Skip to main content

Day: 21 October 2015

Guinness World Record set by Manchester CPR Relay

Written by Tori Blakeman on . Posted in News, Science & Tech.

With one person in the UK suffering a cardiac arrest every six minutes, and 12 young people dying every week from undiagnosed heart conditions, life-saving cardiopulmonary resuscitation (CPR) skills are fundamental to everyone.

October 16th marked the second annual ‘European Restart a Heart Day’. Set up by the European Resuscitation Council, this one-day initiative aims to help teach the wider public how to restart the heart of someone who has suffered a cardiac arrest.

In aid of the event, the University of Manchester coordinated its very own CPR relay world record attempt, held outside of University Place. Organised by senior nursing lecturer, Patricia Conaghan and Professor Christopher Cutts, Associate Dean for Social Responsibility, Faculty of Medical and Human Sciences. The event aimed to train as many people as possible in this vital technique.

With over 800 people from across campus taking part, the event successfully set the new Guinness World Record, over taking the previous record of 700 set by the American Heart Association. The highly organised relay required each volunteer to perform chest compressions for one minute, before the next volunteer took over. Each volunteer had to pass on CPR compressions to the next person in under five seconds, or the record would have been invalid.

The University of Manchester deploys defibrillators across campus, and is strongly committed to supporting resuscitation via training initiatives and student volunteering projects such as this highly successful CPR relay.

Patricia said: “A huge thanks to our volunteers and the people of Manchester who took part in the attempt today. Mainly though this is about getting the message out that learning this skill only takes a few minutes and thanks to this event we’ve now got over 700 people who can perform CPR in an emergency.”

 

Top 5: Worst movie soundtracks

Written by Izabella Kerr on . Posted in Film.

5) A Knight’s Tale

I absolutely adore this film, and I had such a crush on Heath Ledger at the teeny tiny age of six because of it. I re-watched it recently and had a great time—A Knight’s Tale is brilliant! It actually features some pretty awesome songs too, such as Queen’s ‘We Will Rock You’ and Thin Lizzy’s ‘The Boys are Back in Town.’ So why has it made the list? Because Robbie Williams. Because Robbie Williams covers Queen. It’s wrong on so many levels.

4) Grease

Grease is supposedly an indisputable classic but it only has two decent songs. For such an iconic musical to only yield a very small fraction of catchy tunes is exceedingly disappointing. I just want to listen to ‘Summer Lovin’ and ‘Greased Lightning’ and be done with it.

3) Disney’s Tarzan

I feel awful putting this. I love Disney, and Tarzan is actually a rather enjoyable film, but compared with the likes of Beauty and the Beast, The Little Mermaid, The Lion King, Mulan, The Hunchback of Notre Dame and… well, you get the picture, tonnes of catchy and fabulous films with catchy and fabulous soundtracks preceding it, Tarzan is more than a little disappointing. Featuring five original songs, all performed by Phil Collins, Tarzan’s non-diegetic soundtrack denies us the singing trees and monkeys and leopards and Mrs Potts (you all saw her cameo, don’t lie) and Clayton we were all yearning for. Also, Phil Collins? Really? How the Genesis singer was thought to be a suitable choice for a sweet li’l Disney film will always remain a mystery.

2) Titanic 

I have still not seen Titanic (Shock! Horror! Drama! Come on—chill, we all know there are films a thousand times better out there) but I’ve still managed to hear Celine Dion warble her way through ‘My Heart Will Go On’ more times than I care to remember. It’s not a romantic song. It’s shrill and cheesy and you shouldn’t like it.

1) Spiderman

Nickleback…

Review: Pan

Written by Charlotte Gough on . Posted in Film.

We grew up with Disney’s animated classic Peter Pan, the heartwarming performance of the late, great Robin Williams in Hook, and Johnny Depp’s turn as creator J.M. Barrie in the tearjerker, Finding Neverland. Joe Wright’s Pan follows in the footsteps of Tim Burton’s Alice in Wonderland and Sam Raimi’s Oz: The Great and Powerful (a pointless fantasy-adventure prequel that takes a children’s tale we know and love and hacks it to pieces). With a generic ‘prophecy’ premise and tedious action sequences, Pan is a little more than a CGI-fest that attempts to please everyone and actually pleases no one. It is more ‘second star to the right and straight on ’til boring’—and no amount of colourful costumes and fairy dust can get it off its ground.

Pan follows Peter—a spirited young boy with an inconsistent mockney accent—and his childhood in a World War Two-era London orphanage after being left by his mother as a baby. Peter and a group of his fellow orphans are kidnapped by pirates and whisked off to Neverland on an airborne ship, at the order of Captain Blackbeard (Hugh Jackman)—a tyrant who recruits child slaves to mine pixie dust or ‘pixim’, the substance that preserves his youth. Peter and new pal James Hook (Garrett Hedlund) escape the mine and set off on a journey to find Peter’s mother and defeat Blackbeard with the help of the natives and their princess Tiger Lily (Rooney Mara). It is later revealed that Peter is destined to be Neverland’s saviour, ‘the chosen one’—a boy with the ability to fly as son of a fairy prince and warrior mother, Mary—yes, a painfully obvious biblical reference.

Pan attempts its own ‘original’ take on Peter Pan, courtesy of writer Jason Fuchs, which would be all well and good if the plot didn’t plod-along, making use of bland dialogue and cheap laughs that wouldn’t excite even the most easily amused child. Wright’s visual interpretation of Neverland is wacky but ultimately underwhelming, and besides the familiar characters and the odd reference to crocodiles and ticking clocks, Pan ultimately fails to capture the essence of Barrie’s masterpiece.

Upon entering Neverland, the hoard of slaves become a mosh pit—singing and fist pumping to Nirvana’s ‘Smells like Teen Spirit’—a scenario that sets the silly tone for the rest of the film as it is—a) completely incongruous for the time period, and b) simply an excuse for Jackman to break into song again. It would have been interesting to see the basis of Peter and Hook’s legendary feud play out in this film but the two are, bizarrely, thick-as-thieves from beginning to end. Indeed, Peter’s abandonment angst—exploring a darker side of adolescence and resulting in his leadership of the infamous lost boys—is neatly tied up in Pan’s saccharine ending. Also, the forced romance between Hook and Tiger Lily threatens to taint the original text altogether in its sheer ridiculousness.

Captain Hook—the sinister, haughty and lovably camp pirate icon—once played brilliantly by Dustin Hoffman, is turned into a grinning young rogue with a corny cowboy accent by Hedlund. Jackman’s Blackbeard is also a one-dimensional pantomime villain, who simply changes the pitch of his bellowing to keep the character interesting. Adeel Akhtar’s performance as the crafty sidekick Sam ‘Smee’ Smiegel provides the only forgivable comic moments—one that really is clutching at straws. And Mara’s Tiger Lily is decidedly vanilla, despite her vibrant native garb. As for Cara Delevingne, her blink-and-you’ll-miss-it part(s) as part of a group of silent, digitally-enhanced mermaids adds nothing to the film besides another big name to lure audiences into cinemas.

Peter’s flight in the final showdown with Blackbeard is supposed to be the ultimate moment of triumph for our boy-wonder; instead, audiences will be praying for the credits to roll and the 90s nostalgia of Robin Williams. Fans of Peter Pan should steer clear of this film—unless they want to see a beloved childhood tale veritably fed to the crocodiles.

1/5

Classic Review: The 400 Blows

Written by Jake Sanders on . Posted in Film.

In dedicating The 400 Blows to Andre Bazin, François Truffaut establishes himself as a student of cinema and as an artist with an intellectual’s mind. It should, therefore, come as no surprise that The 400 Blows has solidified its position in film history by kickstarting the French New Wave. Yet, even when removed from this contextual significance, what really distinguishes The 400 Blows is its immensely personal, intimate nature, functioning as both an autobiography of its director and as an exploration into the spirit of adolescence.

Based on Truffaut’s own childhood, The 400 Blows is the story of Antoine, a young boy whose innocence and generally sweet nature are insufficient to shield him from the ire of his parents and teachers as Antoine’s mischief is mistaken for genuine malice at every turn. Fundamentally, this is a film about the desire to escape. Antoine dreams of escaping his claustrophobic home life—where his mother and father squabble endlessly and seem to take no responsibility for his behaviour. Both Antoine and his best friend, Rene, also dream of escaping their school, where their authoritarian teacher shows little sensitivity to the boys.

These dreams of escape initially lead to the boys forging doctor’s notes so that they can scurry around Paris, then escalate somewhat as Antoine hides out first in Rene’s home, then in an abandoned factory. Eventually Antoine attempts to steal and sell a typewriter but a disastrous encounter with a fencer and a botched attempt to return it only lands Antoine in hotter water.The film’s third act largely involves Antoine’s experiences in a young offenders institution, where the question of Antoine’s future really starts to hang heavy over the film. No longer is this the story of a cheeky Parisian scamp, instead we begin to wonder if Antoine is destined to live the life of a criminal. The film’s ending, which I won’t spoil here, is absolutely breathtaking and serves as a monumental testament to the resolve of the human spirit.

Jean Pierre-Lenaud deserves enormous credit for his ability to embody Truffaut’s onscreen alter-ego, bringing a naturalism to the character that anchors the entire film. In scenes such as Antoine’s questioning by the institution psychologist, Pierre-Lenaud expresses as much with a smirk or a downturned glance than most actors could with a monologue. His soulful eyes seem to be endlessly questioning—so expressive and pure that it seems that each injustice inflicted upon him is more comparable to an assault on a wounded animal. Perhaps it is the film’s autobiographical nature that allows Truffaut to ground us in Antoine’s shoes with such expertise.

Admittedly, later films in the French New Wave might feature elements that are more impressive on a technical level. Godard’s Breathless, for example, drew attention for its unique style of editing and exciting yet often jarring use of jump cuts. But, in choosing to explore material from a personal source, Truffaut taps into the heart of the human condition. 56 years later and The 400 Blows remains as timely and as touching as it ever was.

HOME Pick of the Week: Suffragette

Written by Nadia Cheung on . Posted in Film.

If you learned anything about women’s suffrage and the militant organisations forged in order to stand for the rights of women in Britain before the First World War, you will know about this story. Carey Mulligan plays Maud Watts, the protagonist. A workingwoman in a laundry service, all that she’s ever known to be, other than a mother and a wife.

Living in difficult working conditions under an abusive boss, it comes with fate that she meets Violet Miller (Anne-Marie Duff), an outspoken and proud suffragette who pulls her into the movement. Forced to testify her own working conditions and her life as part of an appeal to convince the government for the vote, she is accepted into the movement and befriends other female activists who fight against the system—literally.

On top of that, Helena Bonham Carter stars and plays Edith Ellyn, a chemist, organiser and campaigner for the Women’s Social and Political Union (WSPU). Her drive for equality pushes her to do such things as orchestrating secret meetings, plotting action, and building explosives for militant action. She is a highly-valued asset amongst the suffragettes involved. Meryl Streep also has a brief moment on-screen portraying the leader of the suffragette movement, Emmeline Pankhurst, who is in hiding but it is determined to encourage her followers to use “deeds not words.”

Set primarily in London, the home of the Houses of Parliament, Suffragette is the first film of its kind to be shot on location, providing a somewhat authentic feel. Though the beginning of this film is quite slow, this is necessary to illustrate the oppression of women within a patriarchal society. There are several scenes where this patriarchy is so prominent that you just cannot ignore it, and it makes you think about how different elements of British life are now compared to how they were then.

In a sense, Suffragette certainly succeeds in getting you emotionally invested. Suffragette is a film that deals not only with the historic details of the suffragettes, but also the emotional aspects, too. For the film’s entirety, you follow Maud and see how her involvement with the WSPU changes her drastically, until she grows from passive and accepting woman to a militant activist fighting for equal rights amongst her peers.

I don’t want to give too much away, but what I feel I can say about a film that bases its plot on historical events in the past, is that, if you know about it, then you know very much what will happen in the course of the film.

Other than the script being well-written and the film being cathartic, it is refreshing to be taken back in time to one of the earliest feminist movements, and to be able to appreciate what women’s suffrage has achieved.

4/5

Review: Sicario

Written by Robert Rowan on . Posted in Film.

Sicario is not a subtle film. From the opening, it’s brutal and shocking—throwing you into a genuine house of horror as Kate Macer (Emily Blunt) and her fellow FBI agents raid a house, looking for some people who were kidnapped, only to find 92 corpses in the walls and a bomb under the shed. From here, it does not slow down as Kate allows herself to be recruited by the incredibly sleazy Matt Graver (Josh Brolin) who, when not discussing gonorrhoea, is either attempting to destabilise the numerous powerful Mexican cartels or deflecting Kate’s questions.

This leads her on a confusing and somewhat terrifying excursion into hostile Mexican territory, with the mysterious and unflappable Alejandro Gillick (Benicio del Toro), and her questions constantly fall on deaf ears, landing her in an increasingly confusing and scary situation. This leads us down two hours of brutal violence that has everything from dismembered corpses to attempted chokings. As I said earlier, Sicario is not a subtle film…

The film itself is not without it’s flaws. If you’re looking for a fresh and interesting take about the war on drugs, then this is not the film for you. Sicario accurately depicts the violence and brutality of the cartels, but does not really offer much beyond that. The main plot line is quite simple, and really just descends into a pretty generic action film. On top of that, the subplot is quite underdeveloped—and I never really cared about what happened to the struggling Mexican policeman.

The dialogue at times can also be just plain bad. Expected responses to questions can result in a simplified view of characters and their motives—Kate Macer joins the task force to “find those responsible” for the horrors she has witnessed. This detracts from Emily Blunt’s performance. You can understand her horror, but the concept of revenge is much less understandable, particularly when considering the brutal reality of her job—emphasised from the opening of the film.

These problems are eventually overcome and this film is enjoyable. The setting is stunning and the cinematography is beautiful—it’s a real spectacle, and watching it on the big screen was a pleasure. The way that it is made really puts you in the middle of the action, and sometimes it feels as if you’re playing a video game rather than watching a film—and I mean that in a complementary way; you feel like you are in that tunnel with them, you feel like you’re wearing night vision goggles—it’s really quite something.

Also, despite occasionally bad dialogue and mediocre characterisation, it’s incredibly tense and I was constantly on edge. Finally, the acting throughout is very good, Benicio del Toro can be simultaneously intimidating and reassuring; Josh Brolin is sleaze personified with a rough edge, and Emily Blunt nicely captures confused determination.

Sicario is not a perfect film by any measure, but it is incredibly enjoyable and worth seeing. It’s well made and certainly action packed which makes for a fun two hours. Just don’t expect to see something that is anything more than a pretty good action film.

3/5

Classic Review: My Own Private Idaho

Written by Joe Hunt on . Posted in Film.

Almost everything about My Own Private Idaho has a sense of beauty about it, no matter how distorted that beauty may be. That’s what strikes me every time I watch it; a sense of beauty, but also a huge amount of sadness. The film follows two male prostitutes named Mike (River Phoenix) and Scott (Keanu Reeves) as they roam through various settings, situations, strangers’ bedrooms and abandoned hotels. Mike comes from poverty, living in a broken home, and also suffers from narcolepsy; while Scott is a runaway and son of the mayor of Portland, Oregon. They come from two very different worlds, and this is reflected in the way that the story is told.

It does not have any sort of obvious plot, but is instead a collage of strange moments and different textures. Director Gus Van Sant’s arthouse background is very clearly shown in this particular movie, with strange vignettes set on the covers of porno mags and a lilting western soundtrack which also contains The Pogues. As a film, it feels strangely like flicking through a photo album,  yet there is a cohesion to it.

The central theme is the idea of home and what it means to someone who was raised without one. This is exemplified by Mike’s desperate search for it, particularly for his long lost mother. Indeed, Mike’s desire for a mother could be described as at least one half of the plot. I say half because My Own Private Idaho was not based on one script, but two, along with a short story—all written by Gus Van Sant. While I would say Mike’s story is the crux of the film (and that’s probably because it is the most enchanting), Keanu Reeves’ side of things adds a whole other layer.

The second script was not completely original, but is instead based on Shakespeare’s Richard III. This means that the film suddenly meanders into a strange sort of Shakespearean dialogue, complete with a sense of tragedy and characters of fools and princes.

It is so odd, you watch the film expecting a film full of dirt, sex and drugs—but instead are left with this meandering mishmash of styles, settings and Shakespeare. I’ve read some reviews which found this aspect of the film jarring and thus unconvincing, but I found it quite the opposite. The film is tied together not by its plot, but by this strange melancholic dream like feeling that you’re left with long after it’s finished.

Due to Mike’s narcolepsy he may collapse at any point in his home, eyelids twitching into a sleep complete with grainy home movies and family houses falling from the sky. And when he wakes up, he may be where he was left—on a road in the middle of Idaho, or he may be in Italy. What is so incredible as a viewer is that you are completely taken along for the journey, despite its almost hallucinatory strangeness. That’s what makes it such a beautiful watch.

Feature: Hollywood’s relationship with hippies

Written by Mancunion on . Posted in Film.

Does Hollywood negatively stereotype hippies?

In 1969, Charles Manson and his gang of acid-addled followers were arrested and put on trial for an assortment of gruesome crimes. To many, this spelled the end of the era of free-love and innocence, which, for many, remains the defining factor of the hippie movement. In the same year, Dennis Hopper contributed the counter-culture classic Easy Rider to the New Hollywood canon, a film that delves into the darker elements of the non-conformists of the 1960s. Hopper himself plays Billy. A twitchy, swarthy fiend who bears more than a passing resemblance to Manson. Additionally, the struggling Hippie commune visited by the film’s protagonists suggests that whatever promise the Hippie movement once held… was never truly realised.

Interestingly, one of the most damning portrayals of 1960s Bohemia comes from a comparably white-bread film; 1994’s Forrest Gump. In Forrest Gump, director Robert Zemeckis suggests that Forrest’s childhood friend, Jenny, is only drawn towards the flower-child lifestyle because it offers her a superficial escape from the traumas that she has suffered, only for her be sucked into a world of drug-addiction, further abuse and, finally, fatal disease. Easy Rider, at least, takes the time to explore the allure of free-love, drugs and communal living, as well as the darker side of perpetual rebellion. Forrest Gump, on the other hand, dismisses the entirety of the counter-culture movement as empty hedonism.

The presentation of hippies as figures claiming to be enlightened, whilst secretly harbouring few interests beyond physical pleasure is also a stereotype that has endured throughout several films. They range from the sinister, such as Martha Marcy May Marlene, that presents a commune that promises an escape from the banalities of ordinary life through sex and companionship but functions as little more than a masquerade to keep John Hawkes’ cult leader sexually gratified. David Wain’s Wanderlust features a more comedic version of the same sort of concept, with Justin Theroux’s long-haired, far-out charmer proving to be a materialistic fraud. Thus, regardless of tone, Hollywood seems unable to resist perpetrating the same negative ideas about hippies that have persisted for decades.

Or has the free love era been more influential to filmmakers?

Conversely, the hippie movement produced some of the best music of the past century, with many iconic figures being immortalised through film. Perhaps the most popular is Michael Wadleigh’s 1970 documentary Woodstock. Wadleigh’s work was met with critical acclaim, and nominated for two Academy Awards. While it is somewhat unconventional in that it is a documentary, not a drama, these prestigious award nominations indicate a high appreciation for the hippie movement, be it in regards to their music, aesthetics or values. Indeed, the date of this piece, and the fact that the nominations were from years ago, may suggest that recently the relationship between Hollywood and the Hippie may have soured; however, the fact that in 1996 it was chosen for preservation by the National Film Registry in America negates this, proving that a positive relationship between Hollywood and the Hippie has endured the test of time.

Whilst the characters of Baz Luhrman’s 2001 film Moulin Rouge! are not hippies of the long-haired, unwashed, protesting-against-nuclear-weapons variety, Luhrman’s characters most definitely indulge in the Bohemian lifestyle. The majority of them are willing to sacrifice everything for their art, and furthermore, Christian and Satine—the protagonists—are willing to sacrifice everything, including their art, for love. It can be argued that love was at the epicentre of the hippie movement, and thus, Luhrman’s film presents hippie sensibilities within Hollywood, and indeed presents them in a positive light. These characters do not fall into the aforementioned negative stereotypes, yet the influence of the hippies can still be seen within them.

Hollywood is rife with films that celebrate and appreciate this popular subculture. To claim that these characters are consistently dismissed as stereotypical and undesirable tropes is to overlook the rich culture and revolutionary ideals that the Hippies provided—whether it is by viewing them as clichés or disregarding their influence.

Review: Regression

Written by Charlotte Gough on . Posted in Film.

Alejandro Amenábar’s psychological horror film Regression—Amenábar is also the director behind subtle chiller The Others—has as an October release, bringing with it all of the elements of cheap Hallowe’en decorations. It is a hackneyed and over-the-top reproduction of horror traditions more likely to provoke ironic laughter than cold-sweat frights.

Amenábar’s film stars Ethan Hawke as Detective Bruce Kenner, who is assigned to the case of John Gray—a father who admits guilt of the sexual abuse that his daughter Angela (Emma Watson) has accused him of, despite having no memory of it. The police enlist the help of a psychologist, Professor Kenneth Raines (David Thewlis) and his regression therapy, to access repressed memories of the family’s supposedly depraved past. They uncover information that threatens to make the case much bigger than anyone thought; a cult conspiracy of unspeakable, even supernatural, evil.

Set in Pennsylvania in the 1990s and based on the real-life rumoured cases of devil-worship in the United States, Regression has a faint whiff of True Detective, season one. It is, however, decidedly without the complex characters, profound dialogue, exciting plot and macabre beauty of the TV show. Instead, we are given a groan-inducing film, full of one-dimensional characters and dialogue cobbled-together from crime thriller clichés in some desperate attempt to deliver a noire sensibility that True Detective did so well.

There is the brooding, loner detective who gets too caught up in the case, and a dubious, small-town police force. Hawke is definitely no Rust Cole. He is more of a hapless buffoon than a hard-headed anti-hero, and the twists and turns of this ‘mystery’ can be seen from a mile away, even when they go back on themselves to try to be clever. The main problem with the plot is that it treats a few sessions with Professor Raines and his metronome-hypnosis as factual testimony, basing the ‘truth’ of the investigation on highly unreliable subconscious evidence.

Regression’s stereotypical sound-effects and scary moments—inserted for mere shock value —make up a plot so amateurish that it is hard to care about the outcome. We are presented with, at best, caricatured tropes of iconic horror films like Rosemary’s Baby. Ghoulish nightmare sequences and an over-arching (and rather simplistic) conflict between science and superstition; such features we have seen umpteen times before and seen done far more effectively.

Indeed, we are given a rather naïve and paint-by-numbers approach to the topic of devil worship, with cloaked figures, cats and baby-sacrifices galore. On the one hand, these features can be seen as a clever, even deliberately-contrived take on the Chinese-whispers of satanic cults in this period—stories that were apparently never proved. Ultimately, however, they seem to be mere cheap thrills within an unimaginative script.

Watson’s over-acting can also be considered as either a hammy display or a conscious creative decision to maintain an ambiguous audience response to Angela and her horrific accusations. Either way, as a feminist icon of our generation, she made a poor decision to be involved in this substandard project.

As did man-of-the-moment Thewlis (Legend, Macbeth), who is almost laughably type-cast as Professor Raines, retaining his English accent purely to give the ‘science’ a glimmer of old-school academic plausibility. He essentially reprises his role as Professor Lupin (complete with cardigan) from the Harry Potter films; fans will note that there is even a similar scene in The Prisoner of Azkaban, in which he teaches Harry to conjure the ‘Patronus Charm’ using the power of his memories.

The ending of Amenábar’s film has the potential to be an interesting comment on the power of suggestion and the collective hysteria surrounding satanic rituals in the 1980s and ’90s. This just about gives the film’s daft moments some self-reflexive legitimacy. Unfortunately, the clichés and poor acting are so unwatchable that it is hard to take anything seriously, and despite its promising cast and attempted socio-historical critique, Regression is a massive disappointment. It is, however, one to add to the list for a bad horror movie night.

1/5

TV Binge: This Is England ’90

Written by Jack Lunn on . Posted in Film.

The latest—and rumoured to be final—instalment of Shane Meadows’s hard-hitting mini-series adaptation of the 2006 film moves into a new decade. One that saw the end of Margaret Thatcher’s hegemonic grip over the United Kingdom. A buoyant wave of optimism struck the nation, and this is the context in which the This is England ’90 opens: Through a now-standard stock-footage opening montage that is backed by a soundtrack—the timelessly anthemic ‘There She Goes’ by The La’s. England is certainly dreaming, yet this is no fairytale story.

It is clear that whilst some things have changed over the two years separating this series with its predecessor, the northern backdrop remains as tough an environment as ever. Central figure of the film, Shaun is struggling to come to terms with a break up, whilst his ex is seemingly at ease with her new life. Woody and Lol, the power couple of the series, are trying to build a stable suburban backdrop within which to raise their children, but for family interference and a certain ghost from the past. Though, in this series the biggest hardship is felt by Lol’s sister, Kelly, who falls into a bottomless spiral of hard substance abuse. This certainly makes for uncomfortable viewing. Her steep descent is exposed at a party in the woods, which ultimately turns sinister and provides possibly the most uneasy-but-transfixing moment of ’90, in a series which is more than full of them.

The drama is brutal and could be crushing viewing if it weren’t for the brilliant comedic moments interspersed throughout the series. The returning Flip (of “fuck off with your ginger chips, Shaun” fame) from the ’86 series provides priceless moments. Clad in the garb of a Def Leppard tribute act and as brash as ever, one scene sees Flip buy a whole £1’s worth of weed, to which he compares himself to “Antonio Montana”. Most of the gang are as on form as ever, especially in the case of Woody, who has inevitably fallen slightly behind with the new sounds of the rave culture, but is still able to give a hilarious effort at an onomatopoeic rendition of the immortal main riff of The Stone Roses’ ‘Fool’s Gold’.

But, one of this mini-series’ biggest charms is that, after all of the previous content, you feel as though you are watching a group of your mates going about their lives. You give a shit if they are having a bad night, whilst you laugh along with all of their jokes. Should this be the last series, Meadow’s has definitely ended strongly, with arguably the best series yet, and although it could be seen that the arcs of some characters have been neatly rounded off, further episodes would be more than welcome from a show unparalleled in current British TV.

Top 5: Best Actor Oscar snubs

Written by Imran Bukhari on . Posted in Film.

5) Joaquin Phoenix – Her 

While credit does lie with the Oscar-winning script, it is, however, Joaquin Phoenix who manages to bring sincerity and warmth to a romantic relationship with an operating system. His loneliness and battle to find companionship is something anybody can relate to, but not many actors have brought such believability to this struggle. The moustache alone is enough to validate a spot on this list.

4) Tom Hanks – Captain Phillips 

The career of Tom Hanks is littered with exceptional screen roles and he has two Best Actor Oscars to prove it. Nevertheless, he can still feel aggrieved that he was not nominated as the titular Captain Phillips, in what is arguably his strongest performance of the last 15 years. The final scene alone demonstrates this; he is overcome with trauma and breaking down in a devastating release of emotion.

3) Ryan Gosling – Blue Valentine 

Ryan Gosling has been nominated once before for his turn as a drug abusing teacher in Half Nelson, and most definitely deserved a second nod as one half of a fractured relationship. Gosling’s work in Blue Valentine is among his finest, bringing an honesty and brutality as a husband/father failing to hold onto those whom he loves.

2) Jake Gyllenhaal – Nightcrawler 

As time passes, Jake Gyllenhaal’s portrayal of bug-eyed reporter Lou Bloom will only grow in stature to the point where it will be assumed that he must have been nominated. Gyllenhaal brings a deep level of commitment and intensity, which mirrors the character’s single minded determination for success. This is reflected in his desire to lose 30 pounds for the role to create a ‘hunger’ within him.

1) Michael Fassbender – Shame 

It’s abundantly clear that the explicit material within Shame alienated the more elderly members of the Academy. What they neglected to see was the film’s study of a damaged soul and the sheer number of layers Michael Fassbender had embedded into his pained character. This is a haunting performance showcasing a man riddled with addiction, and he is one of the greatest in committing himself to a film.

Review: The Walk

Written by James Moules on . Posted in Film.

Allow me to begin by saying this—the film’s depiction of Philippe Petit’s high-wire walk between the Twin Towers (from which it gets its rather bland title) is every bit as terrifying and visually stunning as you’ve heard. The brilliant use of 3D and IMAX for the sequence would make even the hardiest of souls feel unbearably vertiginous. And I’m pleased to be able to report this, because it’s just about the only thing I can say in The Walk’s defence.

Many viewers will already be familiar with the story at hand from James Marsh’s 2008 documentary Man on Wire, and this is the film on the subject that I would recommend with a banner raised high.

That film never failed to be engaging at any moment. The Walk, on the other hand, forces us to toil through what many will deem the ‘boring bits’ before we get our £10 worth. A whole half-hour of the film’s two-hour runtime is dedicated to Petit’s backstory, in which he goes through the highs and lows of starting out as a circus performer. He rises, he falls, he brushes himself down and he tries again. This kind of narrative is nothing new and adds little to the story. Even Joseph Gordon-Levitt’s charming narration cannot save the first quarter of the film from feeling like nothing more than flab.

There are many angles from which this story could have been approached. The film’s first few minutes offer us a promising set up when Philippe Petit (Joesph Gordon-Levitt) tells us that he does not fear death, and that risking everything on this high-wire stunt is his idea of life. A character study of such a daredevil could have made for a fascinating picture; unfortunately, director Robert Zemeckis (Back to the Future, Forrest Gump) ends up deciding to backtrack on this and to make artistry the thematic foundation of The Walk.

While this is not an inherently bad idea, the more we hear Petit’s frequent whining about his desire to create a great artistic performance in his moments of crisis of confidence, the more irritating and unsympathetic he becomes.

We are supposed to root for this guy to survive his perilous stunt, but his character is too uninteresting for us to really care. Gordon-Levitt does the best he can with what he has, but even the best of actors can’t save a bad script. His questionable—and frankly jarring—attempt at a French accent doesn’t help.

Speaking of one-dimensional characters, I can barely bother to recall the cast of supporting roles in this movie. Petit’s entire team is made up of single trait characters—we have ‘the one who cares about him’, ‘the crafty one’, ‘the one who is scared of heights’. If I were to talk about them for much longer, I feel they would drag me down to their own catastrophic levels of dullness, so I shall leave this point here.

The visual spectacle of the film’s final act does deliver a long awaited shift-up in gear, but is it even worth the wait? Okay, we are treated to a few suitably tense sequences when Petit’s crew set up the wire against the clock and the law. Yes, as I have already mentioned, the stunt itself is a visual marvel when experienced in 3D. But these scenes, which total to about 40 minutes, are the only worthwhile parts of the film. I dare say that I would have had a better time if The Walk was just a 3D IMAX short film, focusing solely on the event itself. But Zemeckis’s insistence on bloating the narrative in tedious places makes the experience, as a whole, something of a drag.

Much like the high-wire walk itself, this movie feels more like a stunt than anything else. It is a showcase for Zemeckis’s best and worst tendencies. Visual effects: Superb. Storytelling: Somewhat wanting. As they often say, there is a fine line between genius and madness. Philippe Petit walked precariously along this line. The Walk doesn’t even try to emulate his spirit.

2/5

High Street Hallowe’en

Written by Phoebe Nickalls on . Posted in Fashion & Beauty.

We love Hallowe’en. It’s one of the only times of the year that we can dress up as pretty much anything we want. Add some fake blood and voila! You have a pretty cool Hallowe’en costume! For the less creative amongst you, we have scoured the high street up and down searching for the best Hallowe’en-inspired items. Most of them you can even wear when it’s not October 31st…we won’t tell!

ASOS:

Our first selection of picks is from our old favourite, ASOS. These cobweb leggings (£18) are a great start for any Hallowe’en costume. Add some fancy makeup and you’re done. It’s scarily simple. If you’re going somewhere smarter, this cat dress (£25) will be sure to impress, and if you feel like incorporating the holiday spirit into your everyday wardrobe, these ballet slippers (£25) will add a hint of fun wherever you go! For the men amongst us, the skeleton onesie (£28) makes for a hassle-free and stylish costume; you can even wear it around the house when it starts to get cold! The Mancunion Fashion and Beauty: helping students save money on their heating. You’re welcome.

Photo: Asos

Topshop:

If Topshop is your go-to, then why not take your pick from their spooky selection this Hallowe’en. This skeleton dress (£28) can be dressed up or down and would suit most Hallowe’en parties. If you are looking for the perfect accessory to finish off your costume, why not go for this spider choker (£5) to complete your look. Or, if you’re not going out but still want to embrace the day, these cute bat socks (£3) are an easy way to add some Hallowe’en spookiness to your everyday wardrobe. And lastly, no Hallowe’en night out would be complete without several people dressed as cats! These sparkly cat ears (£7.50) will do perfectly…

Photo: Topshop

Boohoo:

We were really impressed with Boohoo’s Hallowe’en selection this year. For a full fancy-dress outfit, look no further than their Zombie Cheerleader Dress (£25): an affordable way to go all out! We also love the Trick or Treat Midi Dress (£15) for an understated Hallowe’en look. If you loved the leggings from our ASOS selection, why not pair them with this Skeleton Crop Top (£12). It even glows in the dark! And lastly, for the guys who want to go out for Hallowe’en, but don’t want to completely dress up, this Skull Top (£8) is a wearable way to smash the look!

Photo: Boohoo

The big costume debate: sexy VS scary

Written by Sarah Kilcourse on . Posted in Fashion & Beauty.

With Hallowe’en just around the corner, it’s time to start picking out your costume. Generally, there are two categories for female costume: sexy or scary. By scary, what I really mean is ‘funny’, and by sexy what I really mean is ‘naked’.

Take Cady Heron’s famous ‘ex-wife’ in Mean Girls. It’s definitely not scary, but it is amusing—mainly because she’s the only one who’s not naked. Don’t worry, I’m not here to write a judgemental article telling you off for choosing to wear more or less clothes than you normally would; all I ask is that you do try to wear some form of costume. Fancy dress is just good fun, and university is one of the best opportunities to let loose and dress like an absolute loon.

If you’re going to go down the sexy route, the high street has an array of options available on the cheap: cat, devil, and skeleton; all of these are popular Hallowe’en costumes that you can still look hot in. Or, if you already have worthy but un-stereotypical Hallowe’en attire, get some fake blood and scary contact lenses and you’ll be good to go.

The scary route is also wonderfully cheap; the main benefits, in my opinion, are the extra warmth and comfort.

However, according to my flatmate, you can achieve funny and sexy very easily—the pumpkin. You can get your legs out, but be comfortable and comical in a big round pumpkin suit! The choice is up to you, but I know what I would do…

“Why are you dressed so scary!?” “It’s Hallowe’en…”
Photo: Paramount Pictures

 

Top 5: Villainous Vogue

Written by Kassi Allcock on . Posted in Fashion & Beauty.

Maleficent

There is no denying it—Angelina Jolie’s cheek bone game was on point throughout the whole of the 2014 film release of Maleficent. With her ghostly pale complexion, her oxblood lips, and her sassy purple cape, nobody could look quite so stylish whilst being a… well… maleficent villain. The most fearsome feature of her entire look is her glistening set of teeth, almost blinding her victims as she cackles her menacing laugh.

Photo: warriorpoet @Flickr

The Joker

Although not the epitome of glamour in his prison uniform, The Joker’s usual attire of an eccentric purple suit and faded green locks definitely has flare. His gruesome make up could easily be recreated for any Hallowe’en villain look—simply grab yourself a paint palette that includes white, red, and black. When drawing on your elongated smile, make sure to fashion yourself a few fake scars. He wouldn’t be The Joker without cracking a funny or two about how he got his creepy smile.

Photo: rwoan @Flickr

Cruella De Vil

This crazy woman is an absolute style icon for every villain everywhere. I mean, just look at her! Literally wearing her victims in the form of a fur coat, evil resides in her bones. She takes monochrome to another level, travelling all the way up to her hairdo. Although her look is both sleek and fierce, I can’t help but think about how much upkeep her ‘do’ must need…

Photo: lorenjavier @Flickr

Captain Hook

This is a handy costume idea for Hallowe’en if you were one of the hundreds of students to show up to last month’s Pangaea as Captain Hook. Sporting a dazzling red suit and a pair of knee-length black boots, he certainly fits into the category of ‘best dressed villain’. Appearing to be a proper member of society in old-fashioned formal attire (despite the obvious flaw of his hook-hand), it is his twisted moustache that gives away his evil machinations.

Photo: losmininos @Flickr

Corpse Bride

Although not technically a villain, the eerie feeling surrounding all Tim Burton productions feels pretty villainous to me. What better way to spend Hallowe’en than painted blue from head to toe, wearing a torn, dirty wedding dress? It even gives you an excuse to apply your favourite vampy lipstick! Get your boyfriend/best guy friend involved by dressing him as Johnny Depp’s character, Victor Van Dort, and pass by all of the green-eyed monsters wishing they were you—the most stylish couple in the room.