, 16 points off the ridiculous pace set by the rampant Bayern Munich, but winning their group means the possibility of a kinder draw in the next round.
Prediction: Schalke are largely relying on a fortunate draw to progress further, and are very unlikely to repeat the success of 2011.
11. Celtic
The Scottish champions secured one of the most famous results in their history with victory over group winners Barcelona, and are notoriously difficult to beat on their own ground. But they face stern competition in the next round, with the possibility of drawing Borussia Dortmund, Manchester United and Bayern Munich.
Prediction: On their own ground, Celtic really can beat just about anybody, and that prowess at home could see Celtic perhaps sneaking into the quarter finals. Against the elite clubs though, they simply won't be good enough over two legs.
10. Valencia
Impressive in the group stage as they pushed last years runners-up Bayern Munich all the way, only finishing second on head-to-head, Valencia have gone off the boil a little as of late, with just 2 wins in their last 5.
Prediction: Valencia have the talent to progress further, but they may be relying on the draw a little, and are certainly unlikely to go further than the quarter finals.
9. AC Milan
Milan currently sit in 7th place in Serie A, 14 points which might as well be 14 light years away from Juventus who currently top the table. They also failed to top their group and thus face the prospect of a difficult draw in the next round
Prediction: Milan could very well go through, but it's difficult to see progressing past the quarter finals.
8. Malaga
Malaga's domestic form has also sputtered a little as of late, but they topped a group that included AC Milan, and are better than most of the teams they can draw in the next round.
Prediction: Malaga are better than any of the teams they can draw in the next round and are likely to progress to the quarter finals. They won't trouble the elite clubs though.
7. Paris SG
In spite of the incredible financial power that PSG now posess, they are currently 3 points off the pace in Ligue 1, sitting second behind Lyon. In a straight match however, with the likes of Zlatan Ibrohimovic and Tiago Silva in their ranks, PSG will be a challenge for any team they come up against.
Prediction: PSG should reach the quarter finals, and may even have an outside chance of reaching the Semi's if the draw goes their way.
6. Juventus
Juventus currently sit top of Serie A with a four point lead over Inter Milan. It's been a long road to recovery for Juventus, but the Italian champions are most definitely back amongst the elite of European football.
Prediction: The quarter finals should be a bare minimum for Juventus, and realistically they should be looking to reach the semis.
5. Manchester United
It's been a strange season thus far for United, as they have coupled probably the best strike partnership in Europe with one of the leakiest defences in their history. However, they currently sit 6 points clear at the top of the premiership following a dramatic win over second placed local rivals and current champions, Manchester City, and if they can stay free if injuries, United have the firepower to outgun anyone, anytime, anyplace.
Prediction: After a disappointing exit at the group stage last season, United will be looking for a strong showing, and will be aiming for the semi-finals, anything less would be considered failure.
4. Real Madrid
Going into this season, I really thought this was Madrid's year. I had the reigning Spanish champions picked to win the champions league and claim their 10th European cup, but they have struggled to gather any sort of traction so far, culminating in stunning defeats against Real Betis and Celta Vigo. They currently sit 3rd in La Liga, 11 points behind the still unbeaten force-of-nature that is Barcelona.
Prediction: After finishing second in their group, Real Madrid face a challenge from the get-go, but with the sheer talent in the team, they will be very difficult to beat. The 2-2 draw against Barcelona earlier this season proved that they can still match up with the best of the best.
3. Borussia Dortmund
The reigning champions of Germany have set their sights firmly on the UCL, topping what was easily the hardest group, comprising themselves and the champions of England, Spain and Holland, Manchester City, Real Madrid and Ajax: and they finished unbeaten.
Prediction: Dortmund are dangerous and have a very real chance of winning. If they can avoid the next two teams, they stand an excellent chance of making the final.
2. Bayern Munich
The runaway league leaders in Germany have an 11 point margin over second place Borussia Dortmund and have scored 43 goals in 16 games, averaging almost four goals a game at home. Bayern have been utterly rampant so far this season, and after losing the final last year, on their own ground no less, they will be desperate to right that wrong and reclaim Europe's top prize.
Prediction: Bayern match up favourably against just about anyone, and have an excellent chance of winning the UCL. But a hero is only as good as his villain, and in this case, Bayern's antagonists may well be too much...
1. Barcelona
What more can be said about Barcelona that hasn't already been said? And the scary thing is... they appear to be getting better. 15 games in and Barcelona are still unbeaten, only failing to win on one occasion, a 2-2 draw with their greatest rivals Real Madrid. They've won the trophy 3 times in the last 6 seasons, and their lethal offense is led by the greatest player to have ever graced the game, a man who this season has recorded 33 goals and 7 assists in just 20 games, the incomparable Lionel Messi.
Prediction: A final contested by Bayern and Barcelona really could go either way, and of course anything can happen on the night... but Barca at their best are better than Bayern at their best.
I can't wait until the UCL starts again in February. The draw for the next round is on December 20th, keep an ear out, and no matter who wins, let's just hope that football is the ultimate winner, and that this years Champions league is remembered for all the right reasons.
But, cliche ridden wank aside, which of the remaining teams has the best chance of lifting the coveted trophy, come the end of March? Let's take a look at who we have left, as we (and by we, I of course mean me) rank these elite clubs, and Arsenal, starting from least likely to win and moving up...
16. Galatasary
The Turks barely escaped group H by the skin of their teeth, even having an inferior goal difference to 3rd placed Cluj. They would be underdogs against any of the other 15.
Prediction: This is the team everyone will have their fingers crossed to draw against in the second round, where Galatasary's European quest will almost certainly come to an end.
15. Arsenal
One of just two English teams in the draw, Arsenal only qualified by a point from what was one of the relatively weaker groups, and are now very likely to face a difficult draw in the next round.
Prediction: Considering their second placed finish, Arsenal are highly unlikely to progress any further, barring a very kind draw.
14. Shaktar Donetsk
Shaktar progressed through the group stages at the expense of reigning champions Chelsea, and could be a tricky challenge on their own turf, but are unlikely to cause much trouble over two legs.
Prediction: Barring some luck on and off the pitch, Shaktar probably won't get much further.
13. Porto
Porto currently sit joint top of their domestic league, tied on both points and goals with Benfica who are only top due to having scored one goal more. They have they talent to cause problems, particularly James Rodriguez who may well have sought pastures new by this time next year.
Prediction: A tricky draw for whoever the meet, but Porto would be fortunate to reach the quarter finals.
12. Schalke
Despite reaching the semi-finals of the UCL in 2011, Schalke are unlikely to cause much damage this year. They currently sit in fifth place in the Bundesliga, 16 points off the ridiculous pace set by the rampant Bayern Munich, but winning their group means the possibility of a kinder draw in the next round.
Prediction: Schalke are largely relying on a fortunate draw to progress further, and are very unlikely to repeat the success of 2011.
11. Celtic
The Scottish champions secured one of the most famous results in their history with victory over group winners Barcelona, and are notoriously difficult to beat on their own ground. But they face stern competition in the next round, with the possibility of drawing Borussia Dortmund, Manchester United and Bayern Munich.
Prediction: On their own ground, Celtic really can beat just about anybody, and that prowess at home could see Celtic perhaps sneaking into the quarter finals. Against the elite clubs though, they simply won't be good enough over two legs.
10. Valencia
Impressive in the group stage as they pushed last years runners-up Bayern Munich all the way, only finishing second on head-to-head, Valencia have gone off the boil a little as of late, with just 2 wins in their last 5.
Prediction: Valencia have the talent to progress further, but they may be relying on the draw a little, and are certainly unlikely to go further than the quarter finals.
9. AC Milan
Milan currently sit in 7th place in Serie A, 14 points which might as well be 14 light years away from Juventus who currently top the table. They also failed to top their group and thus face the prospect of a difficult draw in the next round
Prediction: Milan could very well go through, but it's difficult to see progressing past the quarter finals.
8. Malaga
Malaga's domestic form has also sputtered a little as of late, but they topped a group that included AC Milan, and are better than most of the teams they can draw in the next round.
Prediction: Malaga are better than any of the teams they can draw in the next round and are likely to progress to the quarter finals. They won't trouble the elite clubs though.
7. Paris SG
In spite of the incredible financial power that PSG now posess, they are currently 3 points off the pace in Ligue 1, sitting second behind Lyon. In a straight match however, with the likes of Zlatan Ibrohimovic and Tiago Silva in their ranks, PSG will be a challenge for any team they come up against.
Prediction: PSG should reach the quarter finals, and may even have an outside chance of reaching the Semi's if the draw goes their way.
6. Juventus
Juventus currently sit top of Serie A with a four point lead over Inter Milan. It's been a long road to recovery for Juventus, but the Italian champions are most definitely back amongst the elite of European football.
Prediction: The quarter finals should be a bare minimum for Juventus, and realistically they should be looking to reach the semis.
5. Manchester United
It's been a strange season thus far for United, as they have coupled probably the best strike partnership in Europe with one of the leakiest defences in their history. However, they currently sit 6 points clear at the top of the premiership following a dramatic win over second placed local rivals and current champions, Manchester City, and if they can stay free if injuries, United have the firepower to outgun anyone, anytime, anyplace.
Prediction: After a disappointing exit at the group stage last season, United will be looking for a strong showing, and will be aiming for the semi-finals, anything less would be considered failure.
4. Real Madrid
Going into this season, I really thought this was Madrid's year. I had the reigning Spanish champions picked to win the champions league and claim their 10th European cup, but they have struggled to gather any sort of traction so far, culminating in stunning defeats against Real Betis and Celta Vigo. They currently sit 3rd in La Liga, 11 points behind the still unbeaten force-of-nature that is Barcelona.
Prediction: After finishing second in their group, Real Madrid face a challenge from the get-go, but with the sheer talent in the team, they will be very difficult to beat. The 2-2 draw against Barcelona earlier this season proved that they can still match up with the best of the best.
3. Borussia Dortmund
The reigning champions of Germany have set their sights firmly on the UCL, topping what was easily the hardest group, comprising themselves and the champions of England, Spain and Holland, Manchester City, Real Madrid and Ajax: and they finished unbeaten.
Prediction: Dortmund are dangerous and have a very real chance of winning. If they can avoid the next two teams, they stand an excellent chance of making the final.
2. Bayern Munich
The runaway league leaders in Germany have an 11 point margin over second place Borussia Dortmund and have scored 43 goals in 16 games, averaging almost four goals a game at home. Bayern have been utterly rampant so far this season, and after losing the final last year, on their own ground no less, they will be desperate to right that wrong and reclaim Europe's top prize.
Prediction: Bayern match up favourably against just about anyone, and have an excellent chance of winning the UCL. But a hero is only as good as his villain, and in this case, Bayern's antagonists may well be too much...
1. Barcelona
What more can be said about Barcelona that hasn't already been said? And the scary thing is... they appear to be getting better. 15 games in and Barcelona are still unbeaten, only failing to win on one occasion, a 2-2 draw with their greatest rivals Real Madrid. They've won the trophy 3 times in the last 6 seasons, and their lethal offense is led by the greatest player to have ever graced the game, a man who this season has recorded 33 goals and 7 assists in just 20 games, the incomparable Lionel Messi.
Prediction: A final contested by Bayern and Barcelona really could go either way, and of course anything can happen on the night... but Barca at their best are better than Bayern at their best.
I can't wait until the UCL starts again in February. The draw for the next round is on December 20th, keep an ear out, and no matter who wins, let's just hope that football is the ultimate winner, and that this years Champions league is remembered for all the right reasons.
29 September, 2012
FIFA 13 Review
Let me tell you a little of my history with football games. Up until just a few short years ago, I was a dyed in the wool, hardcore Pro Evolution Soccer fan. To me, nothing else would do. FIFA had always been glitzy and shiny, it had the licences, it had better presentation, but in the gameplay department? Pro Evo skewered it, time and time again. For me though, all that changed with FIFA 11. I was originally won by the possibility of playing as the goalkeeper, an option that FIFA 11 offered, alluded to by it's apt tagline, "We are 11". What I found was that, undeniably, FIFA and surpassed Pro Evolution Soccer as the king of the football games mountain. My allegiances changed that day. The following year, it wasn't Pro Evolution Soccer 2012 that I shelled out my money in, it was FIFA 12. It was FIFA 12 that truly blew me away, I marvelled at it's completeness, at long last it's presentation and graphics were matched, surpassed even, but it's incredible gameplay. The game felt so good to play, it was a realistic tonic to Pro Evo's increasingly arcadish gameplay. But one thought lingered in my mind: "How on earth can they top this? What can they possibly add?" FIFA 13 answers my question. What is the answer?
To be brutally honest, the answer is: not a whole lot. Don't get me wrong for a second, there are new features, both on and off the pitch. The most heavily touted addition being the added unpredictability, attempting to mirror one of the scant few real life aspects of football that FIFA 12 had been unable to produce. In FIFA 12, the ball would stick the players boot like glue. In FIFA 13, it's all in the maths. How skilful is your player? How fast is he moving? How fast is the ball moving towards him? Is he being pressured by defenders? Is it raining or is it dry? All these variables add up to produce that unpredictability that makes the actual game so compelling. And it is pulled off very well, to the point where even if and when it works against you, you are able to sit back and admire the craftsmanship. Goalkeepers flap at crosses, shots are sliced hilariously wide, it is very well implemented, and a very welcome addition.
In the gameplay department however, that's about is innovative as FIFA 13 gets. The game is littered with tweaks. Passing feels a little smoother, the player impact engine has been refined so that players aren't blown half way across the pitch by a falling leaf, free kicks aren't as unforgiving as their previous iterations, but on the whole, the gameplay department, while still reliably brilliant, may have hit a glass ceiling... on this generation of consoles at least.
A few new gameplay modes have been added, one of them being "Skill Games". In a nutshell, skill games are essentially mini-games that will ease newcomers in to the game at their easiest and provide a reasonable challenge to more seasoned veterans at their hardest (If anyone can figure out how to do the final crossing challenge, let me know) Everything from dribbling assault courses to crossbar challenges to smashing penalties to a wall of cardboard boxes, the games are delightfully addictive. There have also been some updates to that ever reliable stalwart, manager mode. The interface is now even more authentic, sky sports being printed all over the menu screens as a man who's name tragically escapes me reads out the other results of the day and how they affect the league table. The biggest addition though is the ability to manage international sides. While it's not really my cup of tea, there are undoubtedly those who have been pining for this addition for some time, and for whom it will increase the depth of manager mode greatly.
Given that my xbox live gold account has tragically expired, I can't comment with a great deal of authority on the online modes, although I did try my hand at "Ultimate Team" for the first time. I haven't spent too much time with it yet, but I can see myself doing so, I can see why many people find it so addictive. For those who don't know, in ultimate team, you basically build up... the ultimate team. You buy packs of trading cards that unlock new players for your squad and slowly build up an army of superstars who could handily thump Real Madrid on their own ground without breaking sweat. As I say, I can see why it would be addictive, and I look forward to getting to grips with it more in future.
On the whole FIFA 13 is very good. It's very good because FIFA 12 was very good, I would be lying if I said a great deal has changed, but there are changes there, most of them small tweaks as EA fine tune their sports masterpiece. On the whole though, my concerns as to where EA go after FIFA 12 do whole some water... and they are only compounded for the next iteration. Ultimately, there really is only so much in a game that can be improved. And that may be FIFA's eventual downfall.
27 September, 2012
Top 5 Disney Songs
I loved Disney growing up, and still do. They may perhaps have taken a dip in quality over the last few years, but speaking as a guy who grew up in the late 90's and early 00's, back in my day, Disney could do no wrong. And one thing that Disney managed to hit out of the park time and time again was music. These are the top 5 songs ever to appear in a Disney film.
5. A Whole New World - Aladdin (Sung by Brad Kane and Lea Salonga)
This song is so romantic it makes me want to marry Aladdin. Of the four big Disney films to come out in the 90's, The Little Mermaid, Beauty and the Beast, Aladdin and The Lion King, Aladdin is usually considered the weakest. This song however is definitely one of Disney's best moments, a truly touching and sincere moment, bolstered massively by the fantastic vocal performance of Lea Salonga as Jasmine. It's very genuine and emotionally driven in addition to being just a very good vocal performance. This song might have placed a little higher were it not for the less than stellar vocal performance of Brad Kane as Aladdin. Don't get me wrong, it isn't bad, but there are a few moments where it does let the song down a little. Still, indubitably a great song.
4. Friends on the Other Side - The Princess and the Frog (Sung by physics defying wizard, Keith David)
This is a film that some of you might not have seen, hell, even I haven't seen it, so it's a little hard to comment on this song from a story telling standpoint but OH... MY... GOD... this song is SO catchy. It is weaponised catchiness. The problem that of course is that there really isn't much else to say, it's a song that's pretty much on the list solely because it pushes my buttons as far as music goes, although it's certainly helped by impressive visuals and an excellent vocal performance from warlock master of time and space, Keith David. I guess all I can really say is give it a listen. It doesn't quite stack up critically to the rest of the songs on the list, but between that infections catchiness and the smooth vocals of Jedi Master and the legendary son of Zeus, Keith David Not the most professional review I've ever done, but hey, no one's perfect, I'm just the closest thing to it.
3. Circle of Life - The Lion King (Sung by Carmen Twillie and Lebo M)
*Clears throat* ...NAAAAAA ZE BETNYAAAAAAA
Sorry, couldn't resist
All kidding aside, I am more than willing to go on record and say that I think the opening to The Lion King is the greatest intro to a film I've ever seen. It introduces our main characters our main characters and sucks you into the film. I admit that without the visual accompaniment, this song wouldn't be so high on the list, but it is nigh impossible to sit watching that intro and not get chills down your spine. It really establishes the gravitas of the whole situation, the birth of the kings son, it sucks you in, it makes you feel that this really is a massive event that you're watching, that you're a part of. The song its self is very good, it obviously ties in with the films central "circle of life" theme, and really helps establish that theme right from the word go. With a duo as potent as Hanz zimmer and Elton John composing the soundtrack, The Lion King was always going to have awesome music, and it doesn't get much better than the Circle of Life.
2. Be Prepared - The Lion King (Sung by Jeremy Irons)
The primary antagonist of The Lion King, Scar, tends to divide opinion. Some people view him as whiny and camp, while others point out Jeremy Irons masterful vocal performance and the fact that Scar actually manages to achieve his goals, killing one of the main characters and taking over pride rock. I tend to lean more to the latter school of thought, but one thing most people agree on is that Be Prepared is one of the best Disney songs ever. Jeremy Irons is no singer, but he doesn't have to be, his vocal performance for Be Prepared is as excellent as it is throughout the rest of the film, as Scar reveals his plans to his Hyena minions. It's a perfect example of not sacrificing storytelling for good music, or vice versa, as this song manages both with panache. The visual accompaniment is excellent too, at one point Scar is seen looking down over an army of Hyenas bearing a less than coincidental resemblance to the traditional view of a certain army who fought in a certain war from 1939 to 1945... not naming any names. Some people don't like it, personally I think it works. Regardless, Be Prepared is a great song, and a great example of how to further a story through music.
1. Hellfire - The Hunchback of Notre Dame (Sung by Tony Jay)
In terms of artistic merit, Hellfire may just be the highest peak that Disney have ever reached. This song is nothing short of masterful from beginning to end. Let's start with the actual performance. Tony Jay is a roaring wonder throughout the film as Frollo, one of the great Disney villains, thanks in no small part to this song. It's not the best pure singing performance you'll ever hear but it doesn't need to be. As an overall vocal performance, it's terrific, Jay's authoritative baritone anchoring what are some absolutely tremendous lyrics. The lyrics are quite buzz word heavy, a good example being the line "Don't let her fire sear my flesh and bone", but it isn't at the expense of substance as they suck you in like a black hole to Frollo's state of mind, his internal anguish at the thought of damning his soul in exchange for acting on his lust for Esmerelda. The song is excellently structured, starting off as a latin chant before evolving and building over the course of it's 3 and a quarter minutes into an intense, straight up scary finale, as Frollo accepts the fate of his decision. Hellfire is as an intense and gripping piece of music as you are likely to come across in any medium, blending music, storytelling and character development in spellbinding fashion. I don't hesitate for a moment to call it a masterpiece.
5. A Whole New World - Aladdin (Sung by Brad Kane and Lea Salonga)
This song is so romantic it makes me want to marry Aladdin. Of the four big Disney films to come out in the 90's, The Little Mermaid, Beauty and the Beast, Aladdin and The Lion King, Aladdin is usually considered the weakest. This song however is definitely one of Disney's best moments, a truly touching and sincere moment, bolstered massively by the fantastic vocal performance of Lea Salonga as Jasmine. It's very genuine and emotionally driven in addition to being just a very good vocal performance. This song might have placed a little higher were it not for the less than stellar vocal performance of Brad Kane as Aladdin. Don't get me wrong, it isn't bad, but there are a few moments where it does let the song down a little. Still, indubitably a great song.
4. Friends on the Other Side - The Princess and the Frog (Sung by physics defying wizard, Keith David)
This is a film that some of you might not have seen, hell, even I haven't seen it, so it's a little hard to comment on this song from a story telling standpoint but OH... MY... GOD... this song is SO catchy. It is weaponised catchiness. The problem that of course is that there really isn't much else to say, it's a song that's pretty much on the list solely because it pushes my buttons as far as music goes, although it's certainly helped by impressive visuals and an excellent vocal performance from warlock master of time and space, Keith David. I guess all I can really say is give it a listen. It doesn't quite stack up critically to the rest of the songs on the list, but between that infections catchiness and the smooth vocals of Jedi Master and the legendary son of Zeus, Keith David Not the most professional review I've ever done, but hey, no one's perfect, I'm just the closest thing to it.
3. Circle of Life - The Lion King (Sung by Carmen Twillie and Lebo M)
*Clears throat* ...NAAAAAA ZE BETNYAAAAAAA
Sorry, couldn't resist
All kidding aside, I am more than willing to go on record and say that I think the opening to The Lion King is the greatest intro to a film I've ever seen. It introduces our main characters our main characters and sucks you into the film. I admit that without the visual accompaniment, this song wouldn't be so high on the list, but it is nigh impossible to sit watching that intro and not get chills down your spine. It really establishes the gravitas of the whole situation, the birth of the kings son, it sucks you in, it makes you feel that this really is a massive event that you're watching, that you're a part of. The song its self is very good, it obviously ties in with the films central "circle of life" theme, and really helps establish that theme right from the word go. With a duo as potent as Hanz zimmer and Elton John composing the soundtrack, The Lion King was always going to have awesome music, and it doesn't get much better than the Circle of Life.
2. Be Prepared - The Lion King (Sung by Jeremy Irons)
The primary antagonist of The Lion King, Scar, tends to divide opinion. Some people view him as whiny and camp, while others point out Jeremy Irons masterful vocal performance and the fact that Scar actually manages to achieve his goals, killing one of the main characters and taking over pride rock. I tend to lean more to the latter school of thought, but one thing most people agree on is that Be Prepared is one of the best Disney songs ever. Jeremy Irons is no singer, but he doesn't have to be, his vocal performance for Be Prepared is as excellent as it is throughout the rest of the film, as Scar reveals his plans to his Hyena minions. It's a perfect example of not sacrificing storytelling for good music, or vice versa, as this song manages both with panache. The visual accompaniment is excellent too, at one point Scar is seen looking down over an army of Hyenas bearing a less than coincidental resemblance to the traditional view of a certain army who fought in a certain war from 1939 to 1945... not naming any names. Some people don't like it, personally I think it works. Regardless, Be Prepared is a great song, and a great example of how to further a story through music.
1. Hellfire - The Hunchback of Notre Dame (Sung by Tony Jay)
In terms of artistic merit, Hellfire may just be the highest peak that Disney have ever reached. This song is nothing short of masterful from beginning to end. Let's start with the actual performance. Tony Jay is a roaring wonder throughout the film as Frollo, one of the great Disney villains, thanks in no small part to this song. It's not the best pure singing performance you'll ever hear but it doesn't need to be. As an overall vocal performance, it's terrific, Jay's authoritative baritone anchoring what are some absolutely tremendous lyrics. The lyrics are quite buzz word heavy, a good example being the line "Don't let her fire sear my flesh and bone", but it isn't at the expense of substance as they suck you in like a black hole to Frollo's state of mind, his internal anguish at the thought of damning his soul in exchange for acting on his lust for Esmerelda. The song is excellently structured, starting off as a latin chant before evolving and building over the course of it's 3 and a quarter minutes into an intense, straight up scary finale, as Frollo accepts the fate of his decision. Hellfire is as an intense and gripping piece of music as you are likely to come across in any medium, blending music, storytelling and character development in spellbinding fashion. I don't hesitate for a moment to call it a masterpiece.
25 September, 2012
Ranking Every Christopher Nolan Film (Part 1)
I've never hesitated for a moment to say that I think Christopher Nolan is the greatest filmmaker of his generation. He has yet to make a bad film in eight attempts, and films such as The Dark Knight and Inception are frequently heralded as some of the best films of the last decade. I, Lee Woolsey, haven taken it upon myself, for the benefit of mankind, to settle the question once and for all... what is Christopher Nolan's best film... and what is his worst?
Honourable mentions: Following, Insomnia
These are the only two films that I have not seen from Nolan's collection, so there isn't much I can say about them... let's crack on
6. Memento
Memento was Nolan's first "big-budget" film (Even if Memento's budget of $9 million seems rather paltry compared to the $250 million spent on The Dark Knight Rises). It stars Guy Pearce as a man with amnesia attempting to get revenge for the murder of his wife. Memento's bread and butter is it's narrative structure. The film is told chronologically backwards, beginning with the ending scene and working it's way back to the beginning. The effect puts the audience in the shoes of the protagonist, perceiving reality as he does. It's clever and well executed and no doubt, but the fact is, strip it away, and Memento is rather unremarkable. It certainly isn't bad, it's well acted, it's themes are thought provoking and well handled, but you're still looking at a fairly run-of-the-mill revenge film (albeit a well above average one). Therefore, Memento must take it's place at the bottom of the pile. But against such fierce competition, even last place is nothing to be ashamed of. Just take a look at what's next.
5. The Dark Knight Rises
The biggest blockbuster of summer 2012 without a doubt was the third instalment in Nolan's Batman trilogy, The Dark Knight Rises. And I won't lie, I was hyped. I had been hyped for a year. Were my expectations met? Yes... and no. The Dark Knight rises is very good, but it is only very good. It would have been unrealistic to expect it to meet the same lightning-in-a-bottle levels as it's predecessor, but the fact is, it is necessarily in a position where it must be compared to The Dark Knight. And it's absolute peak, The Dark Knight Rises isn't far off The Dark Knight's pace, the acting is very good, Anne Hathaway and Michael Caine in particular are tremendous in their roles. Bane is an excellent but flawed villain, his motivations aren't particularly strong, and the questions about him that intrigued me were never really given a good answer. The story progression is... interesting. The film almost goes through two different story arcs, one after the other, in the same film. A more accurate title might have been "The Dark Knight Rises Twice". The Dark Knight Rises is a very good film, more than worthy of it's place in the greatest film trilogy of all time, (yes, I said it) and though it may be the worst of the three, as with Memento, with competition this fierce, that's nothing to be ashamed of.
4. Batman Begins
Batman Begins was the first Batman film since Joel Schumacher's execrable Batman and Robin, and was made at a time when young, up and coming director Christopher Nolan wasn't quite the household name he is today. For this reason, Batman Begins was possibly the most important film of Nolan's career. The Dark Knight may have been the film that launched Nolan into the stratosphere, but had Nolan failed with Batman Begins, The Dark Knight would never have existed. But as we know, Nolan didn't fail. He knocked it out of the park. With terrific performances across the board (Katie Holmes the only blemish), and Nolan's trademark non-linear narrative, Nolan created a film that could be enjoyed by someone who had never heard of Batman, he took the character of Batman and revamped and rebooted him for a modern world. Here was someone who so clearly understood the character of Batman, delving effortlessly into the psyche of Bruce Wayne, and perfectly grounding one of it's central themes: fear, virtually from the opening frame until the end credits, the film finishing with one of the best sequel teases you will ever see... for one of the best sequels you will ever see. But we'll get to that later.
Join me again for part 2 when we finish grading the remaining three films, and find out what Christopher Nolan's greatest film really is.
23 September, 2012
The Mario Paradox
The most famous video game of all time is arguably Super Mario Bros. Mario as a brand is up there with Coca-Cola, David Beckham, Microsoft and Manchester United, it's one of those things that everyone has heard of. It's also a game series that causes me rather unhealthy amounts of frustration. It isn't that the game is bad. It's the fact that Nintendo have been releasing essentially the same game with a new coat of paint for the last 20+ years. This is inarguable. New Super Mario Bros. Wii, in addition to being a rather unpalatable title, is still fresh in the mind as the most recent reincarnation of that original classic, the only difference being a few different power ups and the addition of one of the more frustrating multiplayer modes you are likely to come across. And yet... people continue to buy it. This is a phenomenon that has perplexed me for some time. It should be clear that nintendo are just cashing on the brand name, beating a dead horse and any other cliche you can think of in order to make as much profit for as little effort as possible... but people still buy it. It's clear that the original hasn't gone anywhere, hell you can download an old SNES emulator online and play it totally free... but people continue to fork out the £40 hard earned pounds that Nintendo asks of them in order to play a game that they have probably already completed five different iterations of. This is a social phenomenon that I have dubbed: The Mario Paradox. My question? Why? It's a fair question, in my view, but it's never one that I've gotten a satisfying answer to. And I think I have a decent idea why. It's because nobody knows. No one has quite cracked the riddle of why, in these very difficult economic times, people would pay to buy a game that is almost identical to one they already have. So I will attempt to give it a shot.
I think the main reason, ironically enough, is that the current economy is actually the spur to buy these games, rather than the deterrent. Let's say you have two choices. You can buy New Super Mario Bros. Wii (henceforth known as NSMBW) or you can buy, just because it's a game I am familiar with, Mass Effect. Let's assume for the moment that they cost the same price, and that our hypothetical customer hasn't played either of them, and has no preference between platformers and RPG's. Chances are, she's not got a lot of spare change, and wants to take the purchase option with the least risk involved. Few people are going to argue that Mass Effect is the superior title, it has much more depth, great writing, superb characters and a wonderfully gripping story, taking your hero from a small human colony to beyond the furthest stars. But that doesn't matter. In fact, let's assume our customer knows all this, knows how critically well received the Mass Effect series has been. NSMBW is still the less risky choice. Why? Because she's already played it. She sees the Mario name attached to it, she knows she'll enjoy it, because, really, she's already played it. In the short term, we have one happy customer. In the long term... we have complacency. Game developers, like Nintendo, will continue to pump out the same game in a new suit over and over because they know it will make them money. What does this mean? It means we have fewer and fewer developers trying to push the boundaries of what gaming is, fewer developers trying to create a truly unique and creative experience, because... they don't need to.
The same is true of films. Did you know there is ANOTHER Resident Evil film coming out? Yeah, there is. The metaphor of the customer can be applied to the studio producing Resident Evil (don't know what studio that is, sorry) Supposing you are the studio. The Resident Evil guys come to you with another film in mind. Another instalment from a bankable, moderately successful franchise with an in-built fan base who will be happy to lap up another RE just to switch their brains off for a few hours. Now, supposing a small time director comes to you with a pitch. He's written a smart, engaging original screenplay, and he has come to you for financial backing. The film could be a beautiful story, centred around a wonderfully creative cast of emotionally engaging characters, something that will resonate with people, something that will make them sit up and take notice. Which one would they pick to finance? Resident Evil, every time. Why? Because the second film is a risk that they don't need to take because people will pay to see brain junk food, like Resident Evil.
In the end, humanity continues to be it's own worst enemy. Our art is what our descendants, hundreds of years from now, will remember us by. And for as long as we continue to accept mediocrity, mediocrity is what we will get. That is the word that will define this artistic period in human period. The age of mediocrity. Sure, there are a few diamonds in the rough that will stick out, and shine all the brighter next to the dross standing beside them. Mass Effect, Inception, Let the Right One In, The Dark Knight trilogy... but these are few and far between. In the end, we are far more likely to be held up to our descendants as an example of how things shouldn't be done. We will be remembered, not for our successes... but for our shortcomings.
I think the main reason, ironically enough, is that the current economy is actually the spur to buy these games, rather than the deterrent. Let's say you have two choices. You can buy New Super Mario Bros. Wii (henceforth known as NSMBW) or you can buy, just because it's a game I am familiar with, Mass Effect. Let's assume for the moment that they cost the same price, and that our hypothetical customer hasn't played either of them, and has no preference between platformers and RPG's. Chances are, she's not got a lot of spare change, and wants to take the purchase option with the least risk involved. Few people are going to argue that Mass Effect is the superior title, it has much more depth, great writing, superb characters and a wonderfully gripping story, taking your hero from a small human colony to beyond the furthest stars. But that doesn't matter. In fact, let's assume our customer knows all this, knows how critically well received the Mass Effect series has been. NSMBW is still the less risky choice. Why? Because she's already played it. She sees the Mario name attached to it, she knows she'll enjoy it, because, really, she's already played it. In the short term, we have one happy customer. In the long term... we have complacency. Game developers, like Nintendo, will continue to pump out the same game in a new suit over and over because they know it will make them money. What does this mean? It means we have fewer and fewer developers trying to push the boundaries of what gaming is, fewer developers trying to create a truly unique and creative experience, because... they don't need to.
The same is true of films. Did you know there is ANOTHER Resident Evil film coming out? Yeah, there is. The metaphor of the customer can be applied to the studio producing Resident Evil (don't know what studio that is, sorry) Supposing you are the studio. The Resident Evil guys come to you with another film in mind. Another instalment from a bankable, moderately successful franchise with an in-built fan base who will be happy to lap up another RE just to switch their brains off for a few hours. Now, supposing a small time director comes to you with a pitch. He's written a smart, engaging original screenplay, and he has come to you for financial backing. The film could be a beautiful story, centred around a wonderfully creative cast of emotionally engaging characters, something that will resonate with people, something that will make them sit up and take notice. Which one would they pick to finance? Resident Evil, every time. Why? Because the second film is a risk that they don't need to take because people will pay to see brain junk food, like Resident Evil.
In the end, humanity continues to be it's own worst enemy. Our art is what our descendants, hundreds of years from now, will remember us by. And for as long as we continue to accept mediocrity, mediocrity is what we will get. That is the word that will define this artistic period in human period. The age of mediocrity. Sure, there are a few diamonds in the rough that will stick out, and shine all the brighter next to the dross standing beside them. Mass Effect, Inception, Let the Right One In, The Dark Knight trilogy... but these are few and far between. In the end, we are far more likely to be held up to our descendants as an example of how things shouldn't be done. We will be remembered, not for our successes... but for our shortcomings.
09 July, 2012
Here Comes The Money
At time of writing, we are just 6 days away from Money in the Bank, a PPV that last year went down fairly unanimously as one of the best PPVs in WWE history, thanks in no small part due to the relentless momentum of CM Punk, his electric rivalry with John Cena, and the classic main event that they put on that night. A year on, and Money in the Bank 2012 is shaping up to be… interesting. Let’s take a look
The Card
While Raw and Smackdown have one more episode each to run before this Sunday, it’s strange to me that at the moment MitB has only four booked matches. And with Santino and Christian tied-up in the World heavyweight championship money in the bank match (Dear god that’s a mouthful) we know that the intercontinental and US title’s aren’t going to be defended. So what does that leave? I think it’s fairly likely that Kofi Kingston and R-Truth will defend the Tag Team Championships against Prime Time Playa’s in a match that… I am not excited for in any way, shape or form. Tag Team wrestling at the moment has nothing to interest me, sorry to all you tag team fans out there, but that’s the way it is. So that’s five. We could also see Sin Cara, who I’m surprised hasn’t been added to the WHC MitB, but perhaps he yet will be. Ryback might also finally get to fight three jobbers, but personally I have a feeling that that is being saved for Summerslam. Anyway, let’s just stick with the five we’ve got so far.
Tag Team Championships
Kofi and Truth (Ch) vs. Prime Time Playa’s
Like I say, I really don’t care much, PTP could win here, if they don’t then I think they’ll win at Summerslam, if they do then there’ll probably be a rematch, again at Summerslam.
World Heavyweight Championship Money in the Bank Match
Christian vs. Tensai vs. Santino vs. Damien Sandow vs. Tyson Kidd vs. Cody Rhodes vs. Dolph Ziggler
Now this match could legitimately tear the house down. Some of the best workers in the business today are here, Christian, Rhodes, Ziggler in particular, but everyone here can hold there own in the ring (Yes, even Tensai and Santino, as much as I hate them). I have very high expectations for this and it could, it COULD be match of the night, even with the Main event to contend with, which we’ll get to later. Prediction wise, I can only see this going one of two ways. It will be Cody Rhodes or it will be Dolph Ziggler. I’m gonna stick with my original prediction and say I think Cody Rhodes will win, particularly considering that he needed a second chance to get in to the match, there’s an angle there to be worked, there’s enough controversy. If Rhodes ends up knocking Christian off the ladder to win, then I’d say there’ll be something there, maybe a match at summer slam, Rhodes’ Money in the Bank contract vs. Christian’s intercontinental championship, now how awesome would that be?
World Heavyweight Championship
Sheamus (Ch) vs. Alberto del Rio
I personally really like Sheamus, maybe it’s just because I’m Irish, but I love the guy. But Sheamus has a glaring problem. The problem is this. There is no one right now in the WHC picture who is a credible threat to Sheamus at the moment. After he beats del Rio this Sunday, and he will beat del Rio, I have no doubt, there really is no one left to feud with. Fortunately, that will change very soon, the WHC picture is going to get very interesting, very soon. Assuming Rhodes wins MitB, Sheamus will have him to worry about, in addition to the returning Wade Barret and Randy Orton. Both men, particularly Barret I feel could pose a real threat to Sheamus, and with Rhodes lurking in the background, things are going to get very interesting, perhaps even more interesting than the WWE Championship picture, depending on if/how the Punk/Bryan/AJ feud continues. Speaking of the WWE Championship…
WWE Championship Money in the Bank Match
Kane vs. Chris Jericho vs. Big Show vs. John Cena
As much as I hate to say it, I think John Cena is going to win. Of the four, the other three would be much more interesting with the briefcase, I feel, but John Cena is John Cena, and John Cena wins, no matter how much sense it does or doesn’t make. Big Show could win, Jericho could be a very, very dark horse and Kane probably has the least chance of a victory. I probably want Jericho to win the most, but my head says Cena, and then Cena will probably break my heart and ruin one of the best feuds in years between Punk and Bryan. And if that’s the case… we’ll just have to enjoy what little goodness we have left…
WWE Championship
CM Punk (Ch) vs. Daniel Bryan
W/ AJ as Special Guest Referee
This match gives me chills. It also fills me with a lot of anxiety. The feud is the hottest thing in WWE right now, one of the hottest feuds in years… but if WWE choose to end it here to introduce Cena in to the picture, it will end on an extremely bitter note. As much as I love and adore AJ, I think she has been a revelation and has brought this feud from a 7/10 to a 9.5, she can’t decide the fate of the WWE Championship and this rivalry. If she decides the fate of this one match, that’s fine, but this can’t be the last match, there needs to be one more. I hope more than anything that the Iron Man match rumours for Summerslam are true, I think you have an all time classic just waiting to happen right there. But, we are getting ahead of ourselves. So, the match. At this moment in time, I haven’t a clue who’s going to win. It could be Punk, it could be Bryan. Punk has yet to beat Bryan cleanly one-on-one in this feud, there was controversy at Over the Limit with Punk tapped to the Lebell lock just moments after pinning Bryan, and at No Way Out, Punk pinned Kane to retain the title, Bryan losing without being involved in the decision. I don’t think we will see a clean victory here either. In terms of predictions, I think the chances of a Punk victory are very, very slightly higher than for Bryan. AJ will do something wacky, and my prediction is that this feud will go for one final showdown at either Summerslam or the 1000th episode of RAW.
So that’s what I think of Money in the Bank. I’m looking forward to it, I think it’s going to be a good PPV, and will set events up nicely as we roll onwards to the 1000th episode of RAW, and beyond to the second biggest PPV event of the year… Summerslam.
The Card
While Raw and Smackdown have one more episode each to run before this Sunday, it’s strange to me that at the moment MitB has only four booked matches. And with Santino and Christian tied-up in the World heavyweight championship money in the bank match (Dear god that’s a mouthful) we know that the intercontinental and US title’s aren’t going to be defended. So what does that leave? I think it’s fairly likely that Kofi Kingston and R-Truth will defend the Tag Team Championships against Prime Time Playa’s in a match that… I am not excited for in any way, shape or form. Tag Team wrestling at the moment has nothing to interest me, sorry to all you tag team fans out there, but that’s the way it is. So that’s five. We could also see Sin Cara, who I’m surprised hasn’t been added to the WHC MitB, but perhaps he yet will be. Ryback might also finally get to fight three jobbers, but personally I have a feeling that that is being saved for Summerslam. Anyway, let’s just stick with the five we’ve got so far.
Tag Team Championships
Kofi and Truth (Ch) vs. Prime Time Playa’s
Like I say, I really don’t care much, PTP could win here, if they don’t then I think they’ll win at Summerslam, if they do then there’ll probably be a rematch, again at Summerslam.
World Heavyweight Championship Money in the Bank Match
Christian vs. Tensai vs. Santino vs. Damien Sandow vs. Tyson Kidd vs. Cody Rhodes vs. Dolph Ziggler
Now this match could legitimately tear the house down. Some of the best workers in the business today are here, Christian, Rhodes, Ziggler in particular, but everyone here can hold there own in the ring (Yes, even Tensai and Santino, as much as I hate them). I have very high expectations for this and it could, it COULD be match of the night, even with the Main event to contend with, which we’ll get to later. Prediction wise, I can only see this going one of two ways. It will be Cody Rhodes or it will be Dolph Ziggler. I’m gonna stick with my original prediction and say I think Cody Rhodes will win, particularly considering that he needed a second chance to get in to the match, there’s an angle there to be worked, there’s enough controversy. If Rhodes ends up knocking Christian off the ladder to win, then I’d say there’ll be something there, maybe a match at summer slam, Rhodes’ Money in the Bank contract vs. Christian’s intercontinental championship, now how awesome would that be?
World Heavyweight Championship
Sheamus (Ch) vs. Alberto del Rio
I personally really like Sheamus, maybe it’s just because I’m Irish, but I love the guy. But Sheamus has a glaring problem. The problem is this. There is no one right now in the WHC picture who is a credible threat to Sheamus at the moment. After he beats del Rio this Sunday, and he will beat del Rio, I have no doubt, there really is no one left to feud with. Fortunately, that will change very soon, the WHC picture is going to get very interesting, very soon. Assuming Rhodes wins MitB, Sheamus will have him to worry about, in addition to the returning Wade Barret and Randy Orton. Both men, particularly Barret I feel could pose a real threat to Sheamus, and with Rhodes lurking in the background, things are going to get very interesting, perhaps even more interesting than the WWE Championship picture, depending on if/how the Punk/Bryan/AJ feud continues. Speaking of the WWE Championship…
WWE Championship Money in the Bank Match
Kane vs. Chris Jericho vs. Big Show vs. John Cena
As much as I hate to say it, I think John Cena is going to win. Of the four, the other three would be much more interesting with the briefcase, I feel, but John Cena is John Cena, and John Cena wins, no matter how much sense it does or doesn’t make. Big Show could win, Jericho could be a very, very dark horse and Kane probably has the least chance of a victory. I probably want Jericho to win the most, but my head says Cena, and then Cena will probably break my heart and ruin one of the best feuds in years between Punk and Bryan. And if that’s the case… we’ll just have to enjoy what little goodness we have left…
WWE Championship
CM Punk (Ch) vs. Daniel Bryan
W/ AJ as Special Guest Referee
This match gives me chills. It also fills me with a lot of anxiety. The feud is the hottest thing in WWE right now, one of the hottest feuds in years… but if WWE choose to end it here to introduce Cena in to the picture, it will end on an extremely bitter note. As much as I love and adore AJ, I think she has been a revelation and has brought this feud from a 7/10 to a 9.5, she can’t decide the fate of the WWE Championship and this rivalry. If she decides the fate of this one match, that’s fine, but this can’t be the last match, there needs to be one more. I hope more than anything that the Iron Man match rumours for Summerslam are true, I think you have an all time classic just waiting to happen right there. But, we are getting ahead of ourselves. So, the match. At this moment in time, I haven’t a clue who’s going to win. It could be Punk, it could be Bryan. Punk has yet to beat Bryan cleanly one-on-one in this feud, there was controversy at Over the Limit with Punk tapped to the Lebell lock just moments after pinning Bryan, and at No Way Out, Punk pinned Kane to retain the title, Bryan losing without being involved in the decision. I don’t think we will see a clean victory here either. In terms of predictions, I think the chances of a Punk victory are very, very slightly higher than for Bryan. AJ will do something wacky, and my prediction is that this feud will go for one final showdown at either Summerslam or the 1000th episode of RAW.
So that’s what I think of Money in the Bank. I’m looking forward to it, I think it’s going to be a good PPV, and will set events up nicely as we roll onwards to the 1000th episode of RAW, and beyond to the second biggest PPV event of the year… Summerslam.
29 June, 2012
Who should The Undertaker face at Wrestlemania
After 20 Wrestlemania wins, the undertaker has beaten just about everybody there is to beat. Triple H, Shawn Michaels, Ric Flair, Big Show, Kane, Randy Orton, Edge, Batista, the list goes on and on. The last four years in particular have been some of the greatest battles in the history of the WWE, facing Shawn Michaels twice, ending his career the second time, before doing battle with possibly the best of all time, the one and only Game, Triple H, first in a no holds barred match, and then inside Hell in a Cell, in what was a brutal, emotionally charged war between two of the greatest to step in the ring, that I don‘t hesitate for a moment in saying was one of the greatest matches I‘ve ever seen. Realistically, The Undertaker is 47 and probably only has two or three big matches left in him. So who should those matches be against? These are my top 5 candidates:
1. Kane
I can’t think of a more fitting opponent for the Undertaker to do battle one last time with than the big red machine himself, his brother Kane. These two have had one of the most historic, brutal, and just plain greatest rivalries in the history of WWE, and if Wrestlemania XXIX turned out to be the deadman’s last, I can’t think of a more appropriate opponent than the devil’s favourite demon himself. With good booking, and a lengthy, epic build-up, this could be the perfect send off for the deadman. It should be Kane.
2. Triple H
After two incredible battles at the previous two ‘manias, perhaps there’s just nothing lift for these two warriors to give. But I remember The Undertaker saying something very telling to Triple H before their first battle at Wrestlemania 27: “If the time ever comes to put me down, you’d be the man I would want to do it… but it isn’t that time yet”. Could this be a foreshadowing of a third act in this epic rivalry? And if so, after the last two incredible matches, is there anyone who wouldn’t want to see the Deadman and the Game do battle one last time?
3. John Cena
Cena and the Undertaker have never done battle at Wrestlemania. Cena is almost always chasing the WWE championship, but if these two were to get it on at Wrestlemania 29, I can guarantee that it would be a show stealing match. The Undertaker was born to steal the show at Wrestlemania, and whether or not you like Cena, the fact is that, if given the right opponent, Cena can deliver huge performances, his matches against Triple H and Shawn Michaels at previous ‘manias are ample evidence of that. Another interesting factor is the Cena lovers desperately hoping for Cena to end the streak, and fans of the Deadman (including myself) desperately hoping that he doesn’t. If the WWE does chose to end the Undertaker’s streak at this point, and I would be shocked if they do, Cena is the man who would do it, and I’m not a Cena lover, I’m just a realist. Putting the result aside however, one thing is for sure: The main event of Wrestlemania XXIX, John Cena vs. The Undertaker, would tear the house down.
4. The Rock
Much has been made of the Rock’s ‘mania victories over Hulk Hogan, Stone Cold and John Cena, and the potential angle for Wrestlemania XXIX is pretty much staring WWE in the face: The Rock decides that he wants to add the Phenom to that list, a feud ensues… profit? The current thinking is that The Rock will face Brock Lesnar at Wrestlemania 29, but if not, The Rock vs. The Undertaker would no doubt be a great match, maybe not with as much potential as the top 3, but WWE could do a lot with the build up, given how great these 2 are on the mic, in addition to just how plain iconic they are.
5. Brock Lesnar
Well… here comes the pain. Lesnar and the Deadman have plenty of history, they’ve been in Hell in a Cell matches, biker chain matches, in addition to supposedly having real life issues. Lesnar could play the heel role very well going into Wrestlemania XXIX, challenging the undertaker, wanting to end the streak for no better reason than just to assert his dominance, wanting to end it, just because he can. The only reason Lesnar isn’t higher is because the feud might struggle to build traction. Lesnar only needs to appear a limited number of times over the next year according to his contract, and the undertaker appears less and less every year. Nevertheless, it’s a rivalry that began almost a decade ago, and could be an instant classic.
It’s become almost impossible to think about Wrestlemania without also thinking about the Undertaker. He and his mythical streak have become so hallowed, that when the Phenom finally does call it a day, the customary Undertaker match will be a massive omission on a Wrestlemania card, Wrestlemania, and indeed WWE will never be the same. Ultimately the day will come soon, so let us cherish what few great moments the deadman has left to give us. After the career that the Undertaker has had, nobody deserves more than him to Rest… In… Peace.
1. Kane
I can’t think of a more fitting opponent for the Undertaker to do battle one last time with than the big red machine himself, his brother Kane. These two have had one of the most historic, brutal, and just plain greatest rivalries in the history of WWE, and if Wrestlemania XXIX turned out to be the deadman’s last, I can’t think of a more appropriate opponent than the devil’s favourite demon himself. With good booking, and a lengthy, epic build-up, this could be the perfect send off for the deadman. It should be Kane.
2. Triple H
After two incredible battles at the previous two ‘manias, perhaps there’s just nothing lift for these two warriors to give. But I remember The Undertaker saying something very telling to Triple H before their first battle at Wrestlemania 27: “If the time ever comes to put me down, you’d be the man I would want to do it… but it isn’t that time yet”. Could this be a foreshadowing of a third act in this epic rivalry? And if so, after the last two incredible matches, is there anyone who wouldn’t want to see the Deadman and the Game do battle one last time?
3. John Cena
Cena and the Undertaker have never done battle at Wrestlemania. Cena is almost always chasing the WWE championship, but if these two were to get it on at Wrestlemania 29, I can guarantee that it would be a show stealing match. The Undertaker was born to steal the show at Wrestlemania, and whether or not you like Cena, the fact is that, if given the right opponent, Cena can deliver huge performances, his matches against Triple H and Shawn Michaels at previous ‘manias are ample evidence of that. Another interesting factor is the Cena lovers desperately hoping for Cena to end the streak, and fans of the Deadman (including myself) desperately hoping that he doesn’t. If the WWE does chose to end the Undertaker’s streak at this point, and I would be shocked if they do, Cena is the man who would do it, and I’m not a Cena lover, I’m just a realist. Putting the result aside however, one thing is for sure: The main event of Wrestlemania XXIX, John Cena vs. The Undertaker, would tear the house down.
4. The Rock
Much has been made of the Rock’s ‘mania victories over Hulk Hogan, Stone Cold and John Cena, and the potential angle for Wrestlemania XXIX is pretty much staring WWE in the face: The Rock decides that he wants to add the Phenom to that list, a feud ensues… profit? The current thinking is that The Rock will face Brock Lesnar at Wrestlemania 29, but if not, The Rock vs. The Undertaker would no doubt be a great match, maybe not with as much potential as the top 3, but WWE could do a lot with the build up, given how great these 2 are on the mic, in addition to just how plain iconic they are.
5. Brock Lesnar
Well… here comes the pain. Lesnar and the Deadman have plenty of history, they’ve been in Hell in a Cell matches, biker chain matches, in addition to supposedly having real life issues. Lesnar could play the heel role very well going into Wrestlemania XXIX, challenging the undertaker, wanting to end the streak for no better reason than just to assert his dominance, wanting to end it, just because he can. The only reason Lesnar isn’t higher is because the feud might struggle to build traction. Lesnar only needs to appear a limited number of times over the next year according to his contract, and the undertaker appears less and less every year. Nevertheless, it’s a rivalry that began almost a decade ago, and could be an instant classic.
It’s become almost impossible to think about Wrestlemania without also thinking about the Undertaker. He and his mythical streak have become so hallowed, that when the Phenom finally does call it a day, the customary Undertaker match will be a massive omission on a Wrestlemania card, Wrestlemania, and indeed WWE will never be the same. Ultimately the day will come soon, so let us cherish what few great moments the deadman has left to give us. After the career that the Undertaker has had, nobody deserves more than him to Rest… In… Peace.
14 June, 2012
Anything can happen in the WWE
I used to be a big fan of WWE. I actually started watching it just a few short months after it became WWE, august of 2002. And though our love affair couldn’t last, I do find myself wandering back every few years to see what Vince and the creative team have been cooking up recently. I try and make a point of watching Wrestlemania every year, and though I don’t always succeed, when I heard what was going down at Wrestlemania XXVIII, I knew it was something I had to see. No, no, no, I’m not talking about John Cena vs. The Rock, nor CM Punk vs. Jericho, nor the ridiculousness that was the 18 second long match between my fellow country man Sheamus and Daniel Bryan. No, the match I had to see was Triple H vs. The Undertaker, inside Hell in a Cell. And I was not disappointed.
We’re almost three months on from Wrestlemania and my current spell of Wrestling watching has endured, so I figured, hey, why not write a blog about it, you haven’t done one of those in a month and a half, you lazy bastard. And so I got to work, because there are a lot of things I’d like to go over.
No Way Out
I don’t think N.W.O (wink wink) is shaping up all that badly. Some of the feuds haven’t been hyped all that well, but the matches themselves have a lot of potential:
WWE Divas championship
Layla (ch) vs. Beth Phoenix
The Divas division isn’t exactly flying high right now, in fact it really seems that WWE doesn’t care about it at the moment. However, Layla and Beth are definitely the top 2, and if they’re given some time, they can definitely put on a great match. My prediction: Layla retains, and the feud continues until at least Money in the Bank, possibly Summerslam
WWE Intercontinental Championship
Christian (Ch) vs. Cody Rhodes
Goddamn, give these guys the time and this match will steal the show. Christian and Cody are two of my favourite superstars right now, they’re both great on the mike, and their ring work is second to very few. Here’s hoping this feud continues a while longer. This might be just wishful thinking, but if WWE start pushing Ziggler for the Intercontinental title, can you imagine a triple threat match between Ziggler, Cody and Christian at Summerslam for the strap? Match of the year candidate, in my opinion, if it was done right. As for N.W.O, my prediction: Christian retains
World Heavyweight Championship
Sheamus (Ch) vs. Dolph Ziggler
These guys can put on a great match, but considering Ziggler has been confirmed to face Sheamus for less than a week, the odds of Ziggler winning the title are basically nil. Sheamus works great for a big guy and Ziggler almost always puts on a great match, so this should be a good one, but honestly, my prediction: Sheamus WILL retain
WWE Championship
CM Punk (Ch) vs. Daniel Bryan vs. Kane
This match has been built up extremely well in my view, I love the Punk/Bryan feud, I’ve always loved Kane, and I love how well AJ has been utilized in the middle of the whole thing. Put it all together, and you have what really should be a great match, there’s no reason it can’t be, and given that it’s triple threat, and given the unpredictability of AJ, you have a match that its self is hard to predict. In terms of the match its self, it’s hard to know how the technical styles of Punk and Bryan will mesh with the brute strength of Kane, but Kane has been involved in good matches with Punk and Bryan in the run-up to N.W.O so I’m not too worried on the score. I would say Kane will spend sometime incapacitated so that Punk and Bryan can grapple uninterrupted for a bit to satisfy the wrestling purists such as myself. As for my prediction, honestly… I’m picking Bryan. I think the whole AJ thing will be some sort of bluff and AJ will end up siding with Bryan. The whole thing could backfire and AJ could end up costing Bryan the title, but I don’t think so, then you just end up with Punk as champion and Bryan mad at AJ, which has already been done over the last few months. So Bryan narrowly gets my pick, perhaps setting up the feud to continue until Summerslam. My prediction: Punk hits the G.T.S on Kane, AJ distracts Punk allowing Bryan to sneak in and pin Kane
Steel Cage match
Big Show vs. John Cena
-Sigh- Credit where it’s due, big show has been well developed as a heel on this occasion, he’s destroyed everything that has got in his way, and he’s genuinely very threatening at the moment. And as for Cena, I don’t love him, nor do I hate him. He’s charismatic, no doubt, but he’s just not that good in the ring. And neither is big show. And this is the problem: this probably isn’t going to be a good match. It’s got the build-up, it’s got a lot riding on it (spoiler: Someone named John will be fired) it’s got everything… except the superstars. Cena is capable of having terrific matches, no doubt about it, if he is put against the right opponent. Look at his matches against people like Triple H, against CM Punk, against Shawn Michaels (although to be fair, Shawn could wrestle a broom and it would still be a match of the year candidate) Cena can have great matches, but he’s not a guy that can carry another guy to a great match. Put him against the big show, and honestly, I just can’t see it being a good match. I also can’t see Cena winning. I don’t think WWE are ready to off John Laryngitis just yet. There has been speculation about some sort of Laryngitis/McMahon feud going into Summerslam, perhaps they’ll do something with that, but I don’t think the time is right just yet. Cena won’t lose cleanly (losing to the rock at Wrestlemania was the first time Cena lost cleanly in about 5 years) there’ll be interference or something to keep Cena looking like superman, but he will probably lose. Perhaps big show then goes after the title or whatever, while Cena takes a hiatus. My prediction: Cena is about to escape but Laryngitis or David Otunga or someone pushes him back in to the cage, and big show hits the WMD (probably the least creative finisher ever, a punch, seriously?) and pins him or walks out the door, probably the latter.
And that’s N.W.O, I’ll talk about different things over the next few days, and I’ll be doing a full review of N.W.O as soon as I can download it, probably in the middle of next week.
We’re almost three months on from Wrestlemania and my current spell of Wrestling watching has endured, so I figured, hey, why not write a blog about it, you haven’t done one of those in a month and a half, you lazy bastard. And so I got to work, because there are a lot of things I’d like to go over.
No Way Out
I don’t think N.W.O (wink wink) is shaping up all that badly. Some of the feuds haven’t been hyped all that well, but the matches themselves have a lot of potential:
WWE Divas championship
Layla (ch) vs. Beth Phoenix
The Divas division isn’t exactly flying high right now, in fact it really seems that WWE doesn’t care about it at the moment. However, Layla and Beth are definitely the top 2, and if they’re given some time, they can definitely put on a great match. My prediction: Layla retains, and the feud continues until at least Money in the Bank, possibly Summerslam
WWE Intercontinental Championship
Christian (Ch) vs. Cody Rhodes
Goddamn, give these guys the time and this match will steal the show. Christian and Cody are two of my favourite superstars right now, they’re both great on the mike, and their ring work is second to very few. Here’s hoping this feud continues a while longer. This might be just wishful thinking, but if WWE start pushing Ziggler for the Intercontinental title, can you imagine a triple threat match between Ziggler, Cody and Christian at Summerslam for the strap? Match of the year candidate, in my opinion, if it was done right. As for N.W.O, my prediction: Christian retains
World Heavyweight Championship
Sheamus (Ch) vs. Dolph Ziggler
These guys can put on a great match, but considering Ziggler has been confirmed to face Sheamus for less than a week, the odds of Ziggler winning the title are basically nil. Sheamus works great for a big guy and Ziggler almost always puts on a great match, so this should be a good one, but honestly, my prediction: Sheamus WILL retain
WWE Championship
CM Punk (Ch) vs. Daniel Bryan vs. Kane
This match has been built up extremely well in my view, I love the Punk/Bryan feud, I’ve always loved Kane, and I love how well AJ has been utilized in the middle of the whole thing. Put it all together, and you have what really should be a great match, there’s no reason it can’t be, and given that it’s triple threat, and given the unpredictability of AJ, you have a match that its self is hard to predict. In terms of the match its self, it’s hard to know how the technical styles of Punk and Bryan will mesh with the brute strength of Kane, but Kane has been involved in good matches with Punk and Bryan in the run-up to N.W.O so I’m not too worried on the score. I would say Kane will spend sometime incapacitated so that Punk and Bryan can grapple uninterrupted for a bit to satisfy the wrestling purists such as myself. As for my prediction, honestly… I’m picking Bryan. I think the whole AJ thing will be some sort of bluff and AJ will end up siding with Bryan. The whole thing could backfire and AJ could end up costing Bryan the title, but I don’t think so, then you just end up with Punk as champion and Bryan mad at AJ, which has already been done over the last few months. So Bryan narrowly gets my pick, perhaps setting up the feud to continue until Summerslam. My prediction: Punk hits the G.T.S on Kane, AJ distracts Punk allowing Bryan to sneak in and pin Kane
Steel Cage match
Big Show vs. John Cena
-Sigh- Credit where it’s due, big show has been well developed as a heel on this occasion, he’s destroyed everything that has got in his way, and he’s genuinely very threatening at the moment. And as for Cena, I don’t love him, nor do I hate him. He’s charismatic, no doubt, but he’s just not that good in the ring. And neither is big show. And this is the problem: this probably isn’t going to be a good match. It’s got the build-up, it’s got a lot riding on it (spoiler: Someone named John will be fired) it’s got everything… except the superstars. Cena is capable of having terrific matches, no doubt about it, if he is put against the right opponent. Look at his matches against people like Triple H, against CM Punk, against Shawn Michaels (although to be fair, Shawn could wrestle a broom and it would still be a match of the year candidate) Cena can have great matches, but he’s not a guy that can carry another guy to a great match. Put him against the big show, and honestly, I just can’t see it being a good match. I also can’t see Cena winning. I don’t think WWE are ready to off John Laryngitis just yet. There has been speculation about some sort of Laryngitis/McMahon feud going into Summerslam, perhaps they’ll do something with that, but I don’t think the time is right just yet. Cena won’t lose cleanly (losing to the rock at Wrestlemania was the first time Cena lost cleanly in about 5 years) there’ll be interference or something to keep Cena looking like superman, but he will probably lose. Perhaps big show then goes after the title or whatever, while Cena takes a hiatus. My prediction: Cena is about to escape but Laryngitis or David Otunga or someone pushes him back in to the cage, and big show hits the WMD (probably the least creative finisher ever, a punch, seriously?) and pins him or walks out the door, probably the latter.
And that’s N.W.O, I’ll talk about different things over the next few days, and I’ll be doing a full review of N.W.O as soon as I can download it, probably in the middle of next week.
29 April, 2012
Eurovision 2012 - Azerbaijan: Sabina Babayeva - When the Music Dies
Well, 2 songs, 2 ballads, although Miss Sabina Babayeva’s efforts are a little more flamboyant than Mr Humperdinck.
The song starts with a mood setting but perhaps a little generic piano intro. Like Love Will Set You Free, When the Music Dies relies largely on the strength of it’s singer and Babeyeva certainly has a set of pipes on her, her tone really is gorgeous, very soulful vocal work throughout, particularly during the songs climax.
Lyrically the song isn’t terrible but it’s nothing particularly particularly brilliant either, they’re the kind of lyrics that you would expect to hear about 5 different variations of during any given chart music top 10 countdown, talking about love or relationships or love or... romance or... love or... sorry, getting topic.
The song ends on a peculiar note, Sabina rushing the last lyric, almost as if she’d noticed that she was running out of time at the studio. Whatever the case may be, it’s a little abrupt and ends up being a little jarring.
Ultimately When the Music Dies is a good but ultimately bland entrant, there’s nothing here particularly unique, the melodies and lyrics are all fairly generic, Sabina’s vocal work being the only thing that stands out. Still, the host nation have a song that they need feel no shame over, it certainly isn’t bad by any stretch of the imagination, but after the success of last years “Running Scared”, some may feel When the Music Dies to be a bit of a let down.
The song starts with a mood setting but perhaps a little generic piano intro. Like Love Will Set You Free, When the Music Dies relies largely on the strength of it’s singer and Babeyeva certainly has a set of pipes on her, her tone really is gorgeous, very soulful vocal work throughout, particularly during the songs climax.
Lyrically the song isn’t terrible but it’s nothing particularly particularly brilliant either, they’re the kind of lyrics that you would expect to hear about 5 different variations of during any given chart music top 10 countdown, talking about love or relationships or love or... romance or... love or... sorry, getting topic.
The song ends on a peculiar note, Sabina rushing the last lyric, almost as if she’d noticed that she was running out of time at the studio. Whatever the case may be, it’s a little abrupt and ends up being a little jarring.
Ultimately When the Music Dies is a good but ultimately bland entrant, there’s nothing here particularly unique, the melodies and lyrics are all fairly generic, Sabina’s vocal work being the only thing that stands out. Still, the host nation have a song that they need feel no shame over, it certainly isn’t bad by any stretch of the imagination, but after the success of last years “Running Scared”, some may feel When the Music Dies to be a bit of a let down.
28 April, 2012
Miss Moneypenny, Eurovision
Well, we’re one month away from the Eurovision song contest, so I thought I’d use that as an excuse to listen to some music and then tell the internet what I thought of it. I’ll be going through all the entrants in more detail nearer the time, but for now I’d like to focus on the six countries already confirmed to be competing: France, Germany, Italy, Spain, Great Britain, and of course the hosts, Azerbaijan. Let us eschew all forms of cultural and national bias and begin with my home country, Great Britain, being represented by Engelbert Humperdinck.
Engelbert Humperdinck - Love Will Set You Free
I confess, I had never heard of Mr. dinck before, so you can imagine my anxiety upon hearing the news that after the humiliation of last year’s teeth-pullingly bad entrant “I Can”, Britain would be represented by a man who’s last name is shared by a prince in “The Princess Bride”. My mixed feelings were completely washed away upon hearing what is, in my humble opinion, the best Eurovision entrant Britain has had in many a year. The song opens with some smooth, lonely guitar chords, perhaps partially influenced by Spanish flamenco, before Humperdinck comes in with some incredibly velvety crooning, showing no trace of his borderline 76 years. It’s a very welcome pegging back of the usually over-the-top production that Eurovision has become known for in recent years, there’s little else but Humperdinck and a guitar, and that’s all the song needed. Humperdinck’s… experience, shall we put it politely, ultimately works to his advantage, because when he’s singing what are simplistic but effective lyrics, he actually has the air of someone who really has been through what he’s singing about, unlike the vast majority of pop “sensation” 20 year olds singing about love as though they have any idea what it is, (Disclaimer: I’m 19, I just hate my generation) Humperdinck is actually (incidentally I’m also not gay) believable when he sings about missing the woman who is the subject of the song forever. The song finishes with a beautiful high note that I hope for Britain’s sake Humperdinck is able to pull off live on the night, but in terms of the song, it’s a great finish to this quiet, brilliant ballad. If I had to levy one criticism at it, I would say that, while the lyrics do work, they are occasionally a little too simplistic, particularly a chorus totally void of rhyme which undoes some perfectly solid and occasionally pretty good verses. But ultimately, the lyrics aren’t much of an issue, the certainly never stopped me singing along, and they aren’t going to stop Humperdinck from having one of the best songs of the show, in spite of how the politically skewed voting goes.
Tomorrow, we’ll be taking a look at the hosts and defending champions, Azerbaijan.
Engelbert Humperdinck - Love Will Set You Free
I confess, I had never heard of Mr. dinck before, so you can imagine my anxiety upon hearing the news that after the humiliation of last year’s teeth-pullingly bad entrant “I Can”, Britain would be represented by a man who’s last name is shared by a prince in “The Princess Bride”. My mixed feelings were completely washed away upon hearing what is, in my humble opinion, the best Eurovision entrant Britain has had in many a year. The song opens with some smooth, lonely guitar chords, perhaps partially influenced by Spanish flamenco, before Humperdinck comes in with some incredibly velvety crooning, showing no trace of his borderline 76 years. It’s a very welcome pegging back of the usually over-the-top production that Eurovision has become known for in recent years, there’s little else but Humperdinck and a guitar, and that’s all the song needed. Humperdinck’s… experience, shall we put it politely, ultimately works to his advantage, because when he’s singing what are simplistic but effective lyrics, he actually has the air of someone who really has been through what he’s singing about, unlike the vast majority of pop “sensation” 20 year olds singing about love as though they have any idea what it is, (Disclaimer: I’m 19, I just hate my generation) Humperdinck is actually (incidentally I’m also not gay) believable when he sings about missing the woman who is the subject of the song forever. The song finishes with a beautiful high note that I hope for Britain’s sake Humperdinck is able to pull off live on the night, but in terms of the song, it’s a great finish to this quiet, brilliant ballad. If I had to levy one criticism at it, I would say that, while the lyrics do work, they are occasionally a little too simplistic, particularly a chorus totally void of rhyme which undoes some perfectly solid and occasionally pretty good verses. But ultimately, the lyrics aren’t much of an issue, the certainly never stopped me singing along, and they aren’t going to stop Humperdinck from having one of the best songs of the show, in spite of how the politically skewed voting goes.
Tomorrow, we’ll be taking a look at the hosts and defending champions, Azerbaijan.
07 April, 2012
The Role Motive Plays in Ethics
I’d like to present a thought on morality, I don’t for a moment claim that it’s original to me, but it did occur to me one night about a week ago, and it’s the role of motive when making moral judgements. I think motivation is the most important ingredient when it comes to judging whether an action is moral or immoral, much more important than even the act its self. Let me provide a quick example. If someone stabs someone with a knife in cold blood out on the street, there are very few people I know who would class that act as anything other than immoral. However, if someone were to break into your house, and you grabbed a knife to protect yourself and your family, and you killed the intruder, perhaps the issue is a little more grey, but I would class that as a moral action, you have defended yourself and your family from someone who themselves was committing a crime in the first place. Notice that in both these situations, the action is exactly the same, namely, person a has stabbed person b with a knife. What’s the difference? The motive. The motive in these cases is everything. This is why adhering to a strict, unalterable moral code will never provide an adequate path to acceptable ethics. Morality must be flexible for it to be worth anything, it must be contingent on the circumstances and the people involved in any given scenario.
I’ve been extremely busy with irl stuff, work mainly, but I will return to morality in due time, I’ll flesh this thought out a little more and talk about some other things over the next week or so. Just thought I’d share this with you as some food for thought.
I’ve been extremely busy with irl stuff, work mainly, but I will return to morality in due time, I’ll flesh this thought out a little more and talk about some other things over the next week or so. Just thought I’d share this with you as some food for thought.
23 March, 2012
A Scary Thought
Recently I saw a film called The Woman in Black. My opinions of it aside, I was intrigued by people who seemed to think that it was some sort of throwback to the days when horror was about more than gore and violence and loud noises intended to cause the audience to jump. It’s true, the gore and violence might not have been there, but the gore is a much less important issue, in my view, then the ever pervasive “jump-scare”.
The Jump-scare was exercised throughout the woman in black, and it completely ruined any chance the film had at creating a psychological and gripping atmosphere. As an example of this, I’d like to turn to the gaming world, and one of the finest pieces of art it has ever produced: The Silent Hill series. More specifically, Silent Hills 2 and 3.
What Silent Hill does, better than any other game/film/book etc. that I have ever experienced is create a thick, inescapable atmosphere, which I’ll get to in a moment, but the key thing is that Silent Hill is almost scarier when the monsters aren’t there than when they are. How does it manage this?
Turning back to The Woman in Black, the scare formula that it sticks to like glue is suspense, then jump-scare, then downtime, repeat. There are two inherent problems with this. Firstly, the jump-scare is cathartic. When the flashing image pops up supported by a loud instrumental flourish, and your brain’s defence mechanisms create a sudden rush of adrenaline and causes you to jump, the tension completely evaporates. This should be avoided. If you want to scare your audience, what you need to do is keep the tension utterly palpable, so thick you could cut it with a goddamn chainsaw.
Let’s break it down into stages. Stage one: The main character is in a state of tension, usually through a fear of danger. Two: The character notices a monster, and begins preparing to deal with the encounter, either through combat or fleeing. Three: The character fights the threat or flees from it. Now, what I think is the crux of the matter is that a lot of modern horror films leave out step two and put too much emphasis on step three. We go strait from a state of tension to a state of alertness. It’s a very jarring experience, that’s why we jump, because step 3 comes out of nowhere. This is what happens in The Woman in Black.
Now, let’s contrast that with Silent Hill. In the beginning of Silent Hill 2, it takes about half an hour of gameplay before you see the first monster. During this time, the game creates a thick, engulfing, almost oppressive atmosphere. This is an atmosphere that survives and thrives precisely because the threat of danger is always there. It’s not the danger its self that causes us to be afraid, it’s the threat of it. Silent Hill realises this, and you can spend long sections of the game without seeing a monster. The effects of these sections are twofold. Firstly, the thought in the back of your mind that you might be attacked at any moment is allowed time to really be planted and gradually develop and ferment in your mind. And two, it creates a crushing feeling of loneliness, which isn’t of particular note in this blog but it’s use in the games is very effective. What we are more interested in is the first effect.
Everything in Silent Hill is gradual. The small seed planted in your mind gradually becomes a constant thought, you can’t turn a corner without being terrified of the possibility of what’s behind it, you can’t open a door without taking a breath, steadying yourself for what’s might lurk behind it. That, ladies and gentlemen… is fear. That is horror. We’ll call this particular effect the tension effect.
And when you are eventually confronted with a monster, the game holds it’s tension brilliantly. The transition from stage one to stage two is also gradual. When a monster is close, your radio slowly crackles into life, the now iconic sound of static hitting your ears, the static eventually establishing its self as the most dreaded sound in the game. Because so much of the game is in darkness, you also almost always hear the monster before you see it. It’s important to remember when it comes to this process that it’s the opposite of what you might traditionally think. Stage three is the least important phase, it’s stage one that should be focused on, it’s stage one that achieves the tension effect, not stage 3.
Now admittedly, Silent Hill is a game, and The Woman in Black is a film. I think Horror comes more naturally to a game than a film, because gaming is naturally more immersive, being interactive vs. a non interactive medium such as film. However, the lessons we can learn from Silent Hill can be extrapolated. If we want films that generally scare us, as opposed to just disgusting us with gore or making us jump, then we need to go back to basics and take a good hard look at the horror formula, and I think we can look at things like Silent Hill and say “what did they get right, what is it about this that scares us, and how can we learn from it”. If not, then the bland wasteland that is modern horror may endure for sometime. And that is indeed a very, very scary thought.
The Jump-scare was exercised throughout the woman in black, and it completely ruined any chance the film had at creating a psychological and gripping atmosphere. As an example of this, I’d like to turn to the gaming world, and one of the finest pieces of art it has ever produced: The Silent Hill series. More specifically, Silent Hills 2 and 3.
What Silent Hill does, better than any other game/film/book etc. that I have ever experienced is create a thick, inescapable atmosphere, which I’ll get to in a moment, but the key thing is that Silent Hill is almost scarier when the monsters aren’t there than when they are. How does it manage this?
Turning back to The Woman in Black, the scare formula that it sticks to like glue is suspense, then jump-scare, then downtime, repeat. There are two inherent problems with this. Firstly, the jump-scare is cathartic. When the flashing image pops up supported by a loud instrumental flourish, and your brain’s defence mechanisms create a sudden rush of adrenaline and causes you to jump, the tension completely evaporates. This should be avoided. If you want to scare your audience, what you need to do is keep the tension utterly palpable, so thick you could cut it with a goddamn chainsaw.
Let’s break it down into stages. Stage one: The main character is in a state of tension, usually through a fear of danger. Two: The character notices a monster, and begins preparing to deal with the encounter, either through combat or fleeing. Three: The character fights the threat or flees from it. Now, what I think is the crux of the matter is that a lot of modern horror films leave out step two and put too much emphasis on step three. We go strait from a state of tension to a state of alertness. It’s a very jarring experience, that’s why we jump, because step 3 comes out of nowhere. This is what happens in The Woman in Black.
Now, let’s contrast that with Silent Hill. In the beginning of Silent Hill 2, it takes about half an hour of gameplay before you see the first monster. During this time, the game creates a thick, engulfing, almost oppressive atmosphere. This is an atmosphere that survives and thrives precisely because the threat of danger is always there. It’s not the danger its self that causes us to be afraid, it’s the threat of it. Silent Hill realises this, and you can spend long sections of the game without seeing a monster. The effects of these sections are twofold. Firstly, the thought in the back of your mind that you might be attacked at any moment is allowed time to really be planted and gradually develop and ferment in your mind. And two, it creates a crushing feeling of loneliness, which isn’t of particular note in this blog but it’s use in the games is very effective. What we are more interested in is the first effect.
Everything in Silent Hill is gradual. The small seed planted in your mind gradually becomes a constant thought, you can’t turn a corner without being terrified of the possibility of what’s behind it, you can’t open a door without taking a breath, steadying yourself for what’s might lurk behind it. That, ladies and gentlemen… is fear. That is horror. We’ll call this particular effect the tension effect.
And when you are eventually confronted with a monster, the game holds it’s tension brilliantly. The transition from stage one to stage two is also gradual. When a monster is close, your radio slowly crackles into life, the now iconic sound of static hitting your ears, the static eventually establishing its self as the most dreaded sound in the game. Because so much of the game is in darkness, you also almost always hear the monster before you see it. It’s important to remember when it comes to this process that it’s the opposite of what you might traditionally think. Stage three is the least important phase, it’s stage one that should be focused on, it’s stage one that achieves the tension effect, not stage 3.
Now admittedly, Silent Hill is a game, and The Woman in Black is a film. I think Horror comes more naturally to a game than a film, because gaming is naturally more immersive, being interactive vs. a non interactive medium such as film. However, the lessons we can learn from Silent Hill can be extrapolated. If we want films that generally scare us, as opposed to just disgusting us with gore or making us jump, then we need to go back to basics and take a good hard look at the horror formula, and I think we can look at things like Silent Hill and say “what did they get right, what is it about this that scares us, and how can we learn from it”. If not, then the bland wasteland that is modern horror may endure for sometime. And that is indeed a very, very scary thought.
20 March, 2012
The Woman in Black Review
The Woman in Black Review
Summery
Daniel Radcliffe’s committed but inadequate central performance doesn’t do this repetitive, formulaic jump-scare filled film any favours.
Full Review
I, like many others, only really took an interest in The Woman in Black to examine how it’s leading actor, Daniel Radcliffe would perform outside his Potter comfort zone. To cut a long story short, Radcliffe neither shines nor fails, managing to give a performance containing the bare minimum needed for a pass, and nothing more. He looks scared, that’s about it. There is a scene near the beginning when his character, Arthur Kipps is looking in the mirror, thinking about his late wife that is about as good as Radcliffe’s performance gets, featuring one shot of pretty good emoting, but that’s the high point, and it’s not really high enough.
Now, with Radcliffe aside, we can get on with the film…
The cinema loving purist in me is finding it quite difficult to negatively review TWiB, despite the fact that I didn’t really like it all that much. Ultimately it’s a horror film that actually tries to be a horror film, it tries to create suspense, chills and genuine atmosphere, and it doesn’t do the worst conceivable job, and, for that, it is to be commended, in the modern era of films being called horrors just because they’re filled to the brim with gore, it is a refreshing and welcome effort to actually try and get in the head of the viewer and create some genuine creeping fear.
I’d like very much to be able to say that it did it’s job to the full and that it will no doubt issue in a new era of psychological horrors, but, I must be honest. So, to that end: The Woman in Black, for all it’s integrity and it’s heart being in the right place, simply isn’t that good.
Daniel Radcliffe simply isn’t a good enough actor to carry a film, and this is a film that demanded a very strong central performance, given how much focus is centred on it’s main character. And for all it’s desire to create a psychological, atmospheric chill-fest, it’s still far too reliant on “jump-scares”, the scares becoming monotonous and formulaic. Horror 101: If you wish to snare your audience with a dense, atmospheric… atmosphere, then having a script that is repetitive to the point that you’re wondering whether or not the screenwriter is genuinely amnesic can be very counterproductive to the desired outcome. It isn’t long before you work out that the basic formula is tension-jump scare-downtime, repeat for about 90 minutes with intermittent and ultimately uninteresting plot elements thrown in every now and then in a vain and asinine attempt to add some direly needed freshness to the film. For what it’s worth, yes, I did jump throughout the film, if you want to call that horror then by all means be my guest, but the fact is, you can call a tomato a vegetable as much as you want, repeating it over and over again won’t make it anymore true, and repeating the same jump scare formula over and over again doesn’t make it any more scary.
Should I See It ?
If you just want some cheap scares, then give it a watch. Everyone else, move along, nothing to see here.
Overall Score: 52/100 (E Grade)
Summery
Daniel Radcliffe’s committed but inadequate central performance doesn’t do this repetitive, formulaic jump-scare filled film any favours.
Full Review
I, like many others, only really took an interest in The Woman in Black to examine how it’s leading actor, Daniel Radcliffe would perform outside his Potter comfort zone. To cut a long story short, Radcliffe neither shines nor fails, managing to give a performance containing the bare minimum needed for a pass, and nothing more. He looks scared, that’s about it. There is a scene near the beginning when his character, Arthur Kipps is looking in the mirror, thinking about his late wife that is about as good as Radcliffe’s performance gets, featuring one shot of pretty good emoting, but that’s the high point, and it’s not really high enough.
Now, with Radcliffe aside, we can get on with the film…
The cinema loving purist in me is finding it quite difficult to negatively review TWiB, despite the fact that I didn’t really like it all that much. Ultimately it’s a horror film that actually tries to be a horror film, it tries to create suspense, chills and genuine atmosphere, and it doesn’t do the worst conceivable job, and, for that, it is to be commended, in the modern era of films being called horrors just because they’re filled to the brim with gore, it is a refreshing and welcome effort to actually try and get in the head of the viewer and create some genuine creeping fear.
I’d like very much to be able to say that it did it’s job to the full and that it will no doubt issue in a new era of psychological horrors, but, I must be honest. So, to that end: The Woman in Black, for all it’s integrity and it’s heart being in the right place, simply isn’t that good.
Daniel Radcliffe simply isn’t a good enough actor to carry a film, and this is a film that demanded a very strong central performance, given how much focus is centred on it’s main character. And for all it’s desire to create a psychological, atmospheric chill-fest, it’s still far too reliant on “jump-scares”, the scares becoming monotonous and formulaic. Horror 101: If you wish to snare your audience with a dense, atmospheric… atmosphere, then having a script that is repetitive to the point that you’re wondering whether or not the screenwriter is genuinely amnesic can be very counterproductive to the desired outcome. It isn’t long before you work out that the basic formula is tension-jump scare-downtime, repeat for about 90 minutes with intermittent and ultimately uninteresting plot elements thrown in every now and then in a vain and asinine attempt to add some direly needed freshness to the film. For what it’s worth, yes, I did jump throughout the film, if you want to call that horror then by all means be my guest, but the fact is, you can call a tomato a vegetable as much as you want, repeating it over and over again won’t make it anymore true, and repeating the same jump scare formula over and over again doesn’t make it any more scary.
Should I See It ?
If you just want some cheap scares, then give it a watch. Everyone else, move along, nothing to see here.
Overall Score: 52/100 (E Grade)
15 March, 2012
The 1st Annual BWAP Awards
Best Film
- Hugo
- The Ides of March
- Drive
- Tinker, Tailor, Soldier, Spy
- We Need to Talk About Kevin
Best Director
- Martin Scorsese - Hugo
- Tomas Alfredson - Tinker, Tailor, Soldier, Spy
- Woody Allen - Midnight in Paris
- Terrence Malick - The Tree of Life
- Lynne Ramsey - We Need to Talk About Kevin
Best Actor
- Gary Oldman - Tinker, Tailor, Soldier, Spy
- Ryan Gosling - The Ides of March/Drive
- Asa Butterfield - Hugo
- Brad Pitt - The Tree of Life
- Owen Wilson - Midnight in Paris
Best Actress
- Rooney Mara - The Girl with the Dragon Tattoo
- Tilda Swinton - We Need to Talk About Kevin
- Kirsten Dunst - Melancholia
- Meryl Streep - The Iron Lady
- Kristen Wiig - Bridesmaids
Best Supporting Actor
- Kenneth Branagh - My Week with Marilyn
- Phillip Seymour-Hoffman - The Ides of March
- Benedict Cumberbatch - Tinker, Tailor, Soldier, Spy
- Ben Kingsley - Hugo
- Albert Brooks - Drive
Best Supporting Actress
- Carey Mulligan - Drive
- Evan Rachel-Wood - The Ides of March
- Marion Cotillard - Midnight in Paris
- Chloe-Grace Moretz - Hugo
- Charlotte Gainsbourg - Melancholia
Best Original Screenplay
- Woody Allen - Midnight in Paris
- Kristen Wiig - Bridesmaids
- Lars Von Trier - Melancholia
Best Adapted Screenplay
- George Clooney, Grant Heslov and Beau Willimon - The Ides of March
- Bridget O’ Conner and Peter Straughn - Tinker, Tailor, Soldier, Spy
- Lynne Ramsay and Rory Stewart Kinnear - We Need to Talk About Kevin
Best Visuals
- Hugo
- The Tree of Life
- Drive
Best Audio
- Drive
- Harry Potter and the Deathly Hallows Part 2
- Hugo
Best Ensemble
- The Ides of March
- Tinker, Tailor, Soldier, Spy
- Bridesmaids
- We Need to Talk About Kevin
- Hugo
06 March, 2012
The 1st Annual BWAP Awards: Nominees
Welcome one and all to the first ever Annual BWAP awards, where I shall be giving it awards to films that actually deserved them, as opposed to what happened at the BAFTA's, the Golden Globes, the Oscars and so on. Without further ado, these, are the nominations...
Best Film
Best Director
Best Actor
Best Actress
Best Supporting Actor
Best Supporting Actress
Best Original Screenplay
Best Adapted Screenplay
Best Visuals
Best Audio
Best Cast
Best Film
- Hugo
- The Ides of March
- Drive
- Tinker, Tailor, Soldier, Spy
- We Need to Talk About Kevin
Best Director
- Martin Scorsese - Hugo
- Tomas Alfredson - Tinker, Tailor, Soldier, Spy
- Woody Allen - Midnight in Paris
- Terrence Malick - The Tree of Life
- Lynne Ramsey - We Need to Talk About Kevin
Best Actor
- Gary Oldman - Tinker, Tailor, Soldier, Spy
- Ryan Gosling - The Ides of March/Drive
- Asa Butterfield - Hugo
- Brad Pitt - The Tree of Life
- Owen Wilson - Midnight in Paris
Best Actress
- Rooney Mara - The Girl with the Dragon Tattoo
- Tilda Swinton - We Need to Talk About Kevin
- Kirsten Dunst - Melancholia
- Meryl Streep - The Iron Lady
- Kristen Wiig - Bridesmaids
Best Supporting Actor
- John Hurt - Tinker, Tailor, Soldier, Spy/Melancholia
- Phillip Seymour-Hoffman - The Ides of March
- Benedict Cumberbatch - Tinker, Tailor, Soldier, Spy
- Ben Kingsley - Hugo
- Albert Brooks - Drive
Best Supporting Actress
- Carey Mulligan - Drive
- Evan Rachel-Wood - The Ides of March
- Marion Cotillard - Midnight in Paris
- Chloe-Grace Moretz - Hugo
- Charlotte Gainsbourg - Melancholia
Best Original Screenplay
- Woody Allen - Midnight in Paris
- Kristen Wiig - Bridesmaids
- Lars von Trier - Melancholia
Best Adapted Screenplay
- George Clooney, Grant Heslov and Beau Willimon - The Ides of March
- Bridget O’ Conner and Peter Straughn - Tinker, Tailor, Soldier, Spy
- Lynne Ramsay and Rory Stewart Kinnear - We Need to Talk About Kevin
Best Visuals
- Hugo
- The Tree of Life
- Drive
Best Audio
- Drive
- Harry Potter and the Deathly Hallows Part 2
- Hugo
Best Cast
- The Ides of March
- Tinker, Tailor, Soldier, Spy
- Drive
- We Need to Talk About Kevin
- Hugo
25 February, 2012
My 84th Academy Award Predictions: Final Amendments
Well, we are just one day away from the eagerly anticipated academy awards (although perhaps at this point we should just call them The Artist awards). After 20 days of reflection, the BAFTA's and other things, I have made a few key amendments to my final predictions:
Best Picture
Will Win: The Artist
Could Win: Hugo
Should Win: Hugo
Biggest Snub: The Ides of March
What I thought was a much closer race at the time of my last blog has now become almost a formality for Michael Hazanavicious’s love letter to cinema, The Artist. It has been gathering momentum, and it’s competitors’ momentum has been waning. All in all, I think it’s going to be a comfortable win for another supremely overrated film. If not The Artist, then Hugo is probably the next in line, but don’t hold your breath.
Best Director
Will Win: Michael Hazanavicius - The Artist
Could Win: Martin Scorsese - Hugo
Should Win: Terrence Malick - The Tree of Life
Biggest Snub: Bennet Miller - Moneyball
The race Best Director is a little more interesting. I predicted Scorsese to do well here in my last predictions, and after his Golden Globe win, I’ve seen nothing to change my mind. With that said, I didn’t think The Tree of Life, great film though it is, would trouble the Oscars this year, so if the Academy are in the mood to nominate it, perhaps they’re in the mood to give Terrence Malick a directing nod, where it fares a much better chance than the Best Picture category.
Best Actor
Will Win: Jean Dujardin - The Artist
Could Win: George Clooney - The Descendants
Should Win: Gary Oldman - Tinker, Tailor, Soldier, Spy
Biggest Snub: Michael Fassbinder -Shame/Leonardo DiCaprio - J. Edgar
What seemed to be sewn up for Clooney is now Dujardin’s oscar to lose, The Artist now being a full on juggernaut at this point, there aren’t many categories it won’t win in, and Dujardin will probably clinch the award here.
Best Actress
Will Win: Viola Davis - The Help
Could Win: Meryl Streep - The Iron Lady
Should Win: Rooney Mara - The Girl with the Dragon Tattoo
Biggest Snub: Tilda Swinton - We Need to Talk About Kevin
Probably the closest race in the major categories, the Best Actress award really could go either way, with Viola Davis and Meryl Streep set to battle it out for the statue. The Academy may wish to reward The Help, it would no doubt be seen as a good PR move, given The Help’s racially themed subject matter, but the Academy love Streep, and they love Britain, and they love seeing great Actors/Actresses giving great performances of British politicians during a time of strife in the country, such as war, such as The Falklands war, for those of you who don’t know your history. If you pushed me, I’d probably say Davis will take the award, but it really could go either way.
Best Supporting Actor
Will Win: Christopher Plummer - Beginners
Could Win: Kenneth Branagh - My Week with Marilyn
Should Win: Christopher Plummer - Beginners
Biggest Snub: Philip Seymour Hoffman - The Ides of March
I was going to stick my neck out and say Kenneth Branagh, but the overwhelming feeling that it’s Plummer’s Oscar to lose is just too irresistible to ignore. Still, Branagh could nick it, but I wouldn’t bet on it.
Best Supporting Actress
Will Win: Octavia Spencer - The Help
Could win: Bérénice Bejo - The Artist
Should Win: Idunnolol
Biggest Snub: Jodie Foster - Carnage
Spencer probably takes the statue, but I can’t help but feel that The Academy smuggling Bérénice Bejo into a category she clearly doesn’t belong might just be a sly ploy to give The Artist another award. It should also be said that the other three nominees are all in with a shot, and it’s shaping up to be a tight race.
Best Original Screenplay
Will Win: Michael Hazanavicius - The Artist
Could Win: Woody Allen - Midnight in Paris
Should Win: Woody Allen - Midnight in Paris
Biggest Snub: There really weren’t any
I really, really, really don’t want to say The Artist here, but I think I have to, after it’s BAFTA win, and given The Artist’s power going into the awards, I can’t see Midnight in Paris taking the award.
Best Adapted Screenplay
Will Win: Alexander Payne, Nat Faxon and Jim Rash - The Descendants
Could Win: Steven Zaillian and Aaron Sorkin - Moneyball
Should Win: George Clooney, Grant Heslov and Beau Willimon - The Ides of March
Biggest Snub: John Logan - Hugo
Difficult to predict, there’s no one powerhouse screenplay that seems poised to take the cake, I’m going to say The Descendants, but take it with a pinch of salt.
Best Animated Feature
Will Win: Rango
Could Win: Chico and Rita
Should Win: None of them
Biggest Snub: The Adventures of Tintin
After the baffling snub of The Adventures of Tintin, Rango is probably the most likely candidate to take the statue.
Best Foreign Film
Will Win: A Separation
Could Win: Bullhead
Should Win: A Separation
Biggest Snub: I don’t see many foreign films lol
I’m not quite as confident in this prediction as I was, but I still think A Separation will take it
My knowledge gets a little hazy and my predictions less well informed after this point, so take everything after this with a pinch of salt
Best Documentaries/Short films
Haven’t a clue, I’d be flat out guessing here
Best Original Score
Will Win: Ludovic Bource - The Artist
Could Win: John Williams - The Adventures of Tintin
Should Win: Howard Shore - Hugo
Best Original Song
Will Win: “Man or Muppet” - The Muppets
Could Win: Well, “Real in Rio” - Rio, seeing as it’s the only other nominee
Should Win: Haven’t heard either of them
Best Sound Editing
Will Win: Lon Bender and Victor Ray Ennis - Drive
Could Win: Ren Klyce - The Girl with the Dragon Tattoo
Should Win: Lon Bender and Victor Ray Ennis - Drive
Best Sound Mixing
Will Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Could Win: Greg P. Russell, Gary Summers, Jeffrey J. Haboush, Peter J. Devlin - Transformers: Dark of the Moon
Should Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Best Art Direction
Will Win: Hugo
Could Win: Harry Potter and the Deathly Hallows Part 2
Should Win: Hugo
Best Cinematography
Will Win: Guillaume Schiffman - The Artist
Could Win: Robert Richardson - Hugo
Should Win: Robert Richardson - Hugo
Best Makeup
Will Win: Mark Coulier and J. Roy Helland - The Iron Lady
Could Win: Nick Dudman, Amanda Knight and Lisa Tomblin - Harry Potter and the Deathly Hallows Part 2
Should Win: Mark Coulier and J. Roy Helland - The Iron Lady
Best Costume Design
Will Win: Mark Bridges - The Artist
Could Win: Sandy Powell - Hugo
Should Win: Sandy Powell - Hugo
Best Film Editing
Will Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Could Win: Thelma Schoonmaker - Hugo
Should Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Best Visual Effects
Will Win: Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barret - Rise of the Planet of the Apes
Could Win: Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
Should Win: Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
Best Picture
Will Win: The Artist
Could Win: Hugo
Should Win: Hugo
Biggest Snub: The Ides of March
What I thought was a much closer race at the time of my last blog has now become almost a formality for Michael Hazanavicious’s love letter to cinema, The Artist. It has been gathering momentum, and it’s competitors’ momentum has been waning. All in all, I think it’s going to be a comfortable win for another supremely overrated film. If not The Artist, then Hugo is probably the next in line, but don’t hold your breath.
Best Director
Will Win: Michael Hazanavicius - The Artist
Could Win: Martin Scorsese - Hugo
Should Win: Terrence Malick - The Tree of Life
Biggest Snub: Bennet Miller - Moneyball
The race Best Director is a little more interesting. I predicted Scorsese to do well here in my last predictions, and after his Golden Globe win, I’ve seen nothing to change my mind. With that said, I didn’t think The Tree of Life, great film though it is, would trouble the Oscars this year, so if the Academy are in the mood to nominate it, perhaps they’re in the mood to give Terrence Malick a directing nod, where it fares a much better chance than the Best Picture category.
Best Actor
Will Win: Jean Dujardin - The Artist
Could Win: George Clooney - The Descendants
Should Win: Gary Oldman - Tinker, Tailor, Soldier, Spy
Biggest Snub: Michael Fassbinder -Shame/Leonardo DiCaprio - J. Edgar
What seemed to be sewn up for Clooney is now Dujardin’s oscar to lose, The Artist now being a full on juggernaut at this point, there aren’t many categories it won’t win in, and Dujardin will probably clinch the award here.
Best Actress
Will Win: Viola Davis - The Help
Could Win: Meryl Streep - The Iron Lady
Should Win: Rooney Mara - The Girl with the Dragon Tattoo
Biggest Snub: Tilda Swinton - We Need to Talk About Kevin
Probably the closest race in the major categories, the Best Actress award really could go either way, with Viola Davis and Meryl Streep set to battle it out for the statue. The Academy may wish to reward The Help, it would no doubt be seen as a good PR move, given The Help’s racially themed subject matter, but the Academy love Streep, and they love Britain, and they love seeing great Actors/Actresses giving great performances of British politicians during a time of strife in the country, such as war, such as The Falklands war, for those of you who don’t know your history. If you pushed me, I’d probably say Davis will take the award, but it really could go either way.
Best Supporting Actor
Will Win: Christopher Plummer - Beginners
Could Win: Kenneth Branagh - My Week with Marilyn
Should Win: Christopher Plummer - Beginners
Biggest Snub: Philip Seymour Hoffman - The Ides of March
I was going to stick my neck out and say Kenneth Branagh, but the overwhelming feeling that it’s Plummer’s Oscar to lose is just too irresistible to ignore. Still, Branagh could nick it, but I wouldn’t bet on it.
Best Supporting Actress
Will Win: Octavia Spencer - The Help
Could win: Bérénice Bejo - The Artist
Should Win: Idunnolol
Biggest Snub: Jodie Foster - Carnage
Spencer probably takes the statue, but I can’t help but feel that The Academy smuggling Bérénice Bejo into a category she clearly doesn’t belong might just be a sly ploy to give The Artist another award. It should also be said that the other three nominees are all in with a shot, and it’s shaping up to be a tight race.
Best Original Screenplay
Will Win: Michael Hazanavicius - The Artist
Could Win: Woody Allen - Midnight in Paris
Should Win: Woody Allen - Midnight in Paris
Biggest Snub: There really weren’t any
I really, really, really don’t want to say The Artist here, but I think I have to, after it’s BAFTA win, and given The Artist’s power going into the awards, I can’t see Midnight in Paris taking the award.
Best Adapted Screenplay
Will Win: Alexander Payne, Nat Faxon and Jim Rash - The Descendants
Could Win: Steven Zaillian and Aaron Sorkin - Moneyball
Should Win: George Clooney, Grant Heslov and Beau Willimon - The Ides of March
Biggest Snub: John Logan - Hugo
Difficult to predict, there’s no one powerhouse screenplay that seems poised to take the cake, I’m going to say The Descendants, but take it with a pinch of salt.
Best Animated Feature
Will Win: Rango
Could Win: Chico and Rita
Should Win: None of them
Biggest Snub: The Adventures of Tintin
After the baffling snub of The Adventures of Tintin, Rango is probably the most likely candidate to take the statue.
Best Foreign Film
Will Win: A Separation
Could Win: Bullhead
Should Win: A Separation
Biggest Snub: I don’t see many foreign films lol
I’m not quite as confident in this prediction as I was, but I still think A Separation will take it
My knowledge gets a little hazy and my predictions less well informed after this point, so take everything after this with a pinch of salt
Best Documentaries/Short films
Haven’t a clue, I’d be flat out guessing here
Best Original Score
Will Win: Ludovic Bource - The Artist
Could Win: John Williams - The Adventures of Tintin
Should Win: Howard Shore - Hugo
Best Original Song
Will Win: “Man or Muppet” - The Muppets
Could Win: Well, “Real in Rio” - Rio, seeing as it’s the only other nominee
Should Win: Haven’t heard either of them
Best Sound Editing
Will Win: Lon Bender and Victor Ray Ennis - Drive
Could Win: Ren Klyce - The Girl with the Dragon Tattoo
Should Win: Lon Bender and Victor Ray Ennis - Drive
Best Sound Mixing
Will Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Could Win: Greg P. Russell, Gary Summers, Jeffrey J. Haboush, Peter J. Devlin - Transformers: Dark of the Moon
Should Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Best Art Direction
Will Win: Hugo
Could Win: Harry Potter and the Deathly Hallows Part 2
Should Win: Hugo
Best Cinematography
Will Win: Guillaume Schiffman - The Artist
Could Win: Robert Richardson - Hugo
Should Win: Robert Richardson - Hugo
Best Makeup
Will Win: Mark Coulier and J. Roy Helland - The Iron Lady
Could Win: Nick Dudman, Amanda Knight and Lisa Tomblin - Harry Potter and the Deathly Hallows Part 2
Should Win: Mark Coulier and J. Roy Helland - The Iron Lady
Best Costume Design
Will Win: Mark Bridges - The Artist
Could Win: Sandy Powell - Hugo
Should Win: Sandy Powell - Hugo
Best Film Editing
Will Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Could Win: Thelma Schoonmaker - Hugo
Should Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Best Visual Effects
Will Win: Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barret - Rise of the Planet of the Apes
Could Win: Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
Should Win: Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
Tinker, Tailor, Soldier, Spy Review
Summery
Engaging, superbly acted, elegantly written and expertly brought together, Tinker, Tailor, Soldier, Spy is a rampant success on every level, with a particularly standout turn from Gary Oldman
Full Review
Tomas Alfredson is quickly becoming one of my favourite directors. After his 2008 vampire masterpiece, the majestic “Let the Right One In”, my hopes where high that he would be able to deliver on this adaptation of John le Carré’s classic espionage tale: Tinker, Tailor, Soldier, Spy.
Alfredson demonstrates his directorial range in a film that is a very different beast to Let the Right One In, but carries a few fundamental similarities. As with Let the Right One In, the star of the film really is the tone of the film its self, as Alfredson masterfully creates a world that, while often gloomy and industrial feeling, manages to feel deep and fleshed out without ever really seeming to try too hard at all. It’s a dark and gloomy film with a complex and engaging narrative, it would have been an easy film to lose control and make a mess of, and without a master film-maker, there is a lot that could have gone wrong. Fortunately, Tomas Alfredson seems to be just that. Alfredson is a director with an unparalleled control of tone and mood, in addition to being an all round brilliant film-maker, and it shines through in every scene.
Tinker, Tailor gets so much right that’s hard to know where to begin, but one could do worse than start with one of the most talented casts ever assembled in any film, and it pays, delivering as good an ensemble performance as I can remember seeing. Gary Oldman is a roaring wonder in the main role as George Smiley, a British spy, forced out of British intelligence, but asked to come out of retirement to find a suspected mole. It’s a subtle, elegant performance from one of the most talented British actors of his generation, and probably the best lead performance in 2011. John Hurt and Benedict Cumberbatch in particular stand out, amongst the supporting characters, Cumberbatch in particular delivering a teriffic performance. Arguably the best scene of the film comes from a dialogue between Oldman and Cumberbatch that I wouldn't dream of spoiling, but it replays in my head as I write.
But what are great actors without great writing, and Bridget O’ Connor and Peter Straughn deliver a belter of a screenplay. Tinker, Tailor is about 90% dialogue, and a film like that just doesn’t work without great writing, it will make or break a film, and in this case, Tinker, Tailor delivers with panache and flair, without ever succumbing to flamboyance, it’s not a Social Network screenplay where the script steals the show. Rather, it gives the actors and the film exactly what they require to do their jobs to the fullest, in addition to a few show-stealing moments (particularly the aforementioned scene between Oldman and Cumberbatch). As much as the film gets right, I would be shirking my responsibilities if I were not to add, without giving anything away, that the ending does feel a little anticlimactic. It’s not bad by any stretch of the imagination, but I couldn’t help but feel somewhat let down by an ending that the film had been building so brilliantly towards. That aside however, Tinker, Tailor, Soldier, Spy is a masterful piece of work, every man and woman in the process working magic, every cog in the machine doing it’s job, creating a phenomenal ensemble piece, the kind that only comes along a few times a decade, and that should be appreciated and heralded as what it is… a pretty damn good film.
Should I see it?
Tinker, Tailor doesn’t treat you like a child, and if you’re the sort of viewer who just wants a bit of escapism and popcorn for a few hours, than maybe give it a miss. But for the more intelligent and demanding viewer, don’t miss it for the world. See it ASAP.
Overall Score: 88
Engaging, superbly acted, elegantly written and expertly brought together, Tinker, Tailor, Soldier, Spy is a rampant success on every level, with a particularly standout turn from Gary Oldman
Full Review
Tomas Alfredson is quickly becoming one of my favourite directors. After his 2008 vampire masterpiece, the majestic “Let the Right One In”, my hopes where high that he would be able to deliver on this adaptation of John le Carré’s classic espionage tale: Tinker, Tailor, Soldier, Spy.
Alfredson demonstrates his directorial range in a film that is a very different beast to Let the Right One In, but carries a few fundamental similarities. As with Let the Right One In, the star of the film really is the tone of the film its self, as Alfredson masterfully creates a world that, while often gloomy and industrial feeling, manages to feel deep and fleshed out without ever really seeming to try too hard at all. It’s a dark and gloomy film with a complex and engaging narrative, it would have been an easy film to lose control and make a mess of, and without a master film-maker, there is a lot that could have gone wrong. Fortunately, Tomas Alfredson seems to be just that. Alfredson is a director with an unparalleled control of tone and mood, in addition to being an all round brilliant film-maker, and it shines through in every scene.
Tinker, Tailor gets so much right that’s hard to know where to begin, but one could do worse than start with one of the most talented casts ever assembled in any film, and it pays, delivering as good an ensemble performance as I can remember seeing. Gary Oldman is a roaring wonder in the main role as George Smiley, a British spy, forced out of British intelligence, but asked to come out of retirement to find a suspected mole. It’s a subtle, elegant performance from one of the most talented British actors of his generation, and probably the best lead performance in 2011. John Hurt and Benedict Cumberbatch in particular stand out, amongst the supporting characters, Cumberbatch in particular delivering a teriffic performance. Arguably the best scene of the film comes from a dialogue between Oldman and Cumberbatch that I wouldn't dream of spoiling, but it replays in my head as I write.
But what are great actors without great writing, and Bridget O’ Connor and Peter Straughn deliver a belter of a screenplay. Tinker, Tailor is about 90% dialogue, and a film like that just doesn’t work without great writing, it will make or break a film, and in this case, Tinker, Tailor delivers with panache and flair, without ever succumbing to flamboyance, it’s not a Social Network screenplay where the script steals the show. Rather, it gives the actors and the film exactly what they require to do their jobs to the fullest, in addition to a few show-stealing moments (particularly the aforementioned scene between Oldman and Cumberbatch). As much as the film gets right, I would be shirking my responsibilities if I were not to add, without giving anything away, that the ending does feel a little anticlimactic. It’s not bad by any stretch of the imagination, but I couldn’t help but feel somewhat let down by an ending that the film had been building so brilliantly towards. That aside however, Tinker, Tailor, Soldier, Spy is a masterful piece of work, every man and woman in the process working magic, every cog in the machine doing it’s job, creating a phenomenal ensemble piece, the kind that only comes along a few times a decade, and that should be appreciated and heralded as what it is… a pretty damn good film.
Should I see it?
Tinker, Tailor doesn’t treat you like a child, and if you’re the sort of viewer who just wants a bit of escapism and popcorn for a few hours, than maybe give it a miss. But for the more intelligent and demanding viewer, don’t miss it for the world. See it ASAP.
Overall Score: 88
19 February, 2012
On the Horizon...
I generally don’t enjoy doing “I’m gonna do this at some point” blogs, but I have nothing to write about this weekend because the one chance I got to go to the cinema, I had to watch The Phantom Menace in 3D and… I’m pretty sure you can guess how that went (about the same as it went in ‘99). In any case, here’s what’s coming up:
Amendments are to be made to my Oscar predictions ahead of the ceremony this coming Sunday
The first ever BWAP awards, as I give out awards to the films that actually deserved, as opposed to what will be going down in California in six days time and also my Top 10 films of 2011 (don’t expect either of those for about a month, I need to catch up on all the films I missed)
The first chapter of The Story of Our Universe, yes, I haven’t forgotten, it’s a large undertaking, bear with me, chapter one is almost done and is on the way
I will aiming to get more consistency into my blogging, I’m currently in the process of moving country and haven’t had a stable internet connection since October, so bear with me. In a few weeks time, ideally I’ll be aiming for three blogs a week, including a film review on Saturday.
More religious/atheistic/science blogs, the blog hasn’t become exclusively for films, although that has become it’s core, I will be doing plenty of blogs on the topics of religion and science, including The Story of Our Universe and many others.
And plenty more, but definitely expect those things over the next month or so.
Amendments are to be made to my Oscar predictions ahead of the ceremony this coming Sunday
The first ever BWAP awards, as I give out awards to the films that actually deserved, as opposed to what will be going down in California in six days time and also my Top 10 films of 2011 (don’t expect either of those for about a month, I need to catch up on all the films I missed)
The first chapter of The Story of Our Universe, yes, I haven’t forgotten, it’s a large undertaking, bear with me, chapter one is almost done and is on the way
I will aiming to get more consistency into my blogging, I’m currently in the process of moving country and haven’t had a stable internet connection since October, so bear with me. In a few weeks time, ideally I’ll be aiming for three blogs a week, including a film review on Saturday.
More religious/atheistic/science blogs, the blog hasn’t become exclusively for films, although that has become it’s core, I will be doing plenty of blogs on the topics of religion and science, including The Story of Our Universe and many others.
And plenty more, but definitely expect those things over the next month or so.
10 February, 2012
Midnight in Paris Review
Summery
Allen’s confident, masterful direction and writing, combined with a charming performance from Owen Wilson create a heart-warming feel-good film that revels in it’s characters and themes and makes them shine.
Full Review
It might be committing some form of critic suicide to say that up until watching Midnight in Paris, I had never seen a Woody Allen film, but I won’t hesitate in saying that this very unique movie makes me want to explore his work further. And it is, truly, a unique film. There aren’t many films that can get away with not giving a shred of explanation to their central plot point, but Midnight in Paris manages it, indeed, it works to the films advantage.
Midnight in Paris tells the story of Gil Pender, played by Owen Wilson, a successful but unfulfilled Hollywood screenwriter, currently making his first tentative foray into the world of fictional literature. He and his fiancé are in Paris, the reason for which is never explicitly stated, again, to the films advantage, and every night at midnight, Gil finds himself able to travel back to the time and place he most wants to be: Paris in the 1920’s. He meets and liaises with famous artists of the time, such as Ernest Hemmingway and Pablo Picasso, and eventually, a beautiful woman named Adrianna, played by Marion Cotillard.
How Gil is able to make time his proverbial “bitch” isn’t explained, and doesn’t need to be, because it isn’t an issue that one fixates over, it’s an irrelevance, taking a backseat to Gil’s nocturnal adventures that bring him such clear joy, one can’t help but revel in the experience with him. Credit must go to Owen Wilson who, while I won’t for a moment pretend that he possesses a modicum of dramatic depth or hasn’t made some truly awful career choices, gives a great performance in a role that admittedly suits him down to the ground. The writing is great as well, and it and Wilson’s performance really bring to life and flesh out Gil as a character. He’s a charming character at the heart of a charming film, and it would take a very hard heart indeed to not experience the infectious feel-good nature that Midnight in Paris exudes. Marion Cotillard gives a good performance as well, and the two have a wonderful chemistry together.
It’s simply a brilliantly well made film from start to finish, every cog in the machine doing it’s job with panache, and Allen fully deserves his Best Director academy award nomination, in addition to it being one of the best written films of the year. The film is also shot beautifully, there are some truly lovely shots of Paris, and the camera knows when to take a step back and when to create a more intimate feel. It can’t be understated what great camerawork can do to suck the viewer into the film, a fact which Midnight in Paris doesn’t ignore, and when it’s combined with Wilson and Cotillard’s great chemistry, it leads to some beautiful scenes, which make up, on the whole, a beautiful film.
Should I see it?
It’s hard to conceive of a type of viewer who wouldn’t enjoy Midnight in Paris from start to finish. Definitely see it.
Allen’s confident, masterful direction and writing, combined with a charming performance from Owen Wilson create a heart-warming feel-good film that revels in it’s characters and themes and makes them shine.
Full Review
It might be committing some form of critic suicide to say that up until watching Midnight in Paris, I had never seen a Woody Allen film, but I won’t hesitate in saying that this very unique movie makes me want to explore his work further. And it is, truly, a unique film. There aren’t many films that can get away with not giving a shred of explanation to their central plot point, but Midnight in Paris manages it, indeed, it works to the films advantage.
Midnight in Paris tells the story of Gil Pender, played by Owen Wilson, a successful but unfulfilled Hollywood screenwriter, currently making his first tentative foray into the world of fictional literature. He and his fiancé are in Paris, the reason for which is never explicitly stated, again, to the films advantage, and every night at midnight, Gil finds himself able to travel back to the time and place he most wants to be: Paris in the 1920’s. He meets and liaises with famous artists of the time, such as Ernest Hemmingway and Pablo Picasso, and eventually, a beautiful woman named Adrianna, played by Marion Cotillard.
How Gil is able to make time his proverbial “bitch” isn’t explained, and doesn’t need to be, because it isn’t an issue that one fixates over, it’s an irrelevance, taking a backseat to Gil’s nocturnal adventures that bring him such clear joy, one can’t help but revel in the experience with him. Credit must go to Owen Wilson who, while I won’t for a moment pretend that he possesses a modicum of dramatic depth or hasn’t made some truly awful career choices, gives a great performance in a role that admittedly suits him down to the ground. The writing is great as well, and it and Wilson’s performance really bring to life and flesh out Gil as a character. He’s a charming character at the heart of a charming film, and it would take a very hard heart indeed to not experience the infectious feel-good nature that Midnight in Paris exudes. Marion Cotillard gives a good performance as well, and the two have a wonderful chemistry together.
It’s simply a brilliantly well made film from start to finish, every cog in the machine doing it’s job with panache, and Allen fully deserves his Best Director academy award nomination, in addition to it being one of the best written films of the year. The film is also shot beautifully, there are some truly lovely shots of Paris, and the camera knows when to take a step back and when to create a more intimate feel. It can’t be understated what great camerawork can do to suck the viewer into the film, a fact which Midnight in Paris doesn’t ignore, and when it’s combined with Wilson and Cotillard’s great chemistry, it leads to some beautiful scenes, which make up, on the whole, a beautiful film.
Should I see it?
It’s hard to conceive of a type of viewer who wouldn’t enjoy Midnight in Paris from start to finish. Definitely see it.
04 February, 2012
The 84th Annual Academy Awards: Final Predictions
Well we are into February, and we’re just 21 days away from the 84th annual Academy Awards. A while back a did a blog predicting the nominees, and now I’m going to try and predict the winners. Let’s not waste any time, and dive straight in
Best Picture
Will Win: The Artist
Could Win: The Descendants
Should Win: Hugo
Biggest Snub: The Ides of March
What I thought was a much closer race at the time of my last blog has now become almost a formality for Michael Hazanavicious’s love letter to cinema, The Artist. It has been gathering momentum, and it’s competitors’ momentum has been waning. All in all, I think it’s going to be a comfortable win for another supremely overrated film. If not The Artist, then The Descendants is probably the next in line, but don’t hold your breath.
Best Director
Will Win: Martin Scorsese - Hugo
Could Win: Terrence Malick - The Tree of Life
Should Win: Martin Scorsese - Hugo
Biggest Snub: Bennet Miller - Moneyball
The race Best Director is a little more interesting. I predicted Scorsese to do well here in my last predictions, and after his Golden Globe win, I’ve seen nothing to change my mind. With that said, I didn’t think The Tree of Life, great film though it is, would trouble the Oscars this year, so if the Academy are in the mood to nominate it, perhaps they’re in the mood to give Terrence Malick a directing nod, where it fares a much better chance than the Best Picture category.
Best Actor
Will Win: George Clooney - The Descendants
Could Win: Brad Pitt - Moneyball
Should Win: Gary Oldman - Tinker, Tailor, Soldier, Spy
Biggest Snub: Michael Fassbinder -Shame/Leonardo DiCaprio - J. Edgar
The Best Actor race looks pretty straightforward, with Clooney looking the odds on favourite to take home the statue. Brad Pitt could cause an upset, but it’s Clooney’s Oscar to lose.
Best Actress
Could Win: Viola Davis - The Help
Could Win: Meryl Streep - The Iron Lady
Should Win: Rooney Mara - The Girl with the Dragon Tattoo
Biggest Snub: Tilda Swinton - We Need to Talk About Kevin
Probably the closest race in the major categories, the Best Actress award really could go either way, with Viola Davis and Meryl Streep set to battle it out for the statue. The Academy may wish to reward The help, it would no doubt be seen as a good PR move, given The Help’s racially themed subject matter, but the Academy love Streep, and they love Britain, and they love seeing great Actors/Actresses giving great performances of British politicians during a time of strife in the country, such as war, such as The Falklands war, for those of you who don’t know your history. If you pushed me, I’d probably say Streep will take the award, but it really could go either way.
Best Supporting Actor
Will Win: Kenneth Branagh - My Week with Marilyn
Could Win: Christopher Plummer - Beginners
Should Win: Christopher Plummer - Beginners
Biggest Snub: Philip Seymour Hoffman - The Ides of March
Yeah, this is definitely my “stick-your-neck-out” prediction of this year, everyone and their mother things Plummer is going to take home the statue, but personally, I’m not feeling it, I think the hype behind Plummer’s performance has set him up to fall victim to a scalp, and I think the most likely source is Kenneth Branagh as Sir Lawrence Olivier, it’s the kind of role and the kind of actor that The Academy positively drools over, and it may be going against conventional wisdom, but I think Branagh is going to nick it
Best Supporting Actress
Will Win: Octavia Spencer - The Help
Could win: Bérénice Bejo - The Artist
Should Win: Idunnolol
Biggest Snub: Shailene Woodley - The Descendants
Spencer probably takes the statue, but I can’t help but feel that The Academy smuggling Bérénice Bejo into a category she clearly doesn’t belong might just be a sly ploy to give The Artist another award. It should also be said that the other three nominees are all in with a shot, and it’s shaping up to be a tight race.
Best Original Screenplay
Will Win: Woody Allen - Midnight in Paris
Could Win: Michael Hazanavicius - The Artist
Should Win: Woody Allen - Midnight in Paris
Biggest Snub: There really weren’t any
All in all, it’s very difficult to see this going to anything except Midnight in Paris. The Artist is probably the most likely film to cause an upset, but I’d say Midnight in Paris is a pretty safe bet.
Best Adapted Screenplay
Will Win: Steven Zaillian and Aaron Sorkin - Moneyball
Could Win: George Clooney, Grant Heslov and Beau Willimon - The Ides of March
Should Win: George Clooney, Grant Heslov and Beau Willimon - The Ides of March
Biggest Snub: Idunnolol
Difficult to predict, there’s no one powerhouse screenplay that seems poised to take the cake, I’m going to say Moneyball, but take it with a pinch of salt.
Best Animated Feature
Will Win: Rango
Could Win: Chico and Rita
Should Win: None of them
Biggest Snub: The Adventures of Tintin
After the baffling snub of The Adventures of Tintin, Rango is probably the most likely candidate to take the statue.
Best Foreign Film
Will Win: A Seperation
Could Win: Nothing Else
Should Win: A Seperation
Biggest Snub: I don’t see many foreign films lol
Easiest call anyone will make all night, A Seperation will win, hands down.
My knowledge gets a little hazy and my predictions less well informed after this point, so take everything after this with a pinch of salt
Best Documentaries/Short films
Haven’t a clue, I’d be flat out guessing here
Best Original Score
Will Win: Ludovic Bource - The Artist
Could Win: John Williams - The Adventures of Tintin
Should Win: Howard Shore - Hugo
Best Original Song
Will Win: “Man or Muppet” - The Muppets
Could Win: Well, “Real in Rio” - Rio, seeing as it’s the only other nominee
Should Win: Haven’t heard either of them
Best Sound Editing
Will Win: Lon Bender and Victor Ray Ennis - Drive
Could Win: Ren Klyce - The Girl with the Dragon Tattoo
Should Win: Lon Bender and Victor Ray Ennis - Drive
Best Sound Mixing
Will Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Could Win: Greg P. Russell, Gary Summers, Jeffrey J. Haboush, Peter J. Devlin - Transformers: Dark of the Moon
Should Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Best Art Direction
Will Win: The Artist
Could Win: Harry Potter and the Deathly Hallows Part 2
Should Win: Harry Potter and the Deathly Hallows Part 2
Best Cinematography
Will Win: Robert Richardson - Hugo
Could Win: Jeff Cronenweth - The Girl with the Dragon Tattoo
Should Win: Robert Richardson - Hugo
Best Makeup
Will Win: Nick Dudman, Amanda Knight and Lisa Tomblin - Harry Potter and the Deathly Hallows Part 2
Could Win: Mark Coulier and J. Roy Helland - The Iron Lady
Should Win: Mark Coulier and J. Roy Helland - The Iron Lady
Best Costume Design
Will Win: Mark Bridges - The Artist
Could Win: Anonymous - Lisy Christl
Should Win: Sandy Powell - Hugo
Best Film Editing
Will Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Could Win: Thelma Schoonmaker - Hugo
Should Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Best Visual Effects
Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
Could Win: Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barret - Rise of the Planet of the Apes
Should Win: Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
Best Picture
Will Win: The Artist
Could Win: The Descendants
Should Win: Hugo
Biggest Snub: The Ides of March
What I thought was a much closer race at the time of my last blog has now become almost a formality for Michael Hazanavicious’s love letter to cinema, The Artist. It has been gathering momentum, and it’s competitors’ momentum has been waning. All in all, I think it’s going to be a comfortable win for another supremely overrated film. If not The Artist, then The Descendants is probably the next in line, but don’t hold your breath.
Best Director
Will Win: Martin Scorsese - Hugo
Could Win: Terrence Malick - The Tree of Life
Should Win: Martin Scorsese - Hugo
Biggest Snub: Bennet Miller - Moneyball
The race Best Director is a little more interesting. I predicted Scorsese to do well here in my last predictions, and after his Golden Globe win, I’ve seen nothing to change my mind. With that said, I didn’t think The Tree of Life, great film though it is, would trouble the Oscars this year, so if the Academy are in the mood to nominate it, perhaps they’re in the mood to give Terrence Malick a directing nod, where it fares a much better chance than the Best Picture category.
Best Actor
Will Win: George Clooney - The Descendants
Could Win: Brad Pitt - Moneyball
Should Win: Gary Oldman - Tinker, Tailor, Soldier, Spy
Biggest Snub: Michael Fassbinder -Shame/Leonardo DiCaprio - J. Edgar
The Best Actor race looks pretty straightforward, with Clooney looking the odds on favourite to take home the statue. Brad Pitt could cause an upset, but it’s Clooney’s Oscar to lose.
Best Actress
Could Win: Viola Davis - The Help
Could Win: Meryl Streep - The Iron Lady
Should Win: Rooney Mara - The Girl with the Dragon Tattoo
Biggest Snub: Tilda Swinton - We Need to Talk About Kevin
Probably the closest race in the major categories, the Best Actress award really could go either way, with Viola Davis and Meryl Streep set to battle it out for the statue. The Academy may wish to reward The help, it would no doubt be seen as a good PR move, given The Help’s racially themed subject matter, but the Academy love Streep, and they love Britain, and they love seeing great Actors/Actresses giving great performances of British politicians during a time of strife in the country, such as war, such as The Falklands war, for those of you who don’t know your history. If you pushed me, I’d probably say Streep will take the award, but it really could go either way.
Best Supporting Actor
Will Win: Kenneth Branagh - My Week with Marilyn
Could Win: Christopher Plummer - Beginners
Should Win: Christopher Plummer - Beginners
Biggest Snub: Philip Seymour Hoffman - The Ides of March
Yeah, this is definitely my “stick-your-neck-out” prediction of this year, everyone and their mother things Plummer is going to take home the statue, but personally, I’m not feeling it, I think the hype behind Plummer’s performance has set him up to fall victim to a scalp, and I think the most likely source is Kenneth Branagh as Sir Lawrence Olivier, it’s the kind of role and the kind of actor that The Academy positively drools over, and it may be going against conventional wisdom, but I think Branagh is going to nick it
Best Supporting Actress
Will Win: Octavia Spencer - The Help
Could win: Bérénice Bejo - The Artist
Should Win: Idunnolol
Biggest Snub: Shailene Woodley - The Descendants
Spencer probably takes the statue, but I can’t help but feel that The Academy smuggling Bérénice Bejo into a category she clearly doesn’t belong might just be a sly ploy to give The Artist another award. It should also be said that the other three nominees are all in with a shot, and it’s shaping up to be a tight race.
Best Original Screenplay
Will Win: Woody Allen - Midnight in Paris
Could Win: Michael Hazanavicius - The Artist
Should Win: Woody Allen - Midnight in Paris
Biggest Snub: There really weren’t any
All in all, it’s very difficult to see this going to anything except Midnight in Paris. The Artist is probably the most likely film to cause an upset, but I’d say Midnight in Paris is a pretty safe bet.
Best Adapted Screenplay
Will Win: Steven Zaillian and Aaron Sorkin - Moneyball
Could Win: George Clooney, Grant Heslov and Beau Willimon - The Ides of March
Should Win: George Clooney, Grant Heslov and Beau Willimon - The Ides of March
Biggest Snub: Idunnolol
Difficult to predict, there’s no one powerhouse screenplay that seems poised to take the cake, I’m going to say Moneyball, but take it with a pinch of salt.
Best Animated Feature
Will Win: Rango
Could Win: Chico and Rita
Should Win: None of them
Biggest Snub: The Adventures of Tintin
After the baffling snub of The Adventures of Tintin, Rango is probably the most likely candidate to take the statue.
Best Foreign Film
Will Win: A Seperation
Could Win: Nothing Else
Should Win: A Seperation
Biggest Snub: I don’t see many foreign films lol
Easiest call anyone will make all night, A Seperation will win, hands down.
My knowledge gets a little hazy and my predictions less well informed after this point, so take everything after this with a pinch of salt
Best Documentaries/Short films
Haven’t a clue, I’d be flat out guessing here
Best Original Score
Will Win: Ludovic Bource - The Artist
Could Win: John Williams - The Adventures of Tintin
Should Win: Howard Shore - Hugo
Best Original Song
Will Win: “Man or Muppet” - The Muppets
Could Win: Well, “Real in Rio” - Rio, seeing as it’s the only other nominee
Should Win: Haven’t heard either of them
Best Sound Editing
Will Win: Lon Bender and Victor Ray Ennis - Drive
Could Win: Ren Klyce - The Girl with the Dragon Tattoo
Should Win: Lon Bender and Victor Ray Ennis - Drive
Best Sound Mixing
Will Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Could Win: Greg P. Russell, Gary Summers, Jeffrey J. Haboush, Peter J. Devlin - Transformers: Dark of the Moon
Should Win: David Parker, Ren Klyce, Michael Semanik and Bo Persson - The Girl with the Dragon Tattoo
Best Art Direction
Will Win: The Artist
Could Win: Harry Potter and the Deathly Hallows Part 2
Should Win: Harry Potter and the Deathly Hallows Part 2
Best Cinematography
Will Win: Robert Richardson - Hugo
Could Win: Jeff Cronenweth - The Girl with the Dragon Tattoo
Should Win: Robert Richardson - Hugo
Best Makeup
Will Win: Nick Dudman, Amanda Knight and Lisa Tomblin - Harry Potter and the Deathly Hallows Part 2
Could Win: Mark Coulier and J. Roy Helland - The Iron Lady
Should Win: Mark Coulier and J. Roy Helland - The Iron Lady
Best Costume Design
Will Win: Mark Bridges - The Artist
Could Win: Anonymous - Lisy Christl
Should Win: Sandy Powell - Hugo
Best Film Editing
Will Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Could Win: Thelma Schoonmaker - Hugo
Should Win: Angus Wall and Kirk Baxter - The Girl with the Dragon Tattoo
Best Visual Effects
Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
Could Win: Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barret - Rise of the Planet of the Apes
Should Win: Will Win: Tim Burke, David Vickery, Greg Butler and John Richardson - Harry Potter and the Deathly Hallows Part 2
27 January, 2012
Review: Drive
Summery
A slick, well crafted success, Drive expertly blends adrenaline with pathos, and is an engaging thrill-ride with plenty of substance to go with it’s style.
Full Review
Ryan Gosling is the rising star in Hollywood at the moment. In 2011 he appeared in two of the years best films. One was The Ides of March. The other was Drive. At bottom, Drive is an action film, but it’s no Mission Impossible or Pirates of the Caribbean, it does so much more than throw as many fast paced scenes into a 90-minute window as it can. Drive is slick, smart, emotionally substantive, and, as has been pointed out by every one else on the internet, very stylish.
Ryan Gosling stars as a man simply known as “The Driver”, a mechanic who works part time as a stuntman, and part part time as a getaway driver. It’s not the most demanding role he’ll be asked to portray in what will probably be a long and successful acting career, but Gosling plays The Driver with competence and confidence, easily leaping any hurdles in front of him.
If one were to go into Drive expecting an unceasing barrage of bullets and CGI, one might find themselves instantly sucked in by the excellent opening before wondering if they were watching the right film, as Drive spends the next 30 minutes introducing characters, setting up events and developing romance. It doesn’t do this badly, though it does take perhaps a little longer than it should in getting where it needs to go, but Drive arrives at it’s destination in a whirlwind of gritty, thunderous moments, particularly when The Driver assaults a would-be attacker in an elevator in what is one of the most brutal scenes in a film all year.
Few films blend visceral carnage with emotional resonance as well as Drive does, and the performances from Ryan Gosling and Carey Mulligan have to take a lot of the credit for that. The film is cinematographed beautifully, featuring some truly memorable shots and the film ends on an emotional, bittersweet note that is guaranteed to be replayed in one’s head for a long time after the credits finish rolling.
Drive isn’t without fault. As has been said, the intro is terrific, instantly sucking you into the film, but the next half-hour passes at a crawl, it’s not that the events on screen aren’t being done with competence, it’s simply poorly paced. Another thing is that, for all it’s brutally violent scenes, and there are many, there are also many scenes that are extremely underwhelming, such as when The Driver drowns someone in the sea. Drowning is certainly not a peaceful way to go, but given the context of the scene, and given that the camera is positioned about 40 feet away from the incident, it can leave one feeling a little under whelmed.
It’s faults don’t do enough to taint what is otherwise a very good film. It’s well acted, featuring particularly memorable performances from Albert Brooks and Carey Mulligan, as well as Gosling himself, wonderfully shot, and viscerally and cerebrally gripping, and is by far the best action movie of 2011.
Should I see it?
Drive is one of the best films of 2011 and it shouldn’t be missed. See it.
Overall Score
82/100
A slick, well crafted success, Drive expertly blends adrenaline with pathos, and is an engaging thrill-ride with plenty of substance to go with it’s style.
Full Review
Ryan Gosling is the rising star in Hollywood at the moment. In 2011 he appeared in two of the years best films. One was The Ides of March. The other was Drive. At bottom, Drive is an action film, but it’s no Mission Impossible or Pirates of the Caribbean, it does so much more than throw as many fast paced scenes into a 90-minute window as it can. Drive is slick, smart, emotionally substantive, and, as has been pointed out by every one else on the internet, very stylish.
Ryan Gosling stars as a man simply known as “The Driver”, a mechanic who works part time as a stuntman, and part part time as a getaway driver. It’s not the most demanding role he’ll be asked to portray in what will probably be a long and successful acting career, but Gosling plays The Driver with competence and confidence, easily leaping any hurdles in front of him.
If one were to go into Drive expecting an unceasing barrage of bullets and CGI, one might find themselves instantly sucked in by the excellent opening before wondering if they were watching the right film, as Drive spends the next 30 minutes introducing characters, setting up events and developing romance. It doesn’t do this badly, though it does take perhaps a little longer than it should in getting where it needs to go, but Drive arrives at it’s destination in a whirlwind of gritty, thunderous moments, particularly when The Driver assaults a would-be attacker in an elevator in what is one of the most brutal scenes in a film all year.
Few films blend visceral carnage with emotional resonance as well as Drive does, and the performances from Ryan Gosling and Carey Mulligan have to take a lot of the credit for that. The film is cinematographed beautifully, featuring some truly memorable shots and the film ends on an emotional, bittersweet note that is guaranteed to be replayed in one’s head for a long time after the credits finish rolling.
Drive isn’t without fault. As has been said, the intro is terrific, instantly sucking you into the film, but the next half-hour passes at a crawl, it’s not that the events on screen aren’t being done with competence, it’s simply poorly paced. Another thing is that, for all it’s brutally violent scenes, and there are many, there are also many scenes that are extremely underwhelming, such as when The Driver drowns someone in the sea. Drowning is certainly not a peaceful way to go, but given the context of the scene, and given that the camera is positioned about 40 feet away from the incident, it can leave one feeling a little under whelmed.
It’s faults don’t do enough to taint what is otherwise a very good film. It’s well acted, featuring particularly memorable performances from Albert Brooks and Carey Mulligan, as well as Gosling himself, wonderfully shot, and viscerally and cerebrally gripping, and is by far the best action movie of 2011.
Should I see it?
Drive is one of the best films of 2011 and it shouldn’t be missed. See it.
Overall Score
82/100
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