45 Magazine - #3 Edition (January 2015)

AGAINST ME! | THE GASLIGHT ANTHEM | CARL BARAT

FORTYFIVE #3 EDITION // JANUARY ‘15

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2014 P L US

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CONTENTS #3 EDITION // JANUARY ‘15

ALBUM REVIEWS

6: AC/DC - ‘ROCK OR BUST ’ 8: SMASHING PUMPKINS - ‘MONUMENTS TO AN ELEGY’ 11: TRASH KIT - ‘CONFIDENCE

45RPM

12: SINGLES OF THE MONTH

MUSIC INTERVIEW 16: MINI MANSIONS 18: BILLY THE KID

LIVE MUSIC

20: AGAINST ME! 22: THE GASLIGHT ANTHEM 26: CARL BARAT & THE JACKALS

FILM & TV REVIEWS

28: INTERSTELLAR 32: THE HUNGER GAMES: MOCKINGJAY PART 1

FILM & TV INTERVIEWS

46: TOM BENEDICT KNIGHT

COVER STORY 36: END OF YEAR REVIEW

CONTRIBUTORS Editor-in-Chief: Jason Broadhurst Music Editor: Thom Williams Film & TV Editor: Jayna Patel www.45-magazine.com

Writers: Luke Smith, Bradley Lengden, Nic Jones, Steph Sverdloff, Jayna Patel, Anthony Stones, Stuey Evans, Luke Cocorran

Photographer: Jason Broadhurst, George Heaton, Luke Hannaford

Social: 45magazine @45_magazine 45_Magazine Contact jay@45-magazine.com 3

MUSIC PHOTOGRAPHY CONTACT JAY@SEEYOUATTHEFRONT.COM

@GHOSTSIV WWW.SEEYOUATTHEFRONT.COM

EDITOR’S WORD Thank you for taking the time to check out our 3rd edition of 45 Magazine.

Wow! What a year 2014 was! There was some great music and entertainment released in the past year. Take a read of some of the staff’s favourites from 2014 as well as the usual live and album reviews.

If you haven’t already checked out the MCU podcast where Matt and Jeff talk about all things Marvel from the casting news of the films to the episode reviews of the brand new Agent Carter then make sure you head on over there.

Two great films in Interstellar and The Hunger Games: Mockingjay Part 1 were also released at the end of the year and we have in depth reviews of both in our film section Finally we have an interview with Tom Benedict Knight who featured in Hollywood films such as Kick-Ass 2 and Dracula Untold.

J. Broadhurst Editor-in-Chief

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ADVERTISING For information on how to see yourself featured in either the magazine or on our website, 45-magazine.com please email jay@45-magazine.com

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ALBUM REVIEW

“​​A new philosophy, but very much living in the same world they always have” - Thom Williams

RATING: Without AC/DC’s vivid imagination for the rock’n’roll metaphor, it’s hard to imagine what the world they have created for so many a budding leather trousered, metal-studded, lank haired musician would look like.

The Aussie rockers have cleared the Long Way to The Top with T.N.T. as they’ve laid down an infrastructure supported by Highways to Hell and Rock’n’Roll Trains.

They’ve populated it with a Boogie Man, Big Jack’s, Soul Strippers, Little Lovers and A Whole Lotta Rosies, not to mention those who’ll always be Back in Black. But of course, no realm can be ruled without commandments. Their early career began with the proclamation ‘Let There Be Rock’. And now, after nearly 40 years in the game, the veteran band have returned with a new philosophy for their disciples to take heed of, put simply: ‘Rock or Bust’.

And yet, this philosophy may even be their parting one. With the news that rhythm guitarist and band stalwart Malcolm Young having been replaced on this record by his nephew

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Stevie, 58, as a result of his battle with dementia, let alone the legal strife drummer Phil Rudd is currently facing with counts of “threatening to kill” and “drug possession”, this philosophy couldn’t ring truer.

If this is to be their final album, does it see the band hang up their uniforms in a tatty state or graduate with honours from the School of Rock?

Well, in actuality, who knows?

‘Rock or Bust’. Like it or lump it. Take it or leave it. Angus Young’s sleazy riffs and frenzied fretwork, fare as well as ever with Brian Johnson’s unbelievably time-spared howl across the 11 track long player - yep, that’s right it’s business as usual. AC/DC have made 16 albums of this stuff now, they ain’t gonna change.

Title track ‘Rock or Bust’ and lead single ‘Play Ball’ get things off to a rollicking start, all trail-blazing solos and tongue-in-cheek vocals guaranteed to go down well with fans hardcore and casual.

Brian goes driving in his car, picks up his girl, smokes some cigarettes, drinks the night away in ‘Rock the Blues Away’

in case you had any doubts he did otherwise in his spare time.

Elsewhere other major lyrical revelations can be found in ‘Sweet Candy’, a song about a pretty talented stripper if you’re taking his word for it: “She do a dance, slides down the pole, She turn up and flip, make your eyes roll”. Well at least we know the AC/DC thesaurus isn’t gathering dust then.

‘Rock’n’Roll Thunder’ sees the rockers take on a slice of Lynryd Skynyrd’s humble pie, revolving the track around a wheezing southern lick, whereas the eccentric grooves of ‘Baptism by Fire’ and the completely barmy ‘Dogs of War’ veer unnervingly close to Iron Maiden territory.

So there we have it. A new philosophy, but very much living in the same world they always have. If the bust is nigh, at least AC/DC fans now have another 11 tracks to rock along to, though there’s little here to convince you the world is in need of another.

Words: Thom Williams

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RATING:

SMASHING PUMPKINS - ‘MONUMENTS TO AN ELEGY’

This is an album that sees Corgan finally prove his right to continue the Smashing Pumpkins legacy as its sole remaining member.

If the last record, 2012’s ‘Oceania’, and its grand vision to produce the first “album within an album” left you more confused than watching Christopher Nolan’s Inception for the first time, then the oxymoronic pomposity of an album titled ‘Monuments to an Elegy’ is probably not going to work wonders for you either.

Recorded at home in Chicago, Billy Corgan and his band AKA Smashing Pumpkins sees the Uncle Fester of rock return to helm his rocky vessel towards bold and uncertain new horizons. Having had a string of line up changes that is encroaching worryingly close to The Fall’s record, ‘Monuments...’ sees Mottley Crue’s Tommy Lee picking up the sticks left cold after Jimmy Chamberlain’s second

unsavoury departure from the band, whereas (slightly) longer term Pumpkins member Jeff Schroeder has kept his stakes on the rhythm guitar and keyboards. So a new line up and with it a new concept, ‘Monuments...’ is intended to be part one in a two part series, allegedly destined to be followed by a sister piece entitled ‘Day for Night’ in 2015.

The ideas may still be bold, but it seems the critical backlash Corgan has faced in spades for many of his ideas being self indulgent and isolating haven’t been said without due observation it seems.

Speaking about the album in a recent interview with 6 Music Corgan admitted: “It was initially going to be a double

album, but we split it in half as we knew the way things are in America at the moment we thought no one would listen to it. I didn’t want to put in all that work just for it be ignored.”

His ambitions may have been cropped to some extent, but in taking heed of what his critics and indeed his fans want, on ‘Monuments...’ Corgan has delivered his finest collection of songs this century.

So through long road of spats, line up changes, failed side projects, critical lampooning, self indulgences and misguided concepts, this is an album that sees Corgan finally prove his right to continue the Smashing Pumpkins legacy as its sole remaining member.

Words: Thom Williams

RATING:

TRASH KIT - ‘CONFIDENCE’

On ‘Confidence’, The London trio have refined their DIY ethics and stayed true to their post-punk roots.

It may have taken Trash Kit four years to follow up on their debut, 2010’s erratic ‘Upset the Rhythm’ but in doing so they have returned with a clarity of vision. ‘Confidence’ is an album full of grit, bile and dizzying DIY instrumentation.

With Rachel Aggs’ sneering vocals finding a kinship with The Raincoats’ Ana da Silva and coupled with the crippled brass sections pinched from X-Ray Spex, the trio’s influences may be clear, but filtered through the 21st century math rock polyrhythms of Foals’ earlier works, this sophomore album offers a compelling disjointed yet perfectly calculated listen.

Lyrically the album sees Aggs vent her fears and frustrations on identity, miscommunication and the passing of time. “We spent the summer waiting for www.45-magazine.com

summer to come, if we keep waiting we’ll be waiting for summer til it’s gone” affirms Aggs on opener ‘Beach Babe’.

From there it’s clear, there’s no time for waiting around.

Lead single ‘Medicine’ sees Ros Murray reunited with her former Electrelane bandmate Verity Susman, as she coughs and sputters asphyxiated horns over immensely dynamic musical arrangements with wild abandon reminiscent of freeform jazz. ‘Big Feeling’ loops a riff Thurston Moore would be proud to have penned via the riot grrrl fury of Sleater Kinney, whereas ‘Hair’ is all palm muted fret scrapings and galloping drum snare.

Best of all, the wall-climbing agitation pent up in ‘Boredom’

is excellently executed with runaway drums and schizophrenic guitar duals as Aggs’ wide eyes roll in their sockets: “I can’t sleep and I never will” she bawls.

The piece hangs together, just, before being culled in a haywire impatience by an angular melange of broken chords and frustrated thrashes making for a thrillingly unhinged listen.

At times the album does feel somewhat confined by its own determined image, but clocking in at a trim 29 minutes with individual tracks never making it over the 4-minute marker, Trash Kit ultimately deliver a statement that rings true and clear.

Words: Thom Williams

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FF EI AL TMU RREE V I E W

45 rpm

Our writers look at the month’s new singles and try their best to convey their delights, or frustrations, in 45 words or less...

Gorgon City: ‘Go All Night’ Jennifer Hudson lays down the vocals on this slice of sun kissed pop House from messrs Foamo and Rack’n’Ruin.

Daubed with a few acid splashes for good measure too and primed with yet another earworm of a chorus, this is a feel good smash. (TW) Red House Glory: ‘Living Is A Lie’ Despite a bit of a lull at the beginning of the track, it picks up a fair bit of pace as it builds up through these hard hitting rock and roll riffs in the chorus.

A sort of melancholy Black Rebel Motorcycle Club. (BL)

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Southern: ‘Cool Kid’ Pretty melodies and sweet sounded falsetto harmonies.

Vocalist is reminiscent of Luke Pritchard but mote palatable and Southern’s prospects are going up not ‘Down.’ (LS) BC Camplight: ‘Just Because I Love You’ It sounds like Rick Astley’s version of a Christmas song.

It’s a romantic ballad and is about as dated as flares and beige and brown apparel. It’s inoffensive, sickly sweet and sombre. (LS)

Smashing Pumpkins: ‘Drum & Fife’ On the wave of the Pumpkin’s most successful comeback in years, Billy Corgan shows he can still write hits with the best of them. With plenty of drum, fife and that unmistakeable nasal whine marching, this militant rocker ‘Drum & Fife’ is a triumph. (TW) Bernaccia: ‘Darkness Walks’ Another hard hitting rock and roll track, right from the off, it’s huge distorted sound that’s similar to that of a darker Black Keys and it creates this massive atmospheric noise, that culminates in this huge instrumental ending. (BL)

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FILM REVIEW

Victories At Sea: ‘Florentine’ The melody is very Sophie Ellis Bexter circa 90s; its very camp and pop beginnings recede into something that sounds like a leftover from Foals ‘Holy Fire’. (LS) Oofj: ‘Always’ Oofj is the baby of couple Jenno Bjørnkjær and Katherine Mills-Rymer, a duo met in New York City while Bjørnkjær was working on music for Lars Von Trier’s ‘Melancholia’. This is a listen as complicated as their name is to pronounce.

Noir, cinematic post trip-hop. (TW) Pulled Apart By Horses: ‘Merry Christmas Everybody’ Essentially what it says on the tin, one of the most famous christmas anthems with a twist that only Pulled Apart By Horses could put on it, a bit of fun and a heavier take on the season.

(BL) Hannah Peel: ‘Find Peace’ It’s like a dream: it’s atmospheric and feels almost unconscious in the sense it’s not aware of its presence. Much like remembering a dream its incoherent and you’re likely to forget the details that make it special. Still, not your typical jingle-belled Christmas number. (LS) Band Aid 30: ‘Do they know it’s Christmas?’ *Covers ears* It’s all for a good cause. It’s all for a good cause. It’s all for a good cause... (TW)

All That Remains: ‘No Knock’ Pretty much nailing the mix between energy in a heavier track and the more melodic side, swinging between these pissed off verses filled with angst and the more melodic interludes that link them together really well. (BL) Nite Fields: ‘You I Never Knew’ Tapping into the gothic guitar jangle that preserves The Church, Felt and early Cure records in a opalescent haze of timeless indie cool, ‘You I Never Knew’ is a slick, reverb washed gold from this Aussie four piece. (TW) Will Butler: ‘Take My Side’ “Where’s the fire? Let it burn!” decries Will Butler. Going solo for the first time, lets hope that’s not his day job compadres Arcade Fire he’s talking about. There’s cheap thrills to be had from this bratty two chord, bar room garage rocker. (TW)

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INTERVIEW

Q. First record you ever bought?

A. The Cranberries’ ‘No Need to Argue’.

Q. Worst gig you’ve played?

A. Probably this small club in Thunder Bay Ontario, we only played for the bartender and a couple drunks, right after a frost-bitten 5mph trek through a Steven King snow storm and our motor freezing up at every stop. The bartender loved it though.

Q. When you realised you wanted to be in a band?

A. After watching a Screeching Weasel show.

Q. Best opportunity you wish you hadn’t passed up?

A. Making out with this alter girl I had a crush on my entire grade school career.

Q. Artist you’d most like to collaborate with?

A. Stevie Moore.

Q. Beatles or Stones?

A. I’ll never know the answer to that one.

Q. Song that reminds you of your: i: Mother ii: Partner iii: Band mate

i: Pack Up Your Sorrows (Richard and Mimi). My mom used to sing that to me at night. ii: I Can Read Your Mind (Allan Parsons Project). Used to listen to this with my first and only love. iii: Sherlock Holmes (Sparks).

One of our favorite weirdo synth pop bands from the 70’s/80’s. So much so that we covered this song.

Q. Arena tour or toilet circuit?

A. Depends on how many hecklers are inside.

Q. Tour bus essential?

A. Gasoline, and a good read.

Q. Every music fan should own...

A. The Chronic (Dr. Dre).

Q. The artist whose music you’ve tried to get into and just can’t.

A. Morrissey.

Q. Your guilty pleasure track?

A. ‘I’m a Slave 4 U’ by Britney Spears.

Q. The person who influenced your music taste the most?

A. Every clerk at Fingerprints (Long Beach, CA).

Q. Best new artist you’ve heard?

A. He’s only been around for a minute, but I’ve been really into the newest double-tape comp by “Knx” on Stones Throw.

Q. Favourite piece of band memorabilia?

A. Signed kazoo by Arlo Guthrie.

Q. Why people should come to see you on your latest tour?

A. Because its just not the same without them.

Q. Favourite guitar riff?

A. Neil’s solo on Southern Man.

Q. “I will retire when...”

A. When I’m 6 feet under.

Q. Tape hiss or LP static?

A. Nice gooey Vinyl crackle.

Words: Thom Williams

Q. A life lesson you have always stood by?

A. “Be true to your school”.

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INTERVIEW

Q. Hi, how are you?

A. Hi i’m very well thank you!

Q. You are couple of nights into the tour now how has it been?

A. Its been great, originally I was kind of shadowing them but in the end they were like Billy do you want to stay on our bus? So it’s been like the best slumber party ever.

Q. How have Against Me! been treating you?

A. Definitely they are such nice people. It’s great to be trusted by these guys to bring me on tour and introduce me to all their fans! I mean The Gaslight Anthem are playing down the road and they popped over for a chat.

Q. You have supported Frank Turner, Chuck Ragan & now Against Me! in the UK this year do you feel it’s like a family between these guys?

A. Yes definitely! There is almost like an element of trust from them to introduce me to their fans as well.

Q. Talking of Frank Turner, he helped make your latest album ‘Horseshoes & Handgrenades’ how was that?

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A. Frank was great, he wasn’t so much a hands on producer he was almost a part of the band playing bass and other instruments.

Q. How much of an influence did Frank have on the album?

A. Yeah he had a massive influence he put an electric guitar back in my hand.

Q. Are you surprised at how well the album has been received?

A. I try to stay away from reading stuff because I don’t want to get heartbroken but Frank and the guys at Xtra Mile have definitely shown me the potential.

Q. You have been in bands in the past, do you feel a lot more pressure when it is just you and your acoustic guitar?

A. Sure I mean sometimes, especially like tonight when you are on before a punk band like Against Me! I don’t think I have seen so many red mohawks in my life. I’m used to just playing in front of my cat you know.

Q. Your songs have appeared in a lot of TV shows how does that feel

knowing that it is being broadcasted to so many people?

A. I don’t really know how I feel about the TV stuff as its not really what the song was intended for, its like one of my songs was used in Gene Simmons’ family jewells where he is just throwing money around and stuff.

Q. You’re also on the road with Northcote again later this month?

A. Its funny actually I was looking round for other dates to do over here and its a coincidence that Matt is playing over here and he was like “come and join me”.

Q. I was just going to mention about your art, Is this something you do a lot?

A. Yeah I enjoy doing art I must have started about a year ago and every morning I would get up and paint something and post on my site.

Q. What can we expect from Billy The Kid in 2015?

A. Just keeping busy, I can’t promise a new record but no doubt I will be on on the road.

Words: Jason Broadhurst

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LIVE REVIEW Artist: Against Me! Venue: Manchester Academy 2 Date: 18/11/2014 When their sixth album ‘Transgender Dysphoria Blues’ dropped in January of this year, the title alone was enough to tell fans that this would be Against Me! back to their bile spitting, rule-book tearing best. Oh yeah, the fact lead singer Laura Jane Grace came out as a transgender woman during the recording of the album may have had something to do with it as well. Either way, it was an encouraging sign that this was a band set to sound the most comfortable they had been in years.

11 months down the line and with any controversies surrounding its release long forgotten, the band showcase a wealth of tracks from the 2014 LP tonight.

Launching into the Transgender... centre piece ‘Fuckmylife666’, the band open up proceedings not so much with a bang as a Doppler effect as fans are left wondering what’s hit them as they’re mowed down by its 3-minute freight train thrills. The band go on to air a whopping 7 (of 10) tracks through the blink-and-you’ll-miss-it pummelling that cascades from the stage on ‘Drinking with Jocks’ to the beefed up G’N’R grind of the wonderfully sardonic ‘Osama bin Laden as the Crucified Christ’ and through to the mascara oozing Glam charged three-chord rock of single ‘Unconditional Love’, which is welcomed with classic-like approval.

But of course, tonight isn’t all about the new material. In true punk form, the band

somehow manage to clatter through 21 tracks in an incomprehensibly whirlwind hour and a quarter. An early outing of fan favourite ‘Pints of Guinness Make You Strong’ seem to spark a riotous appreciation of the black stuff amongst the masses not normally seen in Manchester this side of Paddy’s day. On stage Laura is a truly charismatic performer, her penetrating gaze suspended in the shadow of deep eyeliner and long locks of hair quixotically electrifying with the frisson of the power-pop riffs she strikes on trailblazing versions of ‘I was a Teenage Anarchist’ and ‘Thrash Unreal’ to close out the set.

Bidding their dues after just an hour, there’s some looks of confusion passed between fans new to the band as they take their leave after just an hour. But of course, no Against Me! performance would be complete without an outing of the stoic anthem ‘We Laugh at Danger (and Break all the Rules)’ being howled from the boots of all in attendance.

The band duly oblige as they return swiftly to the stage to round off a perfectly calculated encore and leave their loyal fans spilling out of Academy 2 with the band’s 2002 philosophy chanting out into the streets.

Words: Thom Williams Photographs: Jason Broadhurst

“On stage Laura is a truly charismatic performer�

- Thom Williamas

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LIVE REVIEW Artist: The Gaslight Anthem Venue: o2 Apollo, Manchester Date: 17/11/2014 First act on tonight were New York quartet Bayside took to the stage as lead singer Anthony Raneri welcomes everyone and wishes them a good evening. Raneri sung every lyric with passion as the crowd clapped and cheered along. While the songs entered mellow riffs suddenly entering erratic amped up bouts of aggressive punk rock.

Next to grace the stage were Deer Tick.

Personally I don’t think Deer Tick were well received as many of the punters around me stood aimlessly still, one of those moments when you see a band live and it feels like the gig has gone on forever.

Everyone suddenly perked up as The Gaslight Anthem strolled onto the stage.

Lead singer Brian Fallon approached the microphone telling the crowd ‘we’re not going to walk off stage or toy with you’ or something along those lines basically no bullshit policy. Which I think is in referral to walking off before the encore.

To warm up Gaslight Anthem’s opening song was ‘Have Mercy’, Fallon’s vocals sends shivers through the audience as they are kept in suspense. Screams and shouts can be heard as Fallon makes girls go wild.

You can instantly tell this is going to be an energy packed gig as with each song played Fallon’s ‘Great Expectations’ shows how The Gaslight Anthem have the ability to switch from punk rock to something mellower.

Bayside’s Anthony Raneri also appeared on stage to lend Fallon a hand during ‘Great

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Expectations’. As a rambunctious crowd suddenly became entranced in a swaying motion; couples joined together as Fallon exchanged lyrics with the crowd.

I could have sworn ‘The 59 Sound’ could have made the Apollo come down. The crowd went mental jumping furiously up and down. The atmosphere was ecstatic as they played ‘Even Cowgirls Get The Blues’ Fallon’s vocals were filled with power and passion. Of course it wasn’t just about The Gaslight Anthem’s backlog of old songs, they were also promoting new songs from their new album ‘Get Hurt’, ‘1,000 Years’, ‘Stay Vicious’ to name a couple, which were all well received by the crowd..

To round up the gig the last song was ‘The Backseat’ as the strobe lights suddenly enter a mad frenzy. The crowd wave their arms about in the air as Fallon breaks through the beaming strobe lights with his distinct vocals.

By the end of the night I couldn’t put my arms down as I had them up in the air for so long. My heart was still beating so much I wanted more, as did many other punters.

The Gaslight Anthem continued to receive cheers and applauses in appreciation for their faultless set. Anyone who will be seeing The Gaslight Anthem at any of their up and coming tour dates will not be disappointed.

As I am sure they will still carry intense energy fuelled enthusiasm throughout the tour!

Words & Photography: Luke Hannaford

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LIVE REVIEW Artist: Carl Barat & The Jackels Venue: Sound Control, Manchester Date: 19/11/2014 Fresh f​rom playing a string of mammoth sold out comeback gigs with The Libertines, Carl Barat had a change of scenery when he brought his new side project ‘The Jackals’ to a Manchester’s tiny attic venue, Sound Control.

From the beginning there was a massive intensity, and without trying to make the inevitable Libertines links, that same energy was present with the performance throughout. However, it was clear that Barat was refusing to rest on the reputation of his previous work, instead seeing this as a completely new start and a chance to showcase something new.

The crowd responded as one would expect to the gusto on stage, by bouncing and chanting along throughout, something that really stands out in such a tiny venue. Also wasting no time in forcing the group back out for an encore almost immediately which did feature an appearance from the iconic track ‘I get along’, again receiving a huge reception.

knew what to expect from the show, with the first single ‘Glory Days’ being the only bit of original material made public so far.

Of course they could have come out and rattled off a load of old Libertines tracks to make it longer, but evidently they will want to shake that looming connection as quick as possible by filling sets with original material.

Perhaps it would be better to think of this tour as more of a warm up, a showcase of what’s to come and despite the length, it was an extremely promising one at that.

On the whole, for a group that only formed earlier this year, there was no evidence of nerves or sloppiness that one might expect from such a new act. Rather they came together as an incredibly tight outfit, that could have passed as having been together for years, as well as providing a reassuring glance into their debut album which is due next year.

Words: Bradley Lengden Photo: George Heaton

The only downside to the spectacle came with the short length of it. Not many people

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FILM REVIEW

“INTERSTELLAR IS UNDOUBTEDLY ONE TO SEE AT THE CINEMA.” - ANTHONY STONES

80% STARS:

Matthew McConaughey, Anne Hathaway, Michael Caine, Jessica Chastain, Casey Affleck

It’s rare that a director becomes a movie star in his own right, but every so often a filmmaker becomes popular enough that his name alone is enough to draw audiences to the cinema. Christopher Nolan is one such name. Known for the gritty realism of his Batman trilogy and the cerebral spectacle of Inception, Nolan has made cinema-going an experience with his acclaimed mix of eye-catching visuals

and striking soundscapes.

Nolan’s latest attempt to create a must-see cinema experience is his first foray into ‘hard’ science-fiction – Interstellar. An ambitious space-travel film, Interstellar sees a crew including Matthew McConaughey and Anne Hathaway travelling through a wormhole to find a new home for humanity.

McConaughey, in the midst of an acting renaissance that saw him take the Best Actor Oscar at the start of the year, plays Cooper – a NASA pilot turned farmer, living in the Midwest with his father-in-law, son Tom and daughter Murph.

In an unspecified near-future, living www.45-magazine.com

conditions have deteriorated significantly, meaning mankind could soon die out due to crop blight.

An inexplicable gravitational force leads Murph and Cooper to a hidden NASA site, where they reveal that a wormhole has allowed

them to find potential replacements for Earth. Professor Brand (Michael Caine) tells Cooper he is the pilot they need to travel through the wormhole and retrieve the data from the previous missions.

The first act drags, taking too long to get to the space stuff

(which presumably everyone is waiting for), and yet seemingly skimping on a lot of detail.

There’s little time dedicated to the dying Earth, so it’s impossible to tell exactly what state this future is in beyond Cooper’s microcosm.

It’s hard to adjust to or accept this apparently 29

dire circumstance from mere chunks of dialogue and the occasional dust storm.

There’s also a problem with the way the plot initially progresses. Exposition takes us through the first act with little reflection time. In fact, the existence of a wormhole and potentially habitable planets is barely even remarked upon because it has to be so quickly established that Cooper is the pilot needed for this mission.

Without much persuasion, Cooper agrees, the mission launches and Interstellar comes into its own. The space sequences are a visual treat, as the ship floats through the solar system, past the enormity of Saturn and into the wormhole. The cinematography lingers on many of these awe-inspiring shots, recalling 2001: A Space Odyssey – an obvious influence on the film.

McConaughey’s performance in this scene is perhaps the emotional centrepiece to a powerful portrayal that grounds such a lofty, ambitious film. His depiction of Cooper is the heart that makes Interstellar a very personal story set amongst the grandiosity of Nolan’s ambition.

In the film’s impressive and perplexing final act, Cooper hurtles through the black hole, eventually emerging in a five-dimensional ‘tesseract’, allowing him to perceive and traverse time as a physical space. A whole mess of explanation is voiced by Cooper and robot companion TARS, necessarily so, to describe the extraordinary scene and its magnificent visual effects (although it would be understandable not to grasp everything on first viewing).

The wormhole, painted as an almost incomprehensible visual effect (for which Nolan hired scientific consultants), is a spectacular set-piece and heralds the mind-bending science that encompasses the rest of the film. On the other side, the crew has three planets to investigate, all situated near a huge black hole.

Somehow Cooper is casually dumped out near Saturn, and an emotional reunion with an elderly Murph returns Interstellar to its human side.

This is the film’s most striking aspect – its ability to remain a strongly soulful tale of human devotion. Decisions that lead the film call into question the selfish and the ‘right’ thing to do, and revolve around family and romantic relationships.

After some serious time distortion on the first planet, Cooper watches 23 years of video messages from Earth – all featuring only his son.

Impressively, the film remains so intimate even against the cold, contrarian backdrop of space and a story with such broad scope. The boldness

of Interstellar’s human and inhuman themes is reflected in Hans Zimmer’s audacious score. Differing greatly from his Batman trilogy scores, here he employs brazen organ sounds to make the film feel even more powerful, absorbing all of Nolan’s ambition into the soundscape.

But the sound is certainly not perfect in Interstellar. The mix is at times overwhelmingly loud and intrusive. Music and sound effects occur during scenes wherein they obscure the dialogue and make it very difficult to hear what the characters are saying.

For a film that so actively encourages the cinemagoing experience, this is one issue that can seriously harm immersion.

Nonetheless, Interstellar is undoubtedly one to see at the cinema. The visuals are the absolute standout of the film and can be much more fully appreciated on the big screen (or even better at IMAX).

Despite pacing issues – the whole first act, Tom’s sudden onset villainousness – the story and its themes are thoroughly engaging through both the human relationships and the fascinating exploratory science. Nolan’s intriguing ideas utilise the flawless visual effects and production design and make Interstellar a mustsee cinema event.

Words: Anthony Stones

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FILM REVIEW

“LARGELY WHAT MAKES THIS FILM IS HAVING SUCH A COURAGEOUS FEMALE LEAD” - JAYNA PATEL

85% STARS:

Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Philip Seymour Hoffman

Protagonist Katniss Everdeen (Jennifer Lawrence) has the weight of the world on her shoulders in this muchanticipated sequel, The Hunger Games: Mockingjay Part 1. Not only does she have an awful name but if she isn’t being oppressed by Dictator Snow (Donald Sutherland) with the rest of the dystopian post-apocalyptic nation, Panem, she’s being used as a symbol to fuel the revolution: The Mockingjay.

The film depicts the aftermath of the 75th annual Hunger Games, where victors of past games involving teenagers from each of Panem’s 12 poor districts were forced to fight to the death in an arena laced with traps and danger.

Katniss has been rescued and is enjoying sanctuary of the people of District 13, which was believed to have been destroyed. She is convinced into being the figurehead of a mass rebellion, all while

trying to rescue Peeta (Josh Hutcherson), one of two of her love interests who fought in the Hunger Games with her and is now hostage of Snow’s controlled city, the Capitol.

Largely what makes this film is having such a courageous female lead and www.45-magazine.com

Jennifer Lawrence does well portraying her aloof character, who basically has to turn off most of her emotions to deal with the trauma she endures. Ironically, her lack of words at the start of the film says it all. We see her transform from being a reluctant leader to gradually embracing

her inner crusader for justice and igniting the nation.

Tender moments she shares with her younger sister and teasing her sister’s cat show a softer side to her, making her more relatable for the audience, whilst Jennifer Lawrence’s interpretation of Katniss’ raw emotion

when discovering her home town has been brutally destroyed, makes for captivating viewing.

Audiences have come to expect slow storylines and a heart-stopping cliffhanger with the recent Hollywood trend of splitting final sequels of blockbuster 33

franchises into two parts.

Indeed, the plot is a bit too slow in this character-driven film where epic special-effects scenes of destruction replace action, and it seems every time the rebels get ahead the Capitol strike back as if the war is a tit for tat battle that serves to trivialise the people’s quest for democracy. Though another way of looking at it is that the movies slow pace reflects the gradual fight and patience the rebels need in their fight for freedom.

With the other films in this series I read the book, by Suzanne Collins before seeing the films, meaning I had preconceptions of how

I thought the story would unfold and look like. With this one, though I haven’t got around to reading the book so in terms of acting I reckon the standard is pretty high with actors like the late Philip Seymour Hoffman getting their characters pretty spot on. Katniss’ mentor Haymitch (Woody Harrelson) lightens the tone occasionally with an alcoholics sense of humour, whilst Game of Thrones actress Natalie Dormer, boldly shaves her head to play Capitol film director turned rebel propaganda filmmaker, Cressida offering a edgier, stronger female role to Katniss. We also get to see more of noble Gale,

Katniss’ love interest before she went into the original Hunger Games, played by Liam Hemsworth, younger brother of Thor actor, Chris Hemsworth, in this instalment which is nice, further intensifying the love triangle dynamic.

But rousing speeches and themes, plus Katniss’ dry sense of humour - when questioned, “and if you get killed?”, she amusingly replies, “make sure you get it on camera” - mean this paves the way for an awesome finale you would love if you were a fan of Divergent.

Words: Jayna Patel

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FEATURE

Film Of The Year: XMen: Days Of Future Past As one of my all-time favourite franchises, this had to be number one with a shocking and totally engrossing opening, mind boggling time travel and anti-hero Wolverine taking centre stage plus Game of Thrones’ Peter Dinkage as a villain, what’s not to love?!

Other Highlights: Gone Girl, Divergent, Edge of Tomorrow, Lucy.

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R O U N D U P

It’s that time of year. Hatchets are dug up. Blades are sharpened. Lines drawn. Corners picked. Teeth gritted. Music and Film critics across the board prepare for what is always a fierce battle, the dreaded: End of Year Round Up. Nationwide critics will clash with not just their journalistic colleagues, but also a disparaging public who as soon as the mags hit the shelves are poised ready to take your seemingly reasonable choice completely apart. Here is our modest contribution to the end of year rankings, complaints on a post card please...

TV Show Of The Year: Game Of Thrones The fourth season, like the others before it, took the world (and me!) by storm. Absorbing and addictive plots, multistranded narratives so you never get bored, unpredictable characters, deadly battles, mythical creatures and quality acting. Need I go on?

Other Highlights: Marvel Agents of S.H.I.E.l.D, Castle, The Vampire Diaries, Suits www.45-magazine.com

Most Anticipated Film Of 2015: Avengers: Age Of Ultron If the previous Avengers film was anything to go by the sequel will be dizzy with its own epic-ness, plus I can’t wait for my Iron Man, Thor and Hulk fix.

Words: Jayna Patel (Film Editor)

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Song Of The Year Noel Gallagher - ‘In The Heat Of The Moment’ The older Gallagher brother has always done things in his own time and in his own way.

Introducing the lead single off his second solo album via a Facebook live stream that he looked less than thrilled to be involved in, nothing has changed. ‘In The Heat Of The Moment’ isn’t revolutionary for Gallagher but it plays to his outstanding musical strengths.

‘In The Heat Of The Moment’ is a wicked recipe; combining a stellar chorus, annoyingly catchy‚ ‘na na na na na’ hook and just enough euphoria to make you want to dance.

The track just reaffirms that Gallagher just being Gallagher is still a hundred times better than any other guitar-based indie pop anyone else is producing.

Other Highlights: Taylor Swift - ‘Shake It Off’, Royal Blood - ‘Little Monster’ Paolo Nutini - ‘Scream (Funk My Life Up)’, Ella Henderson - ‘Ghost’ Gig Of The Year Arctic Monkeys @ Finsbury Park, London Even a dodgy sound system couldn’t stop the Arctic Monkeys putting on the gig of the year. Alex Turner’s reinvention as a hip-swaying, confident and downright sexy frontman continued to impress and with their outstanding back catalogue of irresistible indie, hits plus the addition of the standout tracks from latest

album ‘AM’ the Monkeys put on a stellar show, surpassed by no one.

The Hunger Games: MockingJay Part 1 The Fault In Our Stars

Other Highlights: Royal Blood @ The Ritz, Manchester The Strypes @ Manchester Academy 2

TV Show Of The Year: The Missing Guaranteed to have you on the edge of your seat by the end of each episode, The Missing was the standout drama of the year.

Driven by incredible central performances and a twisting, addictive plot, it has been haunting and unforgettable.

Band/Artist To Watch In 2015: Wolf Alice They are currently injecting some fresh energy to a fairly stagnant indie market.

Grungey Britpop is inherent throughout their sound, but Rowsell’s earthy vocals bring it a fresh edge. That they feature on the BBC Sound of 2015 longlist is unsurprising. All they really need is a mega hit and some serious exposure to take them to the next level. A strong, televised Glastonbury set (should they play it) could be the ticket they need to do that.

Film Of The Year: Gone Girl The source material is completely screwed up, dark and downright weird, and the film adaptation of ‘Gone Girl’ was wickedly delightful. Full praise has to go to Rosamund Pike for embracing the dark side; placing herself in David Fincher’s hands was the best decision of her career. Fincher added another unbelieveable success to his outstanding catalogue of films; this director can do no wrong.

Other Highlights: The Imitation Game How To Train Your Dragon 2

Other Highlights: House of Cards (Series 2) Most Anticipated Film of 2015: Avengers: Age Of Ultron The Hunger Games series is set to come to a close in 2015, it’s tempting to name that as my highly anticipated film of the year, but in reality it has to be Avengers: Age of Ultron. Avengers Assemble was a fantastic romp, bringing together a wealth of characters and managing to allow them all to shine, the sequel is bound to do more of the same. The trailer already has me ready to queue up for popcorn. The only down side? Tom Hiddleston’s Loki (arguably the best character in any Superhero movie) will only be back in a small cameo role, but even 30 seconds of him of screen will be worth the price of the ticket.

Words: Nic Jones

Album Of The Year Royal Blood - ‘Royal Blood’ From the opening drum beats of ‘Out Of The Black’ to the closing of guitar riff of ‘Better Strangers’ Royal Blood’s debut album is an education in how rock music should sound. Sexy, dark, angry and passionate, it’s been the album this year that I have been unable to shake. Much like the debut albums of Oasis and Arctic Monkeys, it’s hard to see how this could be bettered. Pure rock genius.

Taylor Swift - ‘1989’ Paolo Nutini - ‘Caustic Love’ Kasabian - ‘48:13’

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Album Of The Year Marmozets - ‘The Weird And Wonderful Marmozets’ Debut album from a young lot of Yorkshire folk with so much potential, I’ve been a fan of this band for so long, releasing amazing EPS as they bring faultless performances to the table. So there is no secret just how excited I was for this release which didn’t disappoint and that’s why it’s earned my number one spot. Track after track, this album could be on repeat all day and I’d still want to listen to it; with the perfect balance of heavy music and lighter sounding music the band produced the perfect portion of each, which led to creating the best album of 2014 by an impressive margin in my eyes.

Other Highlights: Every Time I Die - ‘From Parts Unknown’ Krokodil - ‘Nachash’ Brutality Will Prevail - ‘Suspension Of Consciousness’ Being As An Ocean - ‘How We Both Wondrously Perish’ Song Of The Year: Every Time I Die - ‘Moor’ When we’re talking singles in 2014 ‘Moor’ springs to mind with no competition at all, Every Time I Die managed to go out of their comfort zone for a brief period in the song, yet produce possibly their best

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single so far. I could happily listen to this song every day all day.

Marmozets - ‘Hit The Wave’ Bring Me The Horizon ‘Drown’ While She Sleeps - ‘New World Torture’ Krokodil (Feat. Simon Neil) -‘Sun Riders’ Gig Of The Year Linkin Park @ Download Festival Hearing ‘Hybrid Theory’ in full is stuff dreams are made of and the band were all on form, the atmosphere was electric it was just a perfect setting and is a performance and memory that most likely won’t be relived again.

Other Highlights: Letlive @ Download Festival Basement @ Soundcontrol, Manchester One to watch for in 2015: Marmozets If you’ve seen any of my articles this year then don’t expect a shock. Yes of course it’s the five piece Yorkshire outfit Marmozets. They’re already spreading like the plague but I believe if they continue their heavy touring schedule then there will be no stopping them.

Words: Luke Cocorran

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Song Of The Year: Courtney Barnett - ‘History Eraser’ “I got drunk and fell asleep atop the sheets but luckily I left the heater on.

And in my dreams I wrote the best song that I’ve ever written...can’t remember how it goes.” And so begins Courtney Barnett’s tale of psychedelic slackerdom.

Stoned, drunk and downright outrageous, Barnett spun a meandering yarn stuffed with pop cultural references that immediately connected with any disenfranchised youth told with the panache of a mate down the pub. 2014’s brightest new talent.

Other Highlights: Alvvays - ‘Archie, Marry Me’ Wampire - ‘Wizard Staff’ Jungle - ‘Busy Earning’ Glass Animals - ‘Gooey’ Gig Of The Year: Kate Bush @ Hammersmith Apollo, London The gig that everybody was talking about this year. 35 years out of the game and a 22 date residency to fill, Kate Bush was big news.

Just as well the show was as big as expectations were high. Segmented into three distinct sections, Bush eased audiences into the show with a selection of hits from the back catalogue including ‘Top of the City’ and ‘Running Up That Hill’, before cranking the weirdness up to eleven.

Second segment, ’The Ninth

Wave’ brought the conceptual tracks that comprise the latter half of her ‘Hounds Of Love’ LP to life, whereas the third provided a surreal Alan Garner-esque narrative to some Aerial’s finest moments.

Astonishing puppetry and sets bursting with creativity interwove with Bush’s unparalleled abilities to deliver a show that deserved all the hype and more.

Other Highlights: Jagwar Ma - Manchester Academy 2 Beck - Festival No.6 One To Watch For In 2015: Lone Lady Hailing from Manchester and signed to Warp Records, there are big things in store for Lone Lady. She may have already released her debut ‘Nerve Up’ in 2010 to some recognition, but if the post-Disco twang of recent single ‘Groove It Out’ are anything to go by, 2015 promises to be a massive year for the artist AKA Julie Ann Campbell.

Film of the Year: Under The Skin Those who went looking for a cheap thrill to see Scarlett Johansson stalking the streets of Glasgow as a saucy alien may have left disappointed when their brains were left more aroused than their loins. A science-fiction film of glacial pace that tests the philosophical question that the best silent invasions do: what

is it to be human? Following Johansson’s character around Glasgow and into the Highlands, whilst pursued by a never-entirely explained motorcycle gang of presumably similar beings, Under... retains a gripping shroud of mystique start to finish. Meanwhile, Jonathan Glazer’s awe inspiring direction ensures that the Scottish landscape and the rain soused Glasgow look more extra-terrestrial than anything green screen could muster. Under The Skin is without doubt the most cryptic, stylish and breath taking motion picture of 2014.

Other Highlights: 20,000 Days On Earth Interstellar XMen: Days Of Future Past Guardians Of The Galaxy Most Anticipated Film of 2015: Star Wars: Episode VII We know who’s on board. We know who the script is being written by. We know who has taken up the mantle from George Lucas. We’ve all seen the trailer. If the thought of hearing Chewbacca’s comical moans, Han’s smarmy quips, the rush of a light-sabre slash, the howl of a Tusken raider, the camp banter between the beloved droids C-3PO and R2D2 hasn’t got you excited, the force clearly isn’t strong in you.

Words: Thom Williams (Music Editor)

Album Of The Year: La Roux - ‘Trouble In Paradise’ After 5 years out of the game with little explanation for her disappearance, Ellie Jackson AKA La Roux shot back into the limelight in 2014 with an album that bared all. Hidden beneath a pop veneer that attempted to disguise the themes of the tormented relationship between her and the former other half of La Roux, Ben Langmaid, songs like “Tropical Chancer”, “Cruel Sexuality” and “Sexoteque” are all radiant pop smashes that make this record tower above all of 2014s.

Other Highlights Wild Beasts - ‘Present Tense’ Damon Albarn - ‘Everday Robots’ Sharon Van Etten - ‘Are We There’ The Acid - ‘Liminal’

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Film Of The Year: Guardians Of The Galaxy Arguably Marvel’s most enjoyable film to date, this surprise summer hit was the studio’s most risky and independent venture so far. A vibrant space opera populated by a colourful cast of misfit heroes and intimidating villains, Guardians of the Galaxy is funny, endearing, and a refreshing breather from the established superhero formula. A success on every level.

Other Highlights: Dawn Of The Planet Of The Apes Interstellar Captain America: The Winter Soldier X-Men: Days Of Future Past Most Anticipated Film of 2015: Birdman Already out in the US and generating Oscar buzz, Birdman is the story of a washed-up former major movie franchise star (Michael Keaton) trying to reinvent himself by directing a Broadway play that faces issues with his ego and his cast. Keaton and co-stars Edward Norton, Emma Stone and Zach Galifianakis have received serious acclaim so far, and this black comedy will definitely be one to watch when it releases here in January.

Words: Anthony Stones

Film Of The Year: Nightcrawler This film had to top the list of my top films.

It’s very rare that a film intrigues me, grips me and just downright puts me through the ringer emotionally and gets me thinking. Jake Gyllenhaal has never been better and it’s the perfect vehicle for him to dominate the screen and show us just how great he is as an actor.

His character Louis Bloom could even top the list of characters you love to hate but even though he has almost no morals I actually liked the character and even rooted for him to succeed. The visuals are as murky as the characters and it’s never looked that good since Se7en. The realism of the film’s look draws you so deep into this world it’s hard not to be feel like some kind of twisted voyeur while watching.

It may have been released late in the year but for me it beat all other films in overall style, story, direction and performances. This is the kind of cinema that we have been lacking and this is proof that this particular kind of cinema is definitely not dead.

Other Highlights: Guardians Of The Galaxy X-Men: Days Of Future Past The Lego Movie Dawn Of The Planet Of The Apes Most Anticipated Film of 2015: Star Wars Episode VII: The Force Awakens What can I say? Ever since it was first announced I was like a kid at Christmas. I’ve never been as excited for a film before as I am for this one. Just as long as there is no Jar Jar then I’m very confident that this film will not disappoint.

Words: Stuey Evans

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IFNI TL EMR VRI E W VIEW

TOM BENEDICT KNIGHT Q. What first drew you to the script of God the Father?

A. Well I’m a lifelong Goodfella’s and Casino fan, I grew up on La Cosa Nostra, bizarrely the characters in these films were movie heroes of mine‚ so when I got a chance to read for the part playing one of them, a real life La Cosa Nostra boss and his life story - I ran at the chance to do it!

Q. From mob boss to Minister for the Church, that’s quite a transition! What was it like playing a character like Michael Franzese who goes through such a transformation with a film?

A. I guess with anything that you’re really, really passionate about it can often come to you without really having to strain to get it. It certainly felt like that on God The Father. I was having so much fun it flowed easily. Playing Michael with him watching was without doubt the one of the coolest acting experiences I’ve had to date.

Q. What research did you do into the real life Michael Franzese before taking on the role in God, the Father?

A. Watched a lot of his pubilc speaking online, read his 3 books and spent hours and hours online researching him. It was a detailed process and knowing he would meet and watch me do it certainly focused my attention. Afterall before he became a man of God he wasn’t an librarian and I wanted to make him happy!

Q. According to IMDB the real life Michael Franzese makes an appearance in God the Father, as himself, did that put pressure on you playing him as a fictional character with him being on set?

A. The Michael of today is a different man from the Michael of 20 years ago, the mob capo, but he’s still Michael. I wanted him to know from the outset how important it was for me to portray him in a way he was proud of, a way that was accurate and truthful and also was cool... not easy to do but I think I nailed it. Having Michael on set encouraging me was incredible.

Q. Having a catalogue of over 30 accents at your disposal is quite impressive! What’s your secret to being able to do so many? Do you think it’s opened a lot of acting doors for you being able to do so many?

A. Thank you! Yes definitely, I can switch from accent to accent easily so it’s good for me as I get many different nationalities to play so this means I get seen for roles that other actors might not which is very handy.

Q. You are still relatively new to acting having spectacularly made a name of yourself in the industry in 2011-how did you get into it?

A. I had thought about it at 25 when I was at a low in business and thought about a career change, I delayed

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for what I thought would be 6 months at the time. I hit 33 and got the nudge from inside to do it again and thought there was no way I could wait another 8 years so went for it.

I talked my way into the home of method acting, Strasberg.

Fast forward 3 years and I’ve 20 films under my belt.

Don’t sometimes know how it happened!

Q. What was it like working with director Gary Shore, who’s first feature film was Dracula Untold which you starred in?

A. Gary is very cool and such a nice director! I admire him a lot as he came up with the idea and just went for it and now has 70m feature under his belt. He’s a positive and driven Director and person and that’s great to be around.

Q. What is it like working with actors like Luke Evans, Charles Dance and Dominic Cooper in Dracula Untold?

A. An honor, what actors!

Very talented, it was an acting masterclass and I learnt so much being on such a huge set like that!

Q. Dracula Untold involved a lot of CGI didn’t it? Is it harder to perform when a lot of the set/scene is created

by CGI? A. Not really, at least I didn’t.

The scale and size of the project lifted and excited your senses and the CGI didn’t in any way dampen that experience.

between being in indie films and big budget studio films like Kick-Ass 2?

A. Loads! Time, detail and preparation make such a HUGE difference to films. The lower the budget the less there is. Having the luxury of really taking the time to make it right can make all the difference.

Having said that the freedom on an indy film can be super liberating too.

Q. Has anything funny ever happened on any of the sets you’ve been on?

A. Yes, on Houdini I caught a playing card in mid flight from Adrien Brody, changed it from ace to spade super cool’ly and then totally blanked, making a complete fool of myself. On Kick-Ass 2 I flew backwards into a wall and smacked my head on solid concrete, it made it into the film and on God The Father I swapped a line to something quite insulting to an actor without them knowing it to get a reaction, it worked and it was a great reaction to the unexpected insult.

Q. You’ve appeared in Eastenders and I Can’t Believe My Luck on the BBC- do you prefer acting for TV or acting for film?

A. TV and Film are both awesome to do, I’ve done way more film than TV so would like to do more TV so I could give you a more informed answer! Watch this space!

Words: Jayna Patel

Q. Is there any difference

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