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Year: 2010

Partying with Politics – Why Co-operation for Co-operation’s sake will lead us down the wrong path

Written by Mancunion on . Posted in Opinion.

Partying with politics
Why co-operation for co-operation’s sake will lead us down the wrong path
Tom Hoctor

While the rhetoric of ‘new’ or ‘grown-up’ politics has worn out faster than an X Factor winners’ success, we will be left with an important legacy of peacetime coalitions as a direct result of this election. Most critics have so far been surprised by the stability of the coalition and it seems that the attractiveness of cooperation has entered the psyche of the British public. Well, sorry to burst the collective bubble, but adversarial politics is the fundamental backbone to our political discourse.
While the amount of point scoring within politics may be regrettable, we have seen a reinvigoration of debate between political parties following the election and the development of a contentious comprehensive spending review. But to assume that the fashionable coalition rhetoric is not simply point scoring itself is something that should be challenged. It was a strategic victory for Nick Clegg that he was allowed by Cameron and Brown to define cooperative politics as being mature. The creation of Cleggmania hinged on defining single party based politics as immature, ‘old’ politics.
Taking his lead from Clegg’s characterisation John Leech, Liberal Democrat for Withington, claimed that Britain, “might mature to adopt grand coalition” (Mancunion 25/10/10). This shows a flawed understanding of continental politics (or a penchant for misrepresentation) that needs to be challenged.
It is true that grand coalitions do occur in European government and the most recent was between German SPD and CDU from 2005-2009. However, Leech’s core assumption that grand coalition is an expression of political “maturity” should be contested. Neither of the German parties would have chosen this method of government if either could have had a coalition with a smaller party and therefore been the dominant force. The only party that stood to gain from the arrangement was Angela Merkel’s CDU because she was President at the time, something Clegg should bear in mind. There is too much ideological tension in a grand coalition for it to function in a truly efficient manner for a long period.
In addition, continual cooperation between the parties, while potentially popular, could stifle debate. It is certainly not true that the ability to form coalitions in British politics is a sign of maturity. In reality the British press and public have been the victims of a rhetorical coup by Messrs’ Clegg and Cameron. By talking of grown-up politics and mature coalitions they have ingrained the idea that their enterprise is progressive. They have also implicitly convinced the public that cooperation for the sake of cooperation is more important to political process than real, rigorous and thoughtful debate on issues that affect all of our lives.

The Political climate

Written by Mancunion on . Posted in Opinion.

Being a keen Geography student and therefore in a state of constant indecision between science and society, I am enthralled by the politics of climate change. In terms of greenhouse gas emissions, there can be little question that humans have influenced, and will further alter the climate on an enormous scale. The political use of this ‘science’ both fascinates and terrifies me. I fear the over-use of science in relation to climate change, because our automatic reaction is to believe anything citing empirical evidence. I do recognise that the only reason we even know anything about it is due to climate scientists, and that it is fantastic that the environmental movement has been able to use scientific evidence to bring climate change to the forefront of global debate. Inevitably this has forced acknowledgement from even the most conservative of powers, and installed it prominently in the forefront of the public imagination.

Nevertheless, I am afraid. Using the ‘science’ to construct a national consensus about the need to change our ways, without tarnishing it with the red brush of ‘radicalism’ will not lead to a just or desirable change, but merely an extension of the status quo. The temperature doesn’t strike us as particularly political. However, the climate is global and our national and personal interaction with it has colossal ramifications all around the world. This puts the issue of climate change up there with imperialism as a firm marker of political persuasion.

Using only ‘science’ to argue for the transformation in the way we use energy , even by the good guys, takes climate change out of its proper political and economic context and allows our imaginations to be influenced because of its unquestionable authority. Regrettably, those most able to influence us are not the well-meaning environmentalists who brought climate change to our attention. Thus, the concept of climate change has been swallowed whole by Neoliberals. It is in the realms of the ‘post-political’. Neoliberals are ideologically committed to a small role for the state and a big role for business, with little participation from us. At present this ideology is firmly gripped by not only the majority of Britain’s media, but also our three leading parties; hence it can safely claim ownership over the ‘middle ground.’ We can map this ‘middle’ ground onto the greedy end of the political axis of climate change, which, crudely put, can be considered as running between mitigation and adaption; us taking the hit for the benefit of others, or ignoring the vulnerable to preserve our present way of life. A further politicisation is the use of public money or private investment to facilitate any reform. Sadly, corporate-capitalism has no heart. Regardless of ‘consensus’ the sole motivation of profit will leave the poor destitute and the self-congratulatory rich moving forwards in ‘greener’ cars and planes.Corporations have heartily embraced the environmental movement and its over-use of science, because it means that we do not hold them accountable for our incessant increases in fossil fuel consumption, and greenhouse gas emissions. The ‘objectivity’ of science paints out the role of capitalism in climate change, so it can continue unthreatened.

Consequently, ‘Climate Change’ has been given its own a-political character as the baddie in our global fairytale. Carbon is the ghastly, oily beast looming menacingly over our nice, clean Arctic ice sheets. Warned of its imminent approach, in a fluster of environmentalism, we frantically chose our weapons from the modern day eco-warrior’s arsenal, ready to hurl at the monster; recycled toilet roll, jute bags-for-life, concentrated fabric softener, refillable coffee pouches, travel mugs, milk-in-jugs, washable nappies and this month’s ‘special eco-edition’ of Grand Designs magazine. Any self-proclaiming ‘green’ product will suffice. You might as well chuck our ‘greenest ever’ coalition government at it too, for all the good it will do.

David Cameron Half-term report

Written by Mancunion on . Posted in Opinion.

David Cameron
Half Term Report

George Robinson, Boarding Master and Head of House

Note from the Headmaster: I am delighted with David’s progress this term. He’s settling in well, and has found a whole gang of new friends. When he first started David was getting a lot of hassle from some boys who were bigger than him; I remember another young David was particularly cruel. These issues seem to have resolved themselves, as they so often do, and I am looking forward to another term with a pupil who is a delight to teach.

Citizenship: This subject is new to our school, an unfortunate consequence of some well meaning government initiative. Despite some of our own reservations, David is very enthusiastic. He is very vocal in class; talking earnestly about “the National Interest” and “Britishness”. He seems particularly keen to emphasise his cosmopolitan upbringing; he has several times repeated an anecdote involving a black man who served in the navy for forty years. B

Economics: David lacks confidence in economics. He relies on one of his smaller friends, master Gideon, to help him out. I regret to inform you that I suspect David may be copying some of young Gideon’s work. Even worse, Gideon himself seems to be myopic in his approach. I have noticed that he only reads samples of the selected texts. And this has fostered a very rigid and orthodox approach to the subject. Gideon seems to be keen to put what he has learned into practice; he has been lecturing some of the younger boys on financial prudence, and reprimanding those who spend to lavishly on lunch. This behaviour has to stop. I have already informed Gideon’s parents and I would be grateful if you could have a word with David about his behaviour toward the other boys. C-

Music: David loves music. Unfortunately, his interest seems to be in the entirely wrong sort. I apologise if I am overstepping the mark, but I think it outrageous that someone so young could be allowed to listen to band called “The Killers”. It is a truly vulgar name, Worse, I suspect David really has more traditional taste than he leads his peers to believe. And that his professed love for what he describes as “indie music” is really more a kind of youthful posturing that reflects a deep-seated desire for popularity. David’s attitude toward music does really reflect all of the worst facets of his character. D

Modern Languages: David has shown certain hostility toward learning French and German. I think this reflects a slightly Euro-sceptic attitude which seems to be developing in the school. I assure you that this is an issue that the staff are addressing. I will keep you updated. B

Extra-Curricular Activities

Debating Society – David is secretary of our school debating society. The chair is an older, slightly bookish boy named William. David is a confident public speaker and address complex issues with a notable simplicity. A few of the staff have mentioned that his speeches do have a certain air of smugness; this is something David should work on if he is keen to pursue this interest in the future.

Cross Country – David was never particularly talented at rugby. He has shown a measure of talent for running and the staff have tried to encourage this.

Voluntary Service Organisation (VSO) – David talks a lot about volunteering. He speaks passionately about the need to foster “strong and vibrant” communities. His words have yet to be backed with action, and we will have to wait and see how the VSO develops with David as its chair.

I Heart: Lars and the Real Girl

Written by Mancunion on . Posted in Film.

Lars liked to talk for the both of them

 

  ‘Anatomically correct blow up sex doll’ and ‘heart rending tearjerker’ aren’t usually phrases that appear in the same sentence. This film, however, somehow manages to seamlessly entwine the two and sit them together as naturally as emos and Twilight.
  Set in rural Wisconsin, slightly disabled, delusional recluse Lars bewilders his family when he introduces them to his new girlfriend Bianca, who is, in fact, a sex doll. The locals, who are fond of Lars, think it best to indulge his delusion and welcome Bianca into their lives. Ryan Gosling’s character in this flick is a far cry from that of Noah in sob-fest The Notebook, but don’t fear ladies, he is still fit, despite sporting a questionable moustache.
  The relationship that Lars forms with Bianca is genuinely touching; enough to thaw even the coldest of hearts and the film approaches the difficult topic of mental illness with great sensitivity. Gosling’s portrayal of Lars’ childlike innocence is endearing and most importantly, believable. Coupled with quality performances from the supporting cast, in particular doe-eyed Emily Mortimer as sister-in-law Karin, this film really is something special.
  If you fancy a refreshingly different take on the rom-com then look no further. Lars and the Real Girl manages to charm the viewer while at the same time successfully avoiding ‘cutesy’ territory. The end result is a seriously heart-warming film with just the right amount of bittersweet to keep you smiling right ‘til the end.

Sarah Mcloughlin

Preview: The Social Network

Written by Mancunion on . Posted in Film.

The Social Network

 

  If you spend a lot of time worrying that you don’t spend enough time on Facebook; sitting at your computer unable to take your eyes off an essay and only flicking back to the website for three minutes at a time; then this movie might be the one for you. It’s an accessible way to catch up on all of those hours wasted reading books and going on walks, when you should have been on the web familiarising yourself with every notification, every status update, every ‘Like’ and every photo of someone you don’t know.
  The Social Network follows computer genius Mark Zuckerberg, a kind of Peter Parker figure who found his big break not in swinging around New York City, but in creating what is possibly the greatest internet phenomenon ever: Facebook. Zuckerberg faces constant challenges and lawsuits with his idea, not least from the Winklevoss twins who he initially works with, but who later sue him for ‘misinformation’ on the project. Zuckerberg is presented as a fairly unpleasant man, a nerd and also a recluse; he is, in fact, noted to have said on this film: “I just wished that nobody made a movie of me while I was still alive”. When looked at from this angle, The Social Network is an incredibly substantial idea for a film: a character study of a man who created a socially oriented website, has 500 million friends on said website, but in real life, ironically, has barely a chum in the world. It seems like it will follow a sympathetic, admirable and slightly unlikeable character: a breed of literary creation usually only dreamt up by authors like Patricia Highsmith.
  Zuckerberg came up with the notion at Harvard and launched the primitive website from his dorm room. Weird to think; that something that has become a scarily large part of everyday life for 500 million people, was started in what a lot of first years are experiencing now: a room where old beer cans used as ashtrays are literally heavy with cigarette butts, where old orange skins cling to the bottom of waste paper baskets and where blackish grime and bits of indefinable matter stick to an unwashed bowl on your desk. Maybe it’s different at Harvard, but it’s still a fairly novel (if disgusting) notion.
  Released in America last week to critical acclaim, it should be on our screens by the end of this one. This is definitely something to look forward to and is also, whether you think it a good or bad thing, unbelievably relevant to students.

Steve Jones, Film Editor

Review: Mr. Nice

Written by Mancunion on . Posted in Film.

Rhys Ifans plays Nice

2 Stars

  Few crime biopics can claim to reach the thrilling heights attained by Martin Scorsese’s 1990 tour de force Goodfellas, and Mr Nice, for all its technical accomplishment and subversive swagger, is yet another entry in a long list of films that fall depressingly short of the ‘wise guy’ mark.
  Directed by Bernard Rose and starring Rhys Ifans, Mr Nice charts the life of Britain’s most notorious drug smuggler, Dennis Howard Marks. At the peak of his criminal career, Marks was estimated to control over 10% of the world’s marijuana trade, and there would certainly appear to be the seeds of an extravagant ‘rags to drug-bought riches’ tale in his improbable true story. Born in small-town Wales in 1945, Marks defied his working-class odds and gained admission to Oxford University, whereupon he was introduced to the murky world of drug dealing by some of his more ‘enlightened’ peers. In principle, therefore, Mr Nice seems to contain all the narrative ingredients of classic cinema; think An Education meets Scarface, with the added bonus of a Welsh accent. Fatally absent from the finished product, however, is any sort of charm, depth, or cause for emotional investment.
  Taking its inspiration from Marks’ 1996 autobiography of the same name, Mr Nice is unsurprisingly reverential and seems reluctant to ask any real questions of its protagonist. Most crucially, by presenting Marks as ‘Mr Nice’, the film fails to explore the moral dilemma inherent to his profession. Instead, Rose’s script opts for a rather shallow pro-legalisation, pro-Marks stance which ultimately suggests, to quote one glib piece of dialogue, that ‘it’s the law that’s wrong’. The result of this is an emotional detachment that means we do not care when Marks is finally sent to prison, nor do we care when he is reunited with his family. In essence, Marks’ flaws are the films flaws, for he is not nearly an appealing enough character to pull off his proposed mythic status as a weed-smoking bastion of liberty. Like the man himself, Mr Nice is a charmless and long-winded exercise in bloated self-importance.
  Despite all this, there are some positives to be taken from the film; most notably, Ifans’s wholehearted and, by all accounts, accurate portrayal of the lead role. One memorable scene, shot in evocative black and white, sees the forty-three year old actor inhabiting the part of a teenage Howard Marks, and he does so with his trademark mix of sensitivity and aplomb. Indeed, as demonstrated by his infinitely superior depiction of Peter Cooke in the television drama Not Only but Always, Ifans is surely one of the most multifaceted British actors of recent years, which makes it even more disappointing that his talents should be wasted on a movie as sickeningly one-dimensional as Mr Nice.

Verdict: All style and no substance make Mr Nice a dull film.

Josh Gulam

Event Review: Peaches Christ’s Midnight Mass

Written by Mancunion on . Posted in Film.

Peaches does Rocky

  Picture the scene: It’s 10.30pm on a Saturday night and I am surrounded by glitter, false eyelashes and the distinct smell of hairspray; as a marvelously glamorous sequin-clad drag queen takes to the stage, welcomed by the rejoicing roar of an eclectic crowd of bourgeoisie zombies and blood-splattered doctors. One might be excused for assuming that what I am describing is a nightmarish Halloween night on Canal Street, that, however, is not the case. This evening saw instead, the UK debut of San Francisco’s underground drag sensation Peaches Christ and her notorious Midnight Mass, a one-off event exclusive to the AND festival that takes the ‘film screening’ format and furiously turns it on its head; treating cinema audiences to a camp, immersive pre-show before screening a cult, (and some might argue trashy), movie. The film in question tonight was the international premiere of All About Evil, a new indie horror flick, marking the feature-length directorial debut from Peaches’ alter-ego Joshua Grannell which pays homage to the much-idolised B-movies of yesteryear.
  All About Evil is a wicked black comedy about a timid librarian (Natasha Lyonne, of American Pie fame) who inherits her father’s beloved but failing old movie theatre. In order to save the family business she discovers her inner serial killer when she starts turning out a series of grisly shorts, only for her blossoming career to reach an abrupt halt when the secrets to her overly realistic actors’ performances are revealed. The film is witty, smart, and hilariously funny, filled with genuine shocks aplenty, and the obligatory dosage of punctured jugulars that would be expected from Peaches’ brand of hammer horror.
  Miss Christ’s provocative 4-D floorshow worked superbly to create a carnival-esque atmosphere, combining cabaret with lap dancing librarians and ‘gore couture’ fancy dress competitions, transforming the Cornerhouse into a Mecca for all things fabulous and gruesome.

Verdict: A thoroughly fantastic evening, I can only hope that this is the first of many UK visits to be made by the superb Peaches Christ. My only fear now is that, after this macabre display, normal cinema will never be as exciting.

Emma Martindale

I Heart: Withnail & I

Written by Mancunion on . Posted in Film.

'Sit down for Christ's sake, what's the matter with you? Eat some sugar.'

  Withnail has such an incredible life; ‘Look at him’, you think, ‘He’s having such a good time’. There really is no better advert out there for chain-smoking alcoholism than Withnail. An inadvisable drinking game states that the players must match Withnail drink for drink. It’s impossible. In the course of the film he drinks nine glasses of red wine, six glasses of sherry, one pint of cider, one pint of beer, two shots of gin, thirteen whiskeys and a shot of lighter fluid.
  Withnail and the elusive ‘I’ are failed actors in the ‘60s who spend a holiday in Withnail’s flamboyantly gay, Oxford-educated Uncle Monty’s country house. After experiencing incessant rain and unfriendly neighbours (one of whom threatens Withnail with a dead fish) they begin to regret the decision. What happens then is a series of drunken and debauched episodes laden with some truly great quotes. Stumbling into a cafe completely smashed, Withnail states: “We want the finest wines available to humanity. We want them here, and we want them now”. After Monty shows up in the middle of the night having been stuck in a gale for “aeons”, he begins to take a fancying to ‘I’ who remarks that he ‘probably keeps his thoughts in an old poetry book spattered with the butter drips from crumpets’.
  It’s a wonderfully black comedy that doesn’t deal with the darker side of the ‘60s, but rather deals with the darker side of the good side of the ‘60s. Drugs, cigarettes and booze are massively glamorised, but the film reminds you that they were being done in the context of grey skies, industry and squalor; not rainbows and festivals of love.   I dare you to watch it and not at least feel the urge to roll up and have a little drink, maybe just a few ales.

Steve Jones, Film Editor

Original Vs Remake: Psycho

Written by Mancunion on . Posted in Film.

The iconic shower scene

 

  You would be hard pressed to find a worse reason to remake a film than Gus Van Sant did in his revival of the classic horror flick Psycho. Remakes generally find their way into cinemas on the back of huge film studios believing that there is potential in bringing the originals to a new generation. Inept scriptwriters and shoddy directors generate millions at the box office with the slightest effort, as seen with recent shambolic revivals such as Clash of the Titans.
  Van Sant’s reasoning? Not to take the easy route and repackage something that would undoubtedly become a hit, but to take his love for Psycho and create a colourful re-imagining. Upon discovering his otherwise strong track record (Milk, Good Will Hunting) you would believe that the franchise was in safe hands, but his 1998 interpretation of Psycho is simply weaker in every way. The changes he did make leave you dumbfounded and wishing you were just watching the 1960 original.
  The modern cast give very different performances to those seen in the original. Anne Heche’s portrayal of Marion Crane is weak, with the sympathy you originally felt for her, nowhere to be found. Heche creates a very unlikeable character, so much so that her demise in the infamous “shower scene” is a moment of relief. Bizarrely, cast opposite her is Vince Vaughn, who portrays Norman Bates, the psychotic proprietor of the Bates Motel. Vaughn’s performance is to be admired, but his efforts confuse insanity with hilarity. In the final thrilling scene, as Bates is revealed to be “Mother”, the combination of a tattered blonde wig and a manic glint in Vaughn’s eye destroy any reputation that this remake could once hold.
  The actual edits to the film are unnecessary and distracting, with the majority of them unfortunately stemming from crucial moments of the film. The “shower scene” is littered with these: the moments before the murderer strikes are needlessly extended. Additional shots of the victim and the knife are added, which utterly butcher the minimal approach of the original masterpiece. Surreal dream images that bear no relation to the murder scenes they are spliced with leave the viewer questioning why the original masterpiece was ever tampered with.
  Psycho’s success as a groundbreaking horror piece, and also the reason for the failure of the remake, is dependent on context. Hitchcock worked to shroud the film in mystery, revealing little of the plot and forcing audiences to arrive for the film on time. These audiences were genuinely shocked by what they saw: a “red herring” plot and shocking murders that created a novel cinema experience. Today, the modern update of Psycho is lost in a sea of supernatural horrors and “slasher“ flicks, but we can take refuge in the fact that Hitchcock’s original work will continue to show the new kids on the block how it’s truly done.

James Sargent

I Hate: Transformers 2

Written by Mancunion on . Posted in Film.

Megan Fox on a motorcycle; every man's dream?

 

  Michael Bay spent so long working on the optical madness that is Transformers 2 that he forgot to develop his storyline or characters. The end result is CGI on steroids and very little else. It’s always a bad sign when you feel genuinely embarrassed for the actors in the film for having their names permanently besmirched by such an atrocity. The cast and crew behind this film would probably be happy if there was a nuclear holocaust, something to wipe out civilization, as this would finally erase their shame.
  There are so many abysmal parts to this film that it’s hard to know where to start. How about those ridiculous ‘comedy relief’ Autobots? How do writers get away with creating such shit characters? Give them a few cheeky lines so they sound like one of those adorable ethnic minorities; that will show the world how diverse and inclusive this blockbuster is.
  We must also remember that the first film didn’t exactly leave room for a sequel. We though we were safe – the cube was destroyed, forever. That’s ETERNITY. Until, of course, a shard of it is found and used to resurrect the equally permanently-destroyed Decepticon: Megatron. I mean, originality is seriously overrated in the film industry these days.
  Then there’s the family friendly hilarity (that’s heavy with sarcasm in case you didn’t realise) of Sam’s mum as she accidently gets high off a brownie and runs around a University Campus. Such an accurate portrayal of drugs makes Human Traffic look like Blue Peter.
Some may say that this film is worth watching for the stellar cast, but as great as that opening scene of her leaning over the bike is, it’s hard to find a more blatantly misogynistic use of female eye-candy than Megan Fox. Those lads out there who want to gawp, I have one word: Google.
  All in all this film makes me despair at the world any time somebody even tries to mentions it.

Patrick Cowling

Top 5: Poorly delivered lines

Written by Mancunion on . Posted in Film.

Four Weddings and a Funeral

 

1) Lord of the Rings – ‘I’m no man’
So says Elf-girl Eowyn as she thrusts her blade in the Witch King’s face. I tend to think that the Witch King, when he said that ‘no man could kill him’, meant Man: the race and not Man: a male. Either he didn’t recognise female prowess or he didn’t foresee being stabbed in the head when he made this claim.

2) Revenge of the Sith – ‘Hold me, like you did at the lake on Naboo’
In all fairness, there’s not a great deal Natalie Portman could’ve done with this line. It’s so bad. George Lucas should stick to robots rather than romance.

3) Die Another Day – ‘I’m checkin’ out’
The vague drumbeat in the background makes it sound like James Bond is rapping this line. So is it really that poorly delivered? No. I mean, it’s Pierce Brosnan.

4) Aliens – ‘They mostly come at night. Mostly.’
It’s great on paper, but the young girl who actually says the line in the film kills it stone dead. She doesn’t pause at the full stop, so it reads like ‘They mostly come at nightmostly.’ Hilariously botched.

5) Four Weddings and a Funeral – ‘Is it still raining? I hadn’t noticed.’
Forget the Iraq war, this is the real reason Americans are hated in this country. Andie MacDowell’s absolute slaying of the movie right at the very end has inspired bitterness on rom-com loving forums all over the internet. Hateful.

Steve Jones, Film Editor

Review: The Town

Written by Mancunion on . Posted in Film.

Jon Hamm, awesome as usual

 

Three Stars

  Many of you out there will believe, as I do, that awarding a piece of work three stars is highly frustrating. This magic number is inoffensive, uninspiring and tells the reader nothing of the subject matter. However, The Town may just be the exception; it conjures up enough brilliant moments and frustrating plot devices to be truly worthy of an average review.
  The Town follows a team of four “professional” bank robbers hailing from a one-square-mile area of Boston, known as Charlestown. This neighbourhood is apparently responsible for over 300 bank robberies a year, and so we begin by witnessing a typical bank heist. At the helm, both in character and direction is Ben Affleck, fresh from his critically praised directorial debut, Gone Baby Gone. Affleck egotistically placed himself in the film as the lead, with a character ‘not cut from the same cloth as his fellow thieves’, who displays inexplicable amounts of charm, but luckily still makes an enemy; an FBI Agent played by Jon Hamm. Taking time out from Mad Men, Hamm swaps his famous portrayal of a suave professional who writes his own rules, to play, well, pretty much the same character, but with a gun.
  Hamm and Affleck give admirable performances, despite a wavering, distracting accent from Affleck, and the fact that Hamm simply isn’t given enough script or screen time to truly make use of his scheming, underhanded character. However the great turn in the film belongs to Jeremy Renner. As Affleck’s brother in arms his actions are unpredictable and his motives unclear, bringing real fear and urgency to any scene he fills, especially in the film’s climax. Even if Renner isn’t orchestrating the action, Affleck’s direction ensures that key scenes are given justice, the action injected with real pace and grit thanks to tight editing and ever changing complications. His judgment also shines when considering setting; the savage nature of these Irish-Americans struggling in a neighbourhood rife with conflict is well documented.
  Where the film struggles is in its handling of the other story arcs that surround Affleck’s character, dealing with his broken parents and the dangerous romance he shares with the manager of a bank he stole from. Although this romance is necessary to the plot, its progression is clumsy and at odds with the scenes it intersects; often the pace of the film grinds to a halt just to allow the two characters to discuss unimportant matters. The involvement of parental issues is wholly inconsequential as the great expectations that are built up by these scenes are shattered, when Affleck rarely raises an eyebrow to the shocking denouement regarding his parents. The time spent needlessly developing a family should have been spent developing the other two robbers as characters, who should hold as much importance as Renner but only share a handful of lines through the entire film.

Verdict: Aside from a few poor plot choices, Affleck has directed another solid outing in The Town, with his credit being owed to his well crafted action scenes and a defining performance by Jeremy Renner.

James Sargent

I Hate: Peter Jackson’s King Kong

Written by Mancunion on . Posted in Film.

Battle of the Beasts

 

  The original 1930s King Kong is an hour and a half, and even that feels like it’s dragging in some places. It’s a very thin concept; a giant monkey on an island. You certainly wouldn’t have thought that it needs to be three hours. Apparently Peter ‘I’m not going to edit any of my films’ Jackson thought otherwise.
  The film lumbers along for an hour before the angry ape appears, and even then the novelty wears off after about six minutes. Then you’re left watching a swirling vortex of CGI, with very little in the way of acting, dialogue or indeed, excitement. Somehow the dinosaurs aren’t half as convincing as those in Jurassic Park, and when you’re watching a herd of Apatosaurus tumble over each other in a scene of absolutely unimaginable chaos, it’s pretty apparent that Jackson, much like an aggressive gorilla, is just flinging huge lumps of shit at you and shouting in the hope that you will be impressed.
  It doesn’t help that the choice for the lead was Jack Black, a man who thinks he can act and make music but, in fact, can do neither. He adds to the utter tedium that is the incessant screaming of the Fay Wray character, and the scenes of supposed love between her and Kong, which are bizarre, void of emotion and stop the movie stone dead.
  You could pick holes in it all day, but the overwhelming problem is that it is so, so long and so, so boring. No one cares about every inch of the island, about Jack Black’s escapades in the city, about a ridiculously lengthy ice-skating scene or about every hair on Kong’s back. Peter Jackson: learn to edit your work.

Steve Jones, Film Editor

Preview: Never Let Me Go

Written by Mancunion on . Posted in Film.

Kathy, Ruth and Tommy get a makeover for the film

 

  Kazuo Ishiguro’s novel of the same name reads like a film, so it seems completely logical to copy and paste the story onto the big screen. Time Magazine might have gone a bit off the rails calling it ‘the best book of the decade’, but it’s definitely film worthy.
  It’s about three children who attend a boarding school called Hailsham and are having a great time until they learn a terrible truth about the school. At the moment I’m hoping it will turn out better than the trailer suggests. The mini-twist, (that is the terrible truth), happens about a third of the way through the narrative and immediately becomes apparent as the central idea of the story. Problem is, they don’t want to give this away in the trailer, so it’s a bit of a jumbled mess; after around 2 ½ minutes of watching, you suddenly realise that you have no idea what the film is about. On the surface it looks like Harry Potter without the goblins.
  Now, I’m not one to complain when a film takes certain liberties with a book. Changes are necessary and unavoidable when converting an art form into a totally different medium. However, I do recall reading the descriptions of the three characters, and part of the point is that all three are utterly ordinary in their appearance. Tommy is even supposed to be overweight. But look at them there! Tommy is suddenly a blond Adonis and Kathy and Ruth are played by two of Hollywood’s hottest actors. It undermines the story. But it does make a grim concept prettier.
  I realise my own hypocrisy in calling the trailer a jumbled mess when, having not given away the mini-twist, this can’t make any more sense. Truth is, I’m still looking forward to it, and anyone who knows the story will probably agree with me. Don’t take a depressed housemate along though. It’s dark stuff.

Steve Jones, Film Editor

Top 5: Weepies

Written by Mancunion on . Posted in Film.

Noah and Allie

 

1) City of Angels – Nicolas Cage plays an angel who falls in love with Meg Ryan. It actually sounds a bit comical. Trust me, it isn’t. The bicycle scene, combined with Sara McLachlan’s ‘In the Arms an Angel’ is the most depressing thing that you’ll ever see. Or hear.

2) Beauty and the Beast – A tale as old as time, a song as old a rhyme – it gets me every time.

3) The Time Traveller’s Wife – With just enough sci-fi jargon to interest even the surliest of males, (chrono-displacement anyone?), this adaptation of Audrey Niffenegger’s hit novel is tear-inducing brilliance at it’s best.

4) A Walk to Remember – The schools badass falls for sweet little good-girl Jamie. If that wasn’t enough of a story for you, she’s also kind-of dying. Nick Sparks just loves his emotional deaths.

5) The Notebook – Nicholas Sparks continues on his mission to reduce every woman into a sobbing, Ben and Jerry’s – eating mess on the sofa, with the heartbreaking story of Noah and Allie. Not so popular with the guys but I’m sure the promise of Rachael McAdams in her bathing suit could be used to persuade most red-blooded males to give it a go.

Beth Cook, Film Editor

Review: Winter’s Bone

Written by Mancunion on . Posted in Film.

Reeve hunts for her father

3 Stars

  Winter’s Bone is unquestionably a great achievement. A strong narrative woven around a compilation of genres, great acting, and a clear selection of influences suggest a great deal of research and a genuine attempt to represent the hardship of life in ultra-rural America. The only problem is that it’s, well, a tad dull. It definitely struck me as one of those films that has been designed to be appreciated rather than enjoyed.
  The film focuses on Reeve, a 17 year old girl who cares for her sick mother and two younger siblings, and whose father has gone missing. A visit from the local sheriff leaves the family in a rather difficult position – unless her dad shows up to court, they will lose the house. Naturally, Reeve takes it upon herself to find him. So begins her quest to, discover what happened to her father, and in the process, question a whole host of spooky neighbours in what turns out to be an extremely dangerous task.
  It reminded me of Brick in that she spends most of the film finding things out. Just going door to door, piecing stuff together. The gruff, mumbling neighbours she demands information from have an untrustworthy air about them, but despite feeling like a borderline horror, it’s more of a slow-moving dramatic detective movie. There isn’t really anything like it.
  Critics have raved about this. It has a rating of 94% on Rotten Tomatoes. Technically it is that good, but its absolute insistence on sticking to its own thread and idea, and lack of sacrifices for cinematic reasons make it pretty unwatchable for a lot of the time. I suppose it’s admirable, in a way.

Verdict: A work, rather than a movie. The last twenty minutes is definitely exciting stuff, and it redeems the movie. But it’s heavy going a lot of the time and plods along at an extremely slow pace. Probably not for the ‘casual’ film goer, if there is such a thing.

Steve Jones, Film Editor

DVD Review: Streetdance 3D

Written by Mancunion on . Posted in Film.

Diversity take center-stage

 

3 Stars

  The street dance phenomenon hits the U.K. with the DVD release of Britain’s first 3D film, (yes it’s really taken us this long), StreetDance 3D.
Essentially just Step Up’s slightly chavvy younger sister, this film opens on an inner-city London dance crew, lead by ballsy northerner Carly, (Nichola Burley), fighting to find a place to rehearse for the upcoming National street dance finals.
  After a spot of shopping centre busking and a few comical police chases, Helena, (Charlotte Rampling), takes pity on our surly bunch of misfits and offers them practise space in her Ballet school. The catch? They have to include five of the school’s premiere dancers in their routine. Naturally, dance-offs, sexual tension and snarky comments ensue.
  Cheesier than cheddar, the old ballet-meets-hip hop story is given a new edge on the sparkling London backdrop. Granted, it’s not quite as glamorous as the Step-Up franchise, but a subtle British influence, (from Union Jack t-shirts to the music featured), adds a certain charm. Cameos by Britain’s Got Talent stars George Sampson, Diversity and Flawless, (appearing as rival gang ‘The Surge’), are sure to entertain fans of the show; and 3D is used sparingly, adding just enough pop to the choreography to be worth the extra £2.50 in the cinema. A feature that is, unfortunately, lost on the DVD edition.

Verdict: While it’s not the worst flick around, this film is no Dirty Dancing either. Aimed primarily at the ‘tween’ market, the predictable storyline is more than made up for with raw energy, light-hearted fun and decent dance sequences.

Beth Cook, Film Editor

Happy Birthday: Bill Murray (21/09/2010)

Written by Mancunion on . Posted in Film.

Bill looking good at 60

 

  Bill Murray is 60. How are you going to celebrate? On Tuesday night I advise all you first years to stay in with your flatmates and watch Lost in Translation– that’s what I’m going to do. Don’t, whatever you do, drink half a bottle of Sainsbury’s Basics vodka and end up at some club dressed as Steve Zissou, that’s a bad idea. It would be frankly inappropriate, too, to try and recreate ‘The Murricane’, the cocktail named in Bill Murray’s honour, containing bourbon, basil, elderflower, watermelon and pepper. That would be a stupid and quite frankly, expensive way to start the evening.
  I mean yes, you may have just had a huge loan wired straight into your bank account, but you have to save that money. Just because Sainsbury’s do their own brand of bourbon whiskey doesn’t mean that you have to buy it. Don’t even think about creating your own Murray-based cocktail either, something crass like ‘The Ghostbuster’. I mean, does it really sound like a good idea to mix Vodka and Sambuca, and then put it in a water pistol and go find a flat party?
  Also, it would be unseemly to take advantage of the many drinking games Mr. Murray’s birthday could generate. Groundhog Day, for example, was a fine piece of cinema – it doesn’t mean that you have to shout it every time someone repeats themselves (nor does it mean that they have to then take a shot).
It is said that Bill Murray likes to sneak up behind strangers in New York, whisper, “Guess who?” and, when they turn around, tell them: “I’m Bill Murray. No one will ever believe you.” This would not be funny in a club, in Sainsbury’s or on campus, nor is it a good way to meet strangers.
  So, I’ll ask you again. How are you going to celebrate?

 

Bill Knowles

Student Savings

Written by Mancunion on . Posted in Film.

Who says nights out can't involve the cinema?

 

  Ah, the cinema; the student’s official alternative to getting completely smashed all the time. For those of you waking up on the floor fully-clothed with chips and cheese all round your mouth, (only to be told that in a few hours you will be repeating the experience), you might just consider attempting to persuade your mates with these great cinemas and offers instead. Just make sure you don’t see Requiem for a Dream. It’s not hangover material.

  Before you do anything, whack ‘student beans’ into Google. That’ll give you two for one offers at the Cineworld in Didsbury, which is super easy to reach if you’re in Fallowfield. Just get the 174, ask for ‘Parrs Wood’ and it’ll stop right outside the cinema. After 5pm it also sells alcohol, you know, if you reckon Avatar will be even more spectacular when you’re a little tipsy.
  There’s an Odeon in the Trafford Centre, but that’s a little out of the way, so it’s best to stick to the one in the Printworks in the centre of Manchester. It’s the only one about with an IMAX screen, and also shows ‘classic’ films every Monday. It tends to be a little pricier than other places but with a town-center location, you pay for what you get. If you’re into arty or foreign films, Cornerhouse is the place to go. Walk town-ward down Oxford Road for about 10 minutes and it’s right there on the corner; showing underrated flicks you’ve never heard of, but will grow to love. It also does some nice food if you’ve been saving your money by eating various combinations of beans and noodles for a while. Remember though, if you’re in the third screen, don’t sit at the end of a row – you won’t be able to see anything. It’s weird, but more cultural than your average night at Font.
  The AMC is a bit harder to find, being located in Deansgate, but is easily the cheapest of the ‘big-budget’ cinemas, offering a student ticket for just £4.50. It also tends to show films for longer, so if lectures, (or clubbing), has caused you to miss a must-see, then this is your best bet.
As far as offers go, all of the cinemas, except Cornerhouse, participate in ‘Orange Wednesdays’ – Just text ‘film’ to 241 and those of you ‘lucky’ enough to be on Orange will receive a voucher via. text – ah the wonders of technology. Just remember to arrive at least half an hour early if you’re planning an evening trip as it tends to get very busy.
  Where V.I.P. clubs and cards are concerned, Odeon offer a ‘Premier Club’. With three types of membership and prices ranging from £1.99 – £9.99, it can get a little complicated, but loosely speaking, you earn ten points for every £1 that you spend in-store (or in this case, in-cinema). That might not sound too bad hey? But with point prices starting at 300, you’d have to spend roughly £30 to get enough points for a small, soft drink; doesn’t sound too good now does it?
Although not a terrible idea if you tend to frequent the Odeon, it’s not the cheapest option for students. For real value for money, movie lovers can see as many as they like for free when they own a Cineworld Unlimited card. Well, sort of anyway; for just £13.50 a month you can go and watch as many films as you like. True you can only use this card at Cineworld cinemas and you will usually have to pay an extra £1.50 for 3D screenings, but if you see three films a month, then you’ve already saved enough for a pint or two in your local.
  If you don’t feel that these offers are for you then make sure that you take your student card. It may not provide you with a buffet of free films, but you can usually knock roughly £2 off the ticket price. You’ll have even more fun laughing and spewing popcorn, safe in the knowledge that you’ve saved precious pennies for a future trip.

Beth Cook and Steve Jones, Films Editors

I Heart: Push

Written by Mancunion on . Posted in Film.

'So you don't serve burgers here?'

  An unlikely group of misfits with special powers unite to fight a common foe. Yes it sounds like the plot to every ensemble superhero film in the world, as well as a good few T.V. shows (cough *Heroes* cough) but this film is utterly awesome.
  An unfair rating on Rotten Tomatoes and a couple of overly-harsh critiques, means that this movie is one that rarely appears on the student radar. However, it is, in my opinion, arguably one of the most entertaining and interesting ‘superhero’ films in a long time.
Director Paul McGuigan not only provided our characters (and therefore viewers) with a rich back-story, but he created a world enticing and exciting enough to compel Wildstorm to publish a mini comic book series to act as a prequel to the film. It has it all; Triad mobsters, murder, intrigue, an evil government agency in form of the nefarious ‘Division’, and even a few lovey-dovey scenes, (not to mention a cast to die for).
  Chris Evans’ raw animal magnetism plays in his favour as he shines as our cocky, yet heroic protagonist; while Dakota Fanning makes the transition from precious child actor to gritty teen star. Djimon Hounsou is fantastic as our sinister bad guy, and Camilla Belle is just, well, beautiful.
  This contemporary Asian twist on the traditional Superhero story is a must-watch for any student looking for a pain-free, fun-filled afternoon. Grab some popcorn, relax and enjoy.

Beth Cook, Film Editor