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Month: July 2017

Interview: Iqbal Shafiq – Founder of The Mancunion

In 1964, less than four years after a ban had been lifted at the University of Manchester on student publications, the first free student newspaper appeared on campus: The Mancunion.

53 years later, the outgoing and incoming editors-in-chief sat down with the man who started it all, to find out a bit more about the man who created such a lasting impact on the Union and university experience of thousands of students.

A lot has changed since the first issue; initially it was more of a pamphlet than a paper as it was four pages long, the editorial team was made up of just four people and they had no women on board. In comparison, we now have 32 pages of content, around 40 editors, and this year just gone we saw the largest number of women editors for a number of years.

Iqbal Shafiq spent his early years in Pakistan and then moved to Gloucestershire on his own to boarding school, as his father was a huge admirer of the British education system. After achieving what he describes as “very good grades” at A-level, he initially began to try his hand at accountancy.

He discovered early on, however, that this line of work was not suited to him, so he submitted late applications to Oxford, LSE and Manchester to study Economics. After receiving a handwritten letter of acceptance from the head of the Economics department, he packed his bags and set off for the North.

Shafiq admits that when he first arrived in Manchester as an economics student he was “very lonely” with his family so far away. That was until he discovered the Students’ Union, where he found the “warmth that I got from my home”.

Shafiq describes watching students from his faculty disappearing together after lectures while he went home and sat in his room, until one day he asked, “‘Where does everyone go?’, and they said ‘We’re going to the Union, come and have a drink’, so I followed them.”

The welcome he received at the Union clearly had a real impact on him and he spoke fondly of the friendly atmosphere he encountered. He explains that this was how the iconic name The Mancunion was born – an homage to the Mancunians who welcomed him to the city and the Union that became his home from home.

Once he had created The Mancunion his loneliness was a thing of the past, as the paper became a close knit community with regular socials held in the Union bar, something we admitted has remained consistent in the 53 years that have passed.

When asked whether or not The Mancunion had a positive first reception, Mr Shafiq replied “much better than we expected”, although he admitted being a little sorry for his friends who worked for their rival student publication The Manchester Independent, established three years earlier which cost fourpence. “They were looking very sad, because they knew this was real competition and the first issue shook the newspaper.” The Manchester Independent lasted for ten years alongside The Mancunion.

The introduction of a free student publication certainly attracted attention, as The Guardian wrote a page 3 article about its first distribution. Shafiq recalled being interviewed by the Guardian journalist back in March 1964, and after the interview we tracked down this article in which he boldly claimed: “Our news will be objective and there will be no censorship from outside.”

As this is still a hot topic with student media we has asked Shafiq how much control he had over the editorial decisions, especially as it was so closely connected to the Students’ Union.

Shafiq explained that, while he was a Union council member, the Union and University had “no say at all” in the content he published, with most of it being objective news reports on the affairs discussed at union council meetings.

However he admitted that while he could be critical he felt much more restricted than we were today in how far he could go with the criticism: “I was a bit careful… because I was hoping that I would get a degree as well.”

We asked whether he has really thought that was a risk, explaining that if criticism was necessary we would not have been concerned that our degree would be threatened and that there had been many occasions throughout the year where we had let students openly express strong feelings against the University and Union: “I had noticed,” he joked, mentioning that he had seen the somewhat controversial articles from the beginning of the year concerning our interview with Vice-Chancellor Nancy Rothwell.

While he explained that it didn’t stop him, he ultimately “tread carefully”. We asked if he could remember ever actually getting into trouble for what he published, and he recalled the head of his department taking him aside and saying “you should not have gone into this but now that you’ve started, alright we won’t say anything, but just be careful”.

The Mancunion appears to have been founded not long after a turbulent period for student publications, with The Guardian article mentioning the ban of student publications by university authorities in its write up about the launch. So it is perhaps unsurprising Shafiq felt the need to be careful.

Given that journalism in general is now in a period of flux, with the rise of alternative media and a growing distrust in mainstream news outlets we asked where he thought the future of journalism was headed.

“Nowadays if you have a cell-phone you get news from I don’t know where, news comes in all the time, so people buy less newspapers”, he replied in a somewhat baffled manner about the rise of online journalism and decline of print — something we admitted even student print journalism is struggling to catch up with.

However he was adamant that the paper had to continue and content that the paper is being left in (somewhat) capable hands, as “one of the nicest things in my life at the moment is that The Mancunion is doing so well”.

Kirstie OMahony – Editor-in-Chief and Jennifer Sterne – Former Editor-in-Chief with Iqbal Shafiq the first Editor of The Mancunion.

Despite his confidence, Kirstie felt as though she needed to ask what sage words of wisdom he could offer to her. He urged her to “keep The Mancunion going” because its importance has not dwindled in the 53 years since its inception, but also to remember that editors still have their “whole life ahead” of them, so they shouldn’t let their studies fall by the wayside.

Most importantly though, he stressed the need to keep scrutinising the Union and the University, as they are not immune from making mistakes and “it’s a newspaper like this that needs to hold them to account.”

He added that he felt “because of the fees and other issues, students have gone through a rough time” and because of this “you need The Mancunion”.

Jenny then thanked him for creating the newspaper as it had given her myriad opportunities during her time at university and set her and countless others up for successful careers in journalism and the media. He seemed quite modest about his achievements, replying: “It is… the simpler things in life [such as The Mancunion’s continued existence] that makes you feel good.”

After the interview, he took us for a drink at Kro Bar across the road from the Union. He continued to reminisce, specifically about the countless times he and his editorial team would go out for drinks after publishing an issue of The Mancunion.

At least some things never change.

Review: Game of Thrones — Stormborn

Just as the second episode of its last season brought back the show’s most beloved character, Game of Thrones’ newest episode has brought back the show’s most dreaded: the Sand Snakes. However, in the most surprising turn of all, it was not a bad scene.

Director Mark Mylod delivered — although I still haven’t forgiven him for killing Ser Barristan Selmy off with some pitchfork-wielding peasants in a back-alley — the Greyjoy-on-Greyjoy action set-piece was stunning, and Obara, Nymeria and Tyene Sand gave their best performances in the entire series.

Euron Greyjoy’s epic entrance on Yara’s vessel was perhaps his first real entrance in the show as Euron, and not just a deranged clown. As he took down each of the Sand Snakes and his niece Yara, we saw actor Pilou Asbæk finally come into his own in his role as the greatest pirate in the world.

If only it had not had such an awkward start. It’s hard to believe that Yara Greyjoy and Ellaria Sand had no warning that the fleet was under attack until they were already being burned and boarded, especially when Yara had previously expressed knowledge that Euron was out there and after them. Surely they would have taken precautions: lookouts with warning horns, maybe? If only they had, we could have also avoided the painfully awkward seduction scene below deck; Ellaria Sand’s “foreign invasion” line proves once again that Dorne can always be relied upon for cringeworthy dialogue.

So where does this leave Daenerys? Two of her Dornish allies are dead, the other two captive with Yara, presumably imminent gifts to Cersei Lannister. Her Iron Fleet has been overcome, but the Tyrell and Martell armies are still on standby to lay siege to King’s Landing.

Tyrion will probably lead the assault on Casterly Rock with the Unsullied and the Dothraki, and claim it as his own. Tyrion’s strategy is not dead yet, and is more likely to fall by Olenna’s words than by the hands of Euron Greyjoy: conflict is beginning to mount between her quiet counsel and the Imp’s. Dany’s obvious pleasure at the Queen of Thorns’ urges to rule more ruthlessly warns of devolution into Mad Queenship and terror rule.

After seven years, Emilia Clarke is still struggling to be convincing as Daenerys. Her character was given several big political scenes this episode, and she failed to deliver in all of them. Conleth Hill as Varys and Carice van Houten as Melisandre both gave their all in their exchanges with the queen, but Clarke’s wooden delivery held the scenes back from being as powerful as they were written.

The standout actor in Stormborn was undoubtedly Maisie Williams as Arya Stark. Her scenes with Hot Pie at the Crossroads Inn and Nymeria in the woods were both extremely strong, with touching callbacks to previous seasons; one old friend reminding her of her home in the North, the other reminding her that she no longer belongs there. And how great was Arya’s comment about making pies?

There were more callbacks to previous seasons elsewhere: Jon and Tyrion remembering each other and recommending allegiance with each other was precious.

A more disturbing homage occurred in the crypts of Winterfell: it would have been satisfying to see Jon get Petyr by the throat if it wasn’t obviously what he had wanted, proving that Jon has the ‘quick temper and slow mind’ of his uncle Ned, who Petyr had provoked into choking him in the same way in Season One.

Littlefinger’s plans for when Jon is away are a mystery, but I have only one question regarding Jon’s meeting with Daenerys: why bend the knee when you’re both unmarried? There is a way for you to both remain monarchs in Westeros…

Quick thoughts from a book-reader:

—Will Qyburn’s crossbow play the role of Dragonbinder in the show? Or will it prove effective against Dany’s dragons, and kill one for it to rise from the dead as a White Walker dragon?

—Nice name drop of the phrase “Master Plan” by Dornish Ellaria Sand in the War Room, an effort at homage to Martin’s butchered storyline as Dorne conspires with Daenerys Targaryen.

—REEK! Ellaria’s teasing proved correct: Theon is too damaged to be of much use to his sister anymore. If he drowns in the sea (and the fan theory of Gendry picking him up in his row boat proves false), could the Drowned God revive him and bring him back stronger than ever, to play a Victarion-like role?

 

4.5/5

Preview: Aperol Spritz Social

On Wednesday 26th July Aperol are hosting one of their ‘Aperol Spritz Socials’ on the terrace of the Restaurant Bar & Grill, Manchester. Entry is free for those who register before the event and the drinks and food are complimentary all night.

The Manchester event is part of a a series of rooftop events, popping up in London, Manchester and Liverpool.

The Aperol Spritz Social will also include a spread of cicchetti (Italian tapas-style small plates) from the Restaurant Bar & Grill, all for free.

Guests will also get a chance to have hands-on Aperol Spritz masterclasses, where you can learn how to make the perfect Aperol Spritz, Aperol games and a sunset DJ set.

Throughout the summer there will be pop-up Aperol bars and events, touring cities across the country with over 300 live locations and days.

The Aperitivos will be served from 6pm – 9pm and everyone wishing to attend has to register before the event here.

Paolo Tonellotto, Aperol Brand Ambassador, said “This summer, we are inviting the nation to raise a glass of delicious Aperol Spritz and celebrate the end of the working day, whether at one of our rooftop Aperol Spritz Socials, at the Aperol pop up bars across the country, or simply at home. Cin cin!”

Top 5: Tim Burton Films

5. The Nightmare Before Christmas (1993)

Although directed by Henry Selick, The Nightmare Before Christmas was written and produced by Tim Burton. Thus, it remains very Burtonesque and has Burton’s trademark Gothic stylization stamped all over it. With its fair share of scary and morbid creatures, it is nothing short of dark mischief; it is a timeless holiday animation that combines elements of dark and fright with fun and glee.

Set in the shadowy and dreary Halloween Town, it tells the story of Jack Skellington, a Pumpkin King who accidentally stumbles upon a secret portal, which transports him to the bright and colourful Christmas Town. There he begins his quest to bring Christmas back to Halloween Town.

The Nightmare Before Christmas is an unconventional take of a ghoulish, frightful stop-motion animated musical, which certainly lives up to its hype. Indeed, it is a movie marvel that deserves to be in the top five, and one that is worth watching regardless of age or time of the year.

4. Batman (1989)

Batman is undoubtedly one of the world’s most popular superhero – and some would argue perhaps the greatest – so it should come as no surprise that there have been more than ten film adaptations. Though Christopher Nolan’s critically acclaimed Dark Knight trilogy is often considered one of the best and most iconic Batman adaptation to date, Burton’s Batman nonetheless remains a cult classic among die hard Batman fans, and with good reason – this dark fantasy is grippingly thrilling.

Unlike other adaptations, Burton’s take on Batman is a more sinister and menacing affair, enhanced by the visually stunning set, where production designer Anton Furst meticulously constructed a rotten, decaying and corrupted Gotham City. But all is not dark and grim in Gotham for the film does provide some comic relief. Michael Keaton gives a stellar performance as Bruce Wayne, whilst Jack Nicholson’s portrayal as the exaggerated, sadistic Joker is equally deserving of praise. Since its release twenty-eight years ago, Burton’s Batman has laid the foundation for future Batman adaptations and continues to be a cultural phenomenon.

3. Beetlejuice (1988)

Burton, indulging in his fanciful imagination, has once again produced a masterpiece that is quirky, innovative and delightfully refreshing. Beetlejuice is a supernatural comedy about the afterlife of Adam and Barbara Maitland, played by Alec Baldwin and Geena Davis, a recently married young couple who become ghosts after a freak car accident.

Initially unaware of their newfound ghost status, they return to their rustic country home only to discover that they are actually dead, and their house has been sold to an obnoxious New York family, the Deetzes, who are determined to give the place a major renovation. Realising that their souls are now trapped in the house, the Maitlands set out to scare Charles and Delia Deetz (Jeffrey Jones and Catherine O’Hara) and their daughter Lydia (Winona Ryder) away. But when their feeble attempts to spook the Deetzes out of the house fail, they enlist the aid of Betelgeuse (Michael Keaton), aka ‘Beetlejuice’, a rude, arrogant and morbid ‘bio-exorcist’ spirit to frighten them off.

Keaton’s character is a breath of fresh air, and though only appearing later in the film, he nonetheless captivates the audience with his tremendously hilarious lines and cartoonish performance. With multiple nominations and an Academy Award for Best Makeup, this foolishly charming ninety-two minutes feature is sheer delight and definitely worth your time.

2. Sweeney Todd: the Demon Barber of Fleet Street (2007)

Johnny Depp collaborates with Tim Burton again in this epic film adaptation of Sondheim’s Tony and Olivier-Award winning 1979 musical Sweeney Todd. Set in mid-19th century Britain, Depp stars as Benjamin Barker, the repulsive and loathsome barber turned serial killer, who seeks retribution for his wrongful imprisonment.

In many ways, Barker (later called ‘Sweeney Todd’) shares many similarities with Jack the Ripper, one of the world’s most notorious criminal: both lived in Victorian London, both embarked on barbering careers, and both were callous, cold-blooded killers.

This twisted revenge tragedy sees Depp form a perverse partnership with Mrs Lovett (Helena Bonham Carter), a pie-maker who lives below him with a reputation for selling ‘the worst pies in London’. Upstairs in his barbershop, Depp slits the throats of unsuspecting customers, and dispose of their bodies into the cellar via a trapdoor; later, Lovett collects the bodies and bakes them into her pies.

It is a win-win situation for both: Depp satisfies his desire for revenge whilst Lovett’s pie business lifts thanks to this new secret recipe. Violent, sinister and gory, this horror musical has proved a success. It is a remarkable piece of work that is well deserving of second place.

1. Edward Scissorhands (1990)

In first place is Edward Scissorhands, which is notably Burton’s greatest work and the first of his eight collaborations with Johnny Depp. It is a modern spin on your typical boy-meets-girl story, with the perfect balance of weirdness, romance, humour and magic.

The central theme of the film is the notion that there is beauty amidst the darkness. Depp plays Scissorhands, the incomplete creation of a mad inventor who suddenly passes away leaving him with scissor blades for hands. With his strange appearance – ghostly pale skin, wild unkempt hair and scars on his face – Depp looks nothing like the quintessential Prince Charming. Yet, there is something enthralling and hauntingly beautiful about his character; by the end of the film, Depp’s vulnerable, naïve and sensitive portrayal of Scissorhands will have you rooting for him.

Dianne Wiest plays Avon saleswoman Peg Boggs, ‘the fairy godmother’, who finds Scissorhands confined in the Gothic mansion where he was created in, and brings him home to her queer pastel neighbourhood. There, he meets Peg’s daughter Kim, played by Winona Ryder, and subsequently falls in love with her. The chemistry between the two is undeniable; he is the strange yet lovable Prince Charming, while she is the beautiful and compassionate Cinderella. For those who want a taste of the very best of Tim Burton, Edward Scissorhands is a must watch!

Review: Cinderella (2015)

Cinderella has always been – and still is – my favourite Disney Princess, so much so that I have lost count of the number of times I have watched the original 1950 animated version. Over the years, there have been other Cinderella adaptations, such as A Cinderella Story (2004) and Another Cinderella Story (2008), but although refreshing and light-hearted, they lack true substance and almost always fall short of expectations.

This remained the case until Disney gave the green light for the sensational live-action remake of Cinderella. With its ensemble cast, visually stunning effects, lavish production sets and brilliant costume designs, Cinderella (2015) is a splendid affair and a spectacle to watch.

Directed by Kenneth Branagh, Cinderella remains true to the ‘classic’ animated feature film, albeit with some minor changes to the storyline. Essentially, the main difference is that the Prince and Cinderella meet as equals; both are placed on an equal footing.

Branagh’s remake sees the Prince having a substantial role, the addition of the Prince’s faithful sidekick, Captain, and the portrayal of Cinderella as a free-spirited, brave and kind-hearted heroine. The story is narrated by Cinderella’s fairy godmother, played by Helena Bonham Carter, who first appears in the movie as a wrinkled, frail old woman before later transforming into a more youthful and slightly scatty yet loveable fairy godmother.

Game of Throne’s Richard Madden stars as Prince Charming, better known to Cinderella as ‘the Apprentice’, or as his father famously calls him, Kit. With his deep-set blue eyes, boyish smile and striking physique, Madden is a tremendous choice for the role of Prince Charming. Smart, engaging and remarkably handsome, he is the epitome of Prince Charming. His future bride, Cinderella (‘Ella’), is played by Downton Abbey’s Lily James, a beautiful, courageous and compassionate young woman who eventually wins the heart of the dashing Prince.

Unlike the animated movie, Ella’s first encounter with the Prince is not at the Ball, but in the forest where she escaped to after being cruelly mocked by her evil stepmother and stepsisters. Cate Blanchett as Lady Tremaine, Ella’s scheming stepmother, is the perfect villain, executing her lines with sheer wickedness and coldness, whilst Holliday Grainger and Sophie McShera play her daughters Anastasia and Drizella respectively. With their over-the-top performances, horrendously bright costumes and shrill voices, Grainger and McShera’s depiction of the obnoxious and ignorant stepsisters are commendable for its full comedic effect.

Credit must be given to production designer Dante Ferretti and costume designer Sandra Powell who have worked their Oscar magic creating aesthetically pleasing and artistically beautiful works of art. From the Castle’s magnificent ballroom, which features a grand staircase and 17 handcrafted chandeliers hand lit with 5000 oil candles, to the intricate clock tower and spectacular golden carriage carved to perfection, every set is nothing but splendour and grandeur.

Blanchett’s extravagant green gown and Kit’s polished regal attire are marvels to behold, but it is Ella’s elaborate blue gown and dazzling crystal glass slippers that add sparkle to the movie and steal the show.

All in all, Branagh’s Cinderella is empowering, effortlessly beautiful, and a magical visual experience. His message in the retelling of this tale is clear and simple: have courage and be kind. Flawless and extraordinary in every aspect, it truly exceeds all expectations and is by far Branagh’s greatest work yet.

4.5/5

Preview: 4K Season at Vue Cinemas

Vue Cinemas has recently opened at Printworks, and is bringing well-loved classics back on to the big screen. All screens at Vue boast having Sony 4K Digital projectors. This means for a viewing experience like no other, with brighter colours, impeccable detail and depth. The resolution in 4K creates an overall sharper and clearer image, providing audiences with the very best of quality in pictures.

So, if you ever find yourself shopping at the Arndale Centre or grabbing lunch at the Corn Exchange, it might be worth visiting Vue, as a range of classics have been remastered to give audiences an immersive, cinematic experience, which you will not want to miss.

The Graduate (30th July)

A university graduate, Ben Braddock (Dustin Hoffman), returns to his middle-class home to be greeted by his family and their social circle, whom all seem to have ideas for Ben’s future. The alienation, boredom and fear, which is created by the uncertainty of what lies ahead are common themes explored throughout the film. In the midst of this, Mrs Robinson (Anne Bancroft), a friend of Ben’s parents, seduces him only for Ben to fall for her daughter. The late Mike Nichols, one of the very few people to have the ‘EGOT’ title, took home the Academy Award for best director for this iconic film.

Robocop (27th August)

In a crime ridden future, Detroit is run by a conglomerate who have little interest in protecting the public. Two officials seek to resolve the crime issues by developing a half human/half cyborg police officer from the remains of slain cop Alex Murphy (Peter Weller). Paul Verhoeven’s audacious style has made Robocop the cult sci-fi hit that it is today. Renowned for its graphic violence and comic attack on totalitarianism, Robocop ‘s depiction of a vicious future is ideal for the 4K viewing.

Close Encounters of the Third Kind (24th September)

Steven Spielberg’s epic, sci-fi masterpiece earned nine Oscar nominations. The film follows an average joe, Roy (Richard Dreyfuss), whose UFO encounter leads to an obsession which affects his personal and professional life. The only person that seems to understand Roy is Jillian (Melinda Dillon), who is searching for her son. John Williams’ chilling score creates an uneasy tension throughout the film. Close Encounters is considered to be a cultural phenomenon, as well as aesthetically significant, in particular for the spectacular climax of the film.

The Breakfast Club (29th October)

John Hughes is notable for many teen dramas in the 1980s, including Pretty in Pink, Sixteen Candles and Ferris Bueller’s Day Off. Though undoubtedly it is The Breakfast Club that is Hughes’ most iconic piece of work. High school stereotypes, a brain, an athlete, a princess, a basket case, and a criminal, come together for detention on a Saturday. It is here where despite their differences they all strike a connection. Hughes captures the essence of adolescence with authenticity, and as with his previous films, a brilliant soundtrack.

Taxi Driver (26th November)

Taxi Driver is considered to be one of the greatest and most powerful films of all time. Robert De Niro is Travis Bickle, an insomniac Vietnam war veteran, who roams the New York night-time streets in his cab and becomes obsessed with a child prostitute (Jodie Foster). The film is a thought provoking portrait of a character brought by the legendary Martin Scorsese.  From the slow-motion shots to the oversaturated lighting, the use of such cinematic devices serve as an entrance into Travis’ mindset. The 4K showing will provide audiences with the perfect experience to relish Scorsese’s mastery in film.

Dancing in Damascus: an evening with Miriam Cooke

On 12th July 2017 Miriam Cooke facilitated a fascinating evening of discussion around the poignant themes in her most recent work, Dancing in Damascus: Creativity, Resilience and the Syrian Revolution. The focus of the event was on the importance of art in, what is increasingly being referred to as, the Syrian Revolution of 2011.

In fact, Cooke took particular care in emphasizing that ‘revolution’ was the key influence in allowing this outburst of artistic creativity which has taken Syria by storm. Cooke described how the art that has emerged from Syria depicts a certain feeling amongst, not only Syrians, but the world.

Syria’s future now lies not only in the overturning of Assad’s brutal regime, but in planning for a better, more peaceful and democratic society. Cooke went on to further discuss the significance of Syria’s art explosion in reminding future generations of what the regime is constantly trying to erase — freedom, anger and above all else a yearning for change.

Cooke also spoke about the central themes of her work, Dancing in Damascus, stating that the Syrian revolution has opened a new dialogue in the form of ‘art activism’ something, she argues, is more powerful than constantly trying to appeal to the masses using purely political rhetoric.

The issues that Cooke brought to light are timely and deeply harrowing. For example, the brutalities enacted at Saydnaya prison were discussed, highlighting the atrocious nature of torture resulting in 13,000 deaths from 2011-15.

Whilst both empowering and evocative, Cooke’s discussion seemed to mainly focus on the positive aspects of Syrian art. Little focus was given to the dangers surrounding the careers of artists in Syria — many are imprisoned, or even killed, for producing anything resembling opposition to Assad’s regime. However, when questioned afterwards if Cooke thought that artists risking their lives was really worth defying the regime she responded with an impressive answer — these artists are always in danger. If they don’t sacrifice their lives for their art, then they risk being killed just for existing in Syria. They might as well use their time and talent to produce something meaningful, regardless of the consequences.

So, the evening drew to a close with both the audience and speaker having had their minds tantalized by the intellect and intrigue of the discussion.

Miriam Cooke’s latest book, Dancing in Damascus: Creativity, Resilience and the Syrian Revolution is available for purchase throughout Rethink Rebuild Society’s ‘Celebrating Syria’ festival, alongside a number of other worthy publications.

For details on other events in Rethink Rebuild Society’s ‘Celebrating Syria’ festival visit celebratingsyria.org

 

Review: The Big Sick

The Big Sick is the true life tale of how Kumail Nanjiani fell in love. In love with a girl that just broke up with him and who’s now in a coma. Absurdly funny, intelligent and at times heartbreaking, this film is proof that the Rom-Com genre is not out of ideas just yet.

This is not the first time Judd Apatow has brought a relatively unknown comedian into the limelight, think Steve Carrell in ’40 Year Old Virgin’ or Melissa McCarthy in ‘Bridesmaids’. He has an incredible ability to spot talent and cultivate them into Hollywood superstars.

Nanjiani’s performance demonstrates the ability we have seen in his previous projects such as Silicon Valley and proves he can hold his own in a leading role of a feature film. It would be tremendously disappointing to see him relegated to bit parts or supporting roles and I hope this marks the beginning of a new chapter in his career.

Kumail’s character is both a comedian and an Uber driver. It is both of these professions that helps him meet Emily. At one of his shows Emily shouts playful encouragement, a “woohoo,” which Kumail points out is heckling regardless of intention.

Following the show he continues talking to her about her abhorrent rudeness, leading to flirting and an eventual night of passion. Afterwards, she decides to leave citing that she is not ready for a relationship, and calls an Uber. Suddenly Kumail’s phone starts ringing, and so begins a series of ‘this is the last time’ Uber based dates.

Despite Nanjiani being Pakistani born, he is not presented as different to any other character. While this may seem a meaningless statement, the implications are far from it. All too often major releases make a big song and dance about diversity, The Big Sick revels in its grounded, realistic treatment of everybody regardless of creed or colour. The only exception for this is during a scene at a stand up show when a frat boy shouts ‘Go back to ISIS’. His character is the only one that seems out of place, a gentle point towards a deeper meaning.

This grounding extends to the humour as well, with an unpredictability that keeps the viewer sharp. The highlight of which is during the first conversation between Kumail and Emily’s parents, Beth and Terry, played fantastically by Holly Hunter and Ray Romano.

Terry starts by saying how he always wanted to have a conversation about 9/11 with someone like him. After an awkward pause, Kumail expresses his sadness at losing ’19 of our best men’. Another notable moment is earlier on where there is a major toilet humour joke without it seeming overly crass.

Weighing in at just under two hours, as with all Apatow films, it is a tad lengthy. 5 to 10 minutes could be shaved off to become more streamlined — the second act is slow at times — but this complaint is minute in comparison to the phenomenal accomplishment of Kumail and, spoiler, wife Emily Gordon.

To take a traumatic personal experience and put that on the big screen for everyone to see is incredibly courageous. The countless rewrites the script underwent is evidence of their determination to create the best possible version of their story. The resulting product is truly fantastic.

In this genre, the two pivotal components are emotion and humour. The majority of entries either do one competently or both adequately. To achieve both so effortlessly and in such large doses is the sign of something special, a movie that will be remember far beyond the end of its cinematic run.

For an interview with Kumail Nanjiani click here!

How the ‘Shared Universe’ is taking over Hollywood

In 1977, the film franchise was born, with George Lucas’ Star Wars.  However, it was by no means the first seed of sequels.  Way back in 1916, the first ever film sequel was released: The Fall of a Nation, the follow up to D.W. Griffith’s The Birth of a Nation, marking the first occasion that the big screen saw cinematic continuation.

In the years leading up to Star Wars, there had already been ten James Bonds, five Planet of the Apes films, and the The Exorcist series was underway following the disastrous sequel The Heretic (1977).  One film saga had even already concluded, in Sergio Leone’s ‘Man with No Name Trilogy’ (1964-1966), marking Clint Eastwood’s emergence onto the silver screen.

Yet it was Lucas’ iconic space opera which set the ball rolling in terms of studios and directors realising the true commercial power of pre-existing properties and follow ups.  Creative originality was becoming rapidly usurped by a thirst for box office domination and merchandising potential, and throughout the following 40 years, the film industry was ripe with both flourishing and floundering film franchises.

However, another strain of cinematic titan has recently been unleashed from Hollywood’s Pandora’s Box.  The ‘shared universe’.  The idea of a cinematic multiverse is not a complete stranger to film – King Kong and Godzilla faced off on the big screen in 1962, and the fantastic Who Framed Roger Rabbit (1988) charmingly interwove animated characters from Disney and Warner Bros’ Looney Tunes into its narrative.

But, in 2008, Marvel’s Iron Man marked the genesis of the first large scale, franchise crossover.  The goal from the studio was to be able to ultimately bring together various characters from its stand-alone films, including the titular heroes from 2011’s Captain America: The First Avenger and Thor.  A goal which was successful, with 2012’s Avengers Assemble being a commercial hit as well as generally appeasing fans and critics alike.

Whilst Marvel has strived to extend their universe further, with the company’s biggest asset, Spiderman, about to make his solo debut under the studio in Spiderman: Homecoming, Warner Bros. has been fighting to keep up, creating a cinematic character base of its own in bringing various DC comic book characters to the big screen. Icons such as Superman and Batman have been revamped, whilst other characters have been given their film debuts, many of which arriving in 2016’s abysmal Suicide Squad.  The upcoming Justice League will unite the majority of these characters, and will no doubt be the first of several sequels which amalgamate DC’s various properties.

After dabbling in the concept with 2003 and 2004’s respective gung-ho crossovers Freddy vs Jason and Alien vs Predator, the horror genre is also getting its own shared universe, in the form of Universal’s ‘Dark Universe’.  This franchise will see horror icons such as The Invisible Man, Frankenstein’s Monster, and Dr Jekyll & Mr Hyde meet on screen, as well as The Mummy from the aptly named, The Mummy (2017).

The idea of different cinematic worlds colliding is interesting and obviously appealing to a great majority of the popcorn audience, but does it mark a shift in the priorities of Hollywood cinema? Gone are the days where standalone, unique films would dominate the box office.  In fact, out of the top 100 all-time grossing films at the box office, only 8 are solo projects, Christopher Nolan’s Inception (2010) and James Cameron’s Titanic (1997) being two examples.

Yet it appears even the original film is not safe from the germinating juggernaut which is the shared universe.  Earlier this year, Split, directed by M. Night Shyamalan (The Sixth Sense, Signs), surprised audiences by turning out to be set in the same world as arguably the director’s greatest work, Unbreakable, Shyamalan having confirmed his next film will be a crossover between the former and the latter.

There have also been long-running rumours of a crossover between the Men in Black series and the 21 Jump Street film series, throwing the latter’s protagonists — played by Channing Tatum and Jonah Hill, into the sci-fi world previously occupied by Will Smith’s and Tommy Lee Jones’s Agents J and K.

Studios are evidently losing confidence in fresh ideas and scripts.  Whether this is a positive evolution of Hollywood, or merely a reflection of creative complacency, is up for debate, yet it is certain that the shared universe is a force to be reckoned with in the industry.

Just like how in the 40 years after Star Wars began, the film franchise took over the box office, 40 years from now, we could be looking at a world of cinema which is dominated by multiverses and mashups.

With Disney owning Marvel, Lucasfilm, and of course its animated back-catalogue, who knows, we could very well be looking at a future showdown between Darth Vader, Donald Duck and The Incredible Hulk.  But I wouldn’t hold out on waiting for a Warner Bros. crossover between Happy Feet and The Conjuring just yet…

Review: 2000 Trees Festival 2017

2000 Trees is described as being small but packing a punch. A strong statement to make, but very true to its words. Long gone are the days of shouting ALAN & STEVE and in 2017 it has since been replaced with, ‘OH JEREMY CORBYN’.

On Thursday festival goers were graced with plentiful of choice, from the band that ‘shout at the moon’, Mallory Knox, legends Young Guns and energetic performances from Pulled Apart by Horses and great performances from upcoming bands such as the likes of Bellevue Days. With such a strong line-up from the first night the bar was set extremely high for the following days that remained.

Friday was filled with sunshine, surprise acoustic acts in the chilled-out Forest Sessions and a lot of happiness (and sweat).

Photo: Ben Morse

Deaf Havana who were a high priority on my list did not disappoint. They left the set list choice to those on Facebook to vote, and with a lot of people intending to vote for ‘Nicotine and Alcohol’ but instead voting for ‘Cigarettes and Alcohol’. Front man James exclaims that if this is what the people vote for then this is what you’ll get; swiftly breaking into the northern Oasis’ classic.

Frank Carter & The Rattlesnakes were a real stand out act for me. With the set being stopped not just once, but twice to help people in the crowd. First, a girl who was being crowd surfed out lost her bum-bag, the singer stopped mid set and got the whole crowd to look at their feet for the bag, which resulted it being quickly returned.

For the second-time the reason he stopped was a little more serious; a small fight was breaking out between a boy and girl in the crowd, something along the lines of him grabbing her and she wasn’t happy about it; Frank got into the crowd all the way to them to find out what happened and he apologised profusely to the girl “I’m so sorry that happened to you”. Such a lovely and sincere thing to do, and so reassuring to see. Big Respect to you Mr Carter.

Photograph: Gareth Bull

Nothing but Thieves were nothing short of incredible, a spotless vocal performance.

Saturday brought more sunshine, cider and a wedding … yes an actual wedding happened on Saturday morning. But also best of all did I mention you can bring your own alcohol into the arena?!

Photo: Ben Morse

And as the final day rolled on so did the incredible music and scenes that came with it. A highlight of the final day for me was the Front Bottoms, (yep their real name) and a band I had never seen before, they were fun to jump along with their guitar solos and jingly riffs.

Fast forward to when Lower Than Atlantis performed on the main stage; a band who I have seen many times before yet every time they seem to get even more fun to watch — despite the fact they encouraged crowd surfing. I now don’t know which parts of me hurt because of the sunburn or because of the strong kicks I got from people overhead. Who knows? Regardless they were a pleasure to watch and to be involved.

The Rock-Punk duo from Kent, Slaves concluded the 3-Day Festival with an all-round outstanding performance, the cocky cockneys had such a strong outwards presence and ability to make a surprising amount of noise, which riled up the crowd and got them bouncing and moshing along to their tracks both new and old.

Other things to mention are that the cider met up to expectations and for less than a £5 was less than the average price of drink at a festival too! The Silent Disco was such fun and the headphones could pick up signal all over the site, meaning you could wander from tent to tent and not be too crowded. It was fucking great.

Tickets for 2000 Trees 2018 are available and can be found here:

Tickets

 

Review: My Life as a Courgette

It is safe to say this is the best stop-motion since Anderson’s Fantastic Mr. Fox. Originally an auto-biographical account of Gilles Paris’ experience in an orphanage (“Autobiographie d’une Courgette), we follow the string of events that happen to 9-year-old Icare, or rather Courgette as he prefers to be known, after what should be any child’s worst nightmare.

The very fact this film was in the form of stop motion intensified the magic of the story. Every emotional scene is heightened by the intricate workmanship going into the children’s interactions amongst themselves or with adults. This is an area My Life as a Courgette excels in, as the film recognises children’s receptiveness and perceptivity. Adult’s words and actions greatly impact children, becoming all the more important for them to understand how deeply these orphans are traumatised and just how they are dealing with this.

Authority figures such as the policeman or the social workers are shown in their best light, and is somewhat a tribute to the system. They are fully understanding of the children’s needs, such as Icare’s need to be called “Courgette” as his late mother nicknamed him. They do not underestimate their intelligence and give them a secure sense of home and family within the orphanage.

During a skiing trip organised by the orphanage, Camille (another of the home’s residents) and Courgette share a meaningful evening of confessed deep thoughts under the stars, as Courgette realises that now his alcoholic mother is dead, he is relieved his future will never involve drinking large amounts of beer with her as he always imagined. The orphanage has opened up doors and windows of happiness and possibility he never knew existed.

On the same trip, little Ahmed approaches a girl to compliment her red skiing goggles. The girl’s mother rushes over, immediately assuming Ahmed is a thief and demands where his parents are, to which he replies he doesn’t know. Aggressively shooing him away, she humiliates him by calling him a liar. Ahmed’s reaction is heart-breaking, he did not deserve to be shouted at, even less-so to be falsely accused of lying or stealing. If director Claude Barras and screenplay writer Céline Sciamma wanted to get the audiences tear ducts working, this scene did a brilliant job of doing so.

One of the best things about the film is the script, made up of small details that make the stop motion characters intensely realistic. A few things couldn’t help getting lost in translation, such as one child’s confusion of the words “préliminaires” and “préparatifs” in an adorable attempt to show off his knowledge about grown-ups and sex, but this is understandably imperceptible to anyone who doesn’t speak French. The discussions these children have reflect, at least for characters Simon, Courgette and Camille, the gift of insight, intuition and understanding.

A brilliant way the orphanage came up with helping the children communicate was to give them a communal weatherboard, or “La Météo des Enfants”. This was genius in its simplicity, as the moods ranged from stormy to sunny, being a good meter for each child to easily share what mood they are in. One’s state of mind can be difficult to articulate for anyone, let alone for young, traumatised children.

Each of these children have a huge amount of character, much to do with their individual background stories. We are told the reasons of their being in the orphanage, and suddenly the home becomes a microcosm of society’s problems today.

Sciamma mentioned being aware of the political dimension of My Life as a Courgette by portraying the palette of dysfunctional families that exist all around us. The character of Simon is particularly well done, his cliché hard exterior is justified by his acute take on reality. “We’re all the same” he reassures Courgette, “there’s no one left to love us”.

When Courgette and Camille spend a weekend at the Policeman’s home, they cannot help but notice the framed photo of a child and wonder out loud where he is. In a simple and honest manner, the Policeman explains that “sometimes, it’s the kids who leave the parents”. Then showing Camille and Courgette around, they marvel at his collection of succulents and plants. He tells the children that he likes to grow things, which I saw as a wonderful metaphor for his ability to nurture and protect.

The compact runtime of 70 minutes was a very smart move. Although obviously stop motions are painstakingly difficult and costly to make, which can explain the concise runtime, the story didn’t feel too long or too short, and immediately felt rewatchable for all the right reasons. Going into the cinema with extremely mild expectations, I welcomed the numerous ways in which this film touched me, left in utter amazement at the sheer perfection of this masterpiece.

Review: Transformers: The Last Knight

Transformers films used to entertaining spectacles about alien robots hidden on Earth. They were never great films but they were great cinematic experiences. One thing they all shared though was some semblance of coherence. A story that, although way out there, kind of made sense. This one is a mess. A lazy, nonsensical mess.

I have to start of by saying the start of the film was impressive. As the stars of the Paramount Logo took their positions, fiery projectiles flew overhead. The camera pivoted and we watched them come crashing down into Saxon soldiers in Medieval England during a huge battle. Being a Michael Bay picture there was obviously liberal use of pyrotechnics but it set the tone for a potentially thrilling experience. It took until the first line of dialogue, perhaps a whole 90 seconds in, for me to realise that the next two and a half hours of my life were going to be one narrative car crash after another.

There are so many issues on so many levels that it is difficult to know where to begin. For instance when showing Mark Wahlberg around his castle in England, Anthony Hopkins mentions that ‘this is the watch that killed Hitler’. There is no explanation and it is never mentioned again after that moment. Shortly after there is a needless and entirely unrelated Nazi cutscene that added nothing that could not be said with words and I’m convinced was just used as padding for the budget. The $217 million production budget.

Another baffling Hopkins moment was when he was refused entry into 10 Downing Street, attempting to meet the Prime Minister. Upon this refusal he simply said that he’ll use the other entrance then, the secret one, which naturally comes out into the exact room he needs to be with the exact person he needs to see. Once inside he sits down and waits to be noticed, as if the alien planet on a crash course with Earth will just pause until he is ready to continue.

As that alien planet, Cybertron, reaches Earth, we see its anchors run along the surface of the Moon with one destroying the Lunar Landing area. Something which bothered me was how the American flag wasn’t bleached white from the Sun. This was probably for two reasons. Firstly, the Transformers films are all about American patriotism, the American Military and the strength of the American people. The second, and most important reason, is that Michael Bay and his crew just don’t care. They know that no matter how insultingly poor the film is, people will still flock to it.

In preparation for this film, it seems that Bay was presented with five or six different scripts. Instead of choosing just one, he picked the opening of one, a few pages from another, and so on before telling the writers to make the ending work. There are twelve knight Transformers who are supposedly among the greatest of their kind but barely get seen. They merge together to form a quite impressive looking three-headed dragon but when one gets killed later on they someone still manage to make the same three-headed dragon. Another transformer we meet has a gun that can slow down time within a certain range of where it is shot. Again we have no explanation of how or where it is from and no other character human or robot is even interested.

Michael Bay has always faced criticism for his films, but retorts that he makes them for teenagers. But do teenagers care about King Arthur anymore? Or about Suicide Squad knock-off character introductions? Or Stonehenge? Or even Transformers?

Preview: 2000 Trees Festival

2000 Trees is the rock festival based in Withington — no, not that Withington, but the one in Gloucestershire — brought to life by six mates who decided most festivals were overpriced and were fed up with forking out extortionate amounts of money to see their favourite bands. The idea spread like wildfire amongst fans who share the same opinion.

With the outdoor rock festival approaching its tenth anniversary, it hasn’t put a foot wrong and has grown exponentially year on year. It all begins on Thursday 6th of July and kicking off the festival are names such as Pulled Apart by Horses, Mallory Knox, and Dinosaur Pile-Up.

Rolling onto Friday and the list grows even more with huge bands such as Frank Carter & The Rattlesnakes and even Deaf Havana, who will be showing off new tracks from their new album All These Countless Nights, released earlier this year.

The final night sees the likes of Kent-based punk duo SLAVES and hit-makers Lower Than Atlantis take to the stage along with a sea of other up-and-coming underground bands to wrap up the three-day event.

2000 Trees has attracted considerable acclaim since 2007; The Independent praised its “diverse, intense, challenging and downright incredible music”, and is even said to be Frank Turner’s favourite UK festival.

The festival has the reputation of being small but mighty, compact but packing a considerable punch. Not only has it brought together people who have a real love for music without the price tag, but it also offers fans much more than said music, boasting a range of locally-brewed ciders and lagers too.

This year, 2000 Trees looks set to cement its reputation as one of the best-value and most enjoyable rock festivals of the summer — I’ll be going with high hopes and an open mind.

2000 Trees festival takes place from the 6th-8th of July at Upcote Farm, Withington, Gloucestershire.

Preview: The Big Sick

The Big Sick is a new romantic comedy starring Kumail Nanjiani and Zoe Kazan. Nanjiani who is most well-known for his stand-up comedy, and role on the acclaimed TV show Silicon Valley, also wrote the film alongside his wife Emily V Gordon.

The film is loosely based on the couple’s relationship, depicting the courtship between Kumail and Emily. Problems arise, obviously, as Kumail comes from a Pakistani Muslim background and his parents seek to get him an arranged marriage. The film follows the culture clash and family troubles that occur. Further complications however arise when Emily becomes sick, and is placed in a medically-induced coma.

The Big Sick had its world premiere at the Sundance Film Festival, where Sony Pictures and Fox Searchlight Pictures were amongst those who bid for the distribution rights, though ultimately it went to Amazon Studios for $12 million, which marked the second largest deal of the festival.

So far the film has been praised for its refreshing take on what seems to be a familiar story. The characters are authentic, and the portrayal of them by the cast has been commended.

Producing a wide range of laughs from its political to pop culture jokes, the film revels in its depth. The Big Sick has already been considered as potentially following the footsteps of ‘Four Weddings and Funeral’ as an alternative, rom-com Oscar contender.

A preview showing and Q&A with Kumail Nanjiani and Emily V Gordon is taking place this Thursday at Vue Cinemas in Printworks. The film is being released on 28th July.

The trailer can be found here.