The Siren - Issue 8

Friends like these We interview French Electro Kings Justice: Page 6

Inside: ■

Ham Sandwich ■ Sawdoctors ■ La Rocca ■ Darren Shan

n e r i S the

| Issue 8 19.02.08 t en m le pp Su t en nm ai rt te En e College Tribun

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Music “We’ve been to the States almost sixty times in our career, so we’ve branched out quite a bit” The Sawdoctors: P4

Music “We’re not sure how people are going to react to it, but for us, that is a good thing” Justice: P6

Fashion “Always cleanse tone and moisturise. It is the only way forward!”

Make-up made easy: P9

Arts “I want to take readers to the edge and give them an experience they’ve never had before”

Darren Shan speaks: P10

Wouldn’t mind a Ham Sandwich…

Ham Sandwich singer Niamh Farrell is on the 77A bus into town from Tallaght. She’s on her way to HMV to do an in-store performance before she has to shoot off to the Meteor Awards. “We’ve a pretty big day ahead of us,” she remarks.

This is a group that instantly stands out from the ra of current Indie rock groups thanks to the so but soulful vocals of Farrell, which interplay with the robust vocal delivery of guitarist/singer Podge McNamee, to create music that has a more subtle atmosphere in a single track than most bands can fit into an album.

This, combined with a very tight rhythm section and some sublime catchiness, makes it clear that the band has been cra ing its sound for some time. “It is the way to go when you start out, don’t put all your eggs in one basket,” she remarks philosophically. “We’ve been together for four years, and we’re just putting out an album now. We’re starting to gain better success for that time well spent now.”

That first record, the newly released Carry The Meek, was birthed in an environment that was as unorthodox as the band’s measured growth. “We didn’t actually go into a studio, we went to different places. We went to this old seventeenth century mansion in Kells, which is also a boarding school.

“We rented a house just outside Kells as well, and brought down

Ham Sandwich singer Niamh Farrell discusses her band’s steady success with Lorcan Archer, just before they won the Hope For 2008 Meteor Music Award all our recording equipment. It was just better. We weren’t restricted to a time-frame like we would have been in a recording studio. We stayed up until three o’clock in the morning, because it can be done with that set-up.”

The move worked well for the band, eliminating stress and aiding their productivity. “There is no limit, so it’s great to have that freedom. It was a lot of fun too, we really squirreled ourselves away.”

This differing attitude to the usual high-pressure situation that new bands o en find themselves in, with so much being expected of them, is evident in other aspects of the group’s work, such as their artwork production. “We asked for fans to send in their own ideas of what heartache means to them for the album. So, people sent in pictures representing what the word means to them, and we got so

many responses.”

Such a move allowed the band to connect with fans, and maintain a strong pool of choices, rather than giving all the control to a single artist. “Several of them have gone into the actual inlay of the album, so it has worked out very well. It’s satisfying to get people involved like that.”

Nevertheless, to properly promote their debut album to the extent it deserves, the band must do what is required, and that means taking to the road.

“We’ve a big tour around Ireland in March, with lots of gigs lined up. Then we’ll be heading over to England again later in the year, before doing the festival circuit.

“We plan to make every show special, not just the release party, and really get the music out there.”

While playing their hometown of Kells is always fun, Farrell admits the west of Ireland is where she

“It’s funny, when people ask me what type of music I think we play, I can’t tell them”

enjoys performing most. “God, I love playing Galway. It’s just such a lovely city in general.”

With the Irish scene in a healthy state at the moment, Farrell is quick to point out the improvements she has noticed in the nature of homegrown music. “I think the Irish scene has gotten better over the last while.

It used to be so much smaller, very acoustic based, but it’s really broad now.

“There are loads of bands and lots of different types of music. Personally, I think it’ll be a big year for Fight Like Apes and We Should Be Dead.” This unwillingness to pigeonhole genres applies to her own group also. “It’s funny, when people ask me what type of music I think we play, I can’t tell them.”

The level of success the band are experiencing now means priorities have shi ed for the band members, as they gear their lives around the needs of Ham Sandwich. “It’s a fulltime job for me now, I spent all my time on it. You have to. In fairness though, it really is a great job to have.”

Ham Sandwich play Whelans on Sat. 23rd of February

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Rocca ‘n’ Roll in the USA Singer and guitarist Bjorn Ballie of Irish rockers La Rocca takes time out from their all-out assault on America to speak to Sophie O’Higgins about their unexpected appearances on Of all of those Irish would-be bands that are tucked away in their parents’ garages, dissecting guitar lines with dubious dreams of recognition, there are only a mere handful that are likely to gain the appropriate degree of exposure required to propel them into real musical eminence.

For many of those that do succeed in gaining recognition, only a few tend to fare well in the greener grasses, tackling the Everest that is the America. U2 did it. Glen Hansard ‘did’ it, to a lesser degree. The Thrills claimed they did it, though the proof has yet to surface.

So, enter La Rocca, who have burst the bubble of playing in their comfortzone at home, and decided to focus on the challenge of tackling the all-important United States.

“We’re working hard over there at the moment to try and get as much going as we can,” says singer Bjorn Ballie, who is back in Europe for a few days, before heading back to the band’s new home in Los Angeles.

Hard work is the order of the day, but the group is more than ready to seize their chances. “While obviously we’re still only scratching the surface there, we’d like to go as far as we can as an Irish band, and that means spending a lot of time there.”

“We’d like to go as far as we can as an Irish band” Named a er a dank dive bar in Bristol where the band first played, and dealing in a brand powerful but undeniably thoughtful rock, La Rocca have been resounding the airwaves over the past few months and have been steadily advancing ten-fold through the ranks of recognition.

The band assembled in 2002 as college friends in Cardiff City, and has since been living stateside for musical purposes. A er the release of their self-

titled debut EP, interest was circulating around the Irish quartet, and they were quickly signed in 2004 to Los Angeles based Dangerbird Records, alongside esteemed producer Tony Hoff, whose musical credentials include Beck, Belle and Sebastian, Phoenix and Supergrass.

Hoff has proved an efficacious tool to a band’s success and longevity.

Travelling across America, and thus acquiring some serious industry acknowledgement due to shows in the famous SXSW Texan music festival, as well as countless gigs across the US, plaudits for the band were numerous.

Such was the enthusiasm amongst the music industry buffs, that La Rocca’s songs were featured in several televised airings, most notably, The OC and One Tree Hill, as well as on the game Fifa ‘08 and Indie film 50 Pills.

“I don’t really watch any of those shows, but I had heard about The OC of course, so I knew how big that was,” she remarks, “With One Tree Hill, I hadn’t really heard of it, so I wasn’t sure how

big it was, or if it was just another teen program.”

Nonetheless, TV exposure doesn’t come along every day, so Ballie was appreciative. “We were told when the episode would be on and we all sat down to watch it, and a song of ours, Non Believer, was used in quite a big scene in it. They played the song and named our

band and the girl pulled out our vinyl,” he recalls with some amusement. “We were just sitting there stunned.”

Such shows have been responsible for bringing attention to bands like The Killers and Death Cab for Cutie, and are duly regarded as an exceptional catalyst for obtaining what potential prosperity a band may have.

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Aural Examinations guitar notes of See These Bones, to the mellow harmony between lead singer Matthew Caws and guest collaborator Liane Smith on the album’s finale, The Film Did Not Go ‘Round, it is apparent that this is Nada Surf at their radiant, luminous best.

Their trademark catchy, up-tempo efforts replete with highly addictive choruses are here, particularly in the form of the genuinely sweet I Like What You Say and Ice on the Wing, while the production is more polished than before. The adorable harmonics and incesnnnnn santly beautiful strains will have you nodding your head and humDespite the fact that it is now twelve ming along despite yourself. years since their 1996 breakthrough However, if you reserve disdain for artalbum High/Low, Indie rockers Nada ists who stick to the same formula that Surf are still predominantly known for achieved success in the past, and crave the hit single from that album, Popular, constant innovation, then it’s probably which saw a sharp satirical swipe at best that you steer clear. What is undeniHigh School life in the US. able is that this album represents no novel This is unfortunate, as that particular imaginative leap on the part of Nada Surf. song’s bitter and sarcastic edge is unrepHowever, if you loved previous albums resentative of the band’s characteristic Let Go, This Weight is a Gi , or The Proxsound. The New Yorkers have, in the in- imity Effect, or indeed have a taste for tervening period, demonstrated a pen- similar Indie groups such as Death Cab chant for cutting, insightful lyrics, allied for Cutie, then this release is absolutely with warm melodies and catchy hooks. guaranteed to be right up your street.

Lucky is no different.

From the relatively darker opening Sebastion Clare

nada surf

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Health are an acquired taste. A slow burning first track builds into a wall of noise, and rarely returns to any sort of single form for the rest of the album.

At first, it’s noisy and difficult to find any discernible structure or direction, but in time, the seemingly random cymbal crashes and guitar breaks begin to make sense. Health execute their noisy rants and sharp stomps with such precision that even their most generic tracks are impressive.

Despite all the in-your-face clatter, the group also excels at small accents and mild surprises. Crimewave’s charming guitar chords come as a slight surprise.

While none of those sounds really ever effectively shock, given what’s gone before, each deviates just enough from the other, as the band finds tiny variations inside steadfast repetition. Health’s sound starts to slip interestingly off its hard-earned course during the album’s last three tracks.

Glitter Pills is a stoic dance piece with canned drums and handclaps, like a sleepwalking version of new group Black Dice, while Perfect Skin and Lost Time are both slow, hypnotised marches.

Here, Health stick to simple, unvarying rhythmic lurches beneath the sounds of sky-reaching vocals.

As audible earlier in the album, the reference points here are clear, and Health at times meld them into their own wholly singular work. Yet, it never quite works as a whole despite some nice moments.

Similarities between Health and bands such as Battles or Liars are obvious, but judged against these bands; their structured mayhem doesn’t quite stand up so well.

Have you been looking for something to just make you happy, music wise?

If so, look no further than Grand Pocket Orchestra (GPO), the fun-loving, quirky quartet from Dublin having just released their debut EP. There should be a sticker on the side saying that happiness is guaranteed a er six minutes. Intriguing instrumentation from the outset resembles the music to a children’s cartoon, with bells, keyboards, xylophones and all sorts of sounds chiming together.

However, it would be a mistake to think that this is a childish attempt at making Indie pop music, as the EP is a showcase of how to use your instruments as creatively as possible.

Drums come at intervals; they disappear and then return to almost take over. Guitar solos resemble Blur’s guitar in their earliest years, muffled and trapped, contrasting with the clear keyboard.

Almost everything comes as a surprise, the band shouts spontaneously, as much with their instruments as with their voices. This would be the band to listen to if you thought Animal Collective sounded promising and then let you down.

They sound quite alike, but GPO are more innovative in how they go about making a lighthearted but engaging track. Front-man, Paddy Hanna’s kooky voice is hard to decipher, but you can just about hear his repeated pronouncement that, ‘It’s alright.’

Listening to these guys will convince you that it certainly is. They will almost certainly be one of the most refreshing Irish acts you will probably hear all year.

Philip Connolly

Eimear Hanratty

Just wh doctor Leo Moran, front-man for legendary Irish band The Saw Doctors, speaks to Lisa Towel about winning the Meteor Lifetime Achievement Award and touring America with Pat Shortt Last weekend, The Saw Doctors were honoured with the Meteor Lifetime Achievement Award. Presenting the award was D’Unbelievables funny-man Pat Shortt, and the band are no strangers to the Tipperary-man a er appearing on the famed comedian’s hit television show Killinaskully.

What’s more, Shortt le a lasting impression on front man Leo Moran when he played with the band during their American tour. “He is a great saxophonist,” remarks Moran, “He used to come out and do songs with us. He is really an unbelievable musician.”

Moran goes on to talk about the award and what it means to the band, “Receiving something like this is almost like an out-of-body experience for me. Its great. It’s the sort of thing you always expect somebody else to get, so we’re delighted to get the recognition.

It is good to know

we’re being thought of.”

The award seems as though it has been a long time coming for the band that formed more than twenty years ago in Tuam, Co. Galway. The group first came together to play in 1986.

Their first major hit, I Useta Lover, reached number one in 1990 and remained in the charts to become a Christmas number one, gaining the title of the best ever selling Irish single in the process.

The Saw Doctors are well known for other popular songs like N-17 and The Green and Red of Mayo, but there is more to the veteran Galway group than crowd-pleasing anthems. Amongst their seven studio albums, their songs move from ballads about unrequited love to poignant commentaries on the position of single mothers in a strongly Catholic society.

The diversity of The Saw Doctors’ songs is reflected in songwriters Moran and Davy Carton’s approach. “Our writing style is very varied. One day you might decide to go for a certain style, and another day you’d follow a totally different path.

We just try to put a few songs together, and some things work, others don’t. You can never tell,

its all very trial and error,” explains Moran.

“I think that my favourite song, that I’ve written myself, would have to be Same Old Town. As for other people’s songs, I would like to have maybe written Born to Run.” Like fellow countrymen Aslan, The Saw Doctors follow the Irish tradition of continuously being on tour.

In March, they once again embark on a tour of the United States. Over the last two decades, the band has created a great reputation for performing fun, energetic gigs and being a mustsee band on the live stage.

They have received critical recognition here and abroad, playing different venues to attract new and old fans alike. “We’re known for playing the usual rock clubs in towns and cities around the world, and of course if Irish people abroad wish to attend, then that’s great, but we’ve been to the States almost sixty times in our career, so we’ve branched out quite a bit into the communities over there.

Extensive touring has le Moran with philosophical reflections about culture and people. With extensive experience at his disposal, he muses

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on the common spirit of fans he meets worldwide, “It’s funny, the more you travel, the more you realize people across the world, while so varied, are just that. People. Everyone really has a lot in common.”

Despite The Saw Doctors being recognised on the international

stage, and his naming of the legendary Bruce Springsteen as his inspiration, Moran is still inspired by new homegrown bands.

“There’ll always be new things coming up in the Irish Scene – be they girl-bands or rockbands. I seem to stumble on a new Irish artist I like every week, which can only be a good thing.”

For many, The Saw Doctors are

both folk-poets as well as being the lads from down the road. As one fan put it, they are the only national but always local band in Ireland.

The Saw Doctors play the UCD Student Bar on Thursday 21 Feb.

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This noisy duo, consisting of Andrew Hung and Benjamin John Power, has been going from strength to strength since late 2004. Street Horrsing showcases a band that isn’t your usual electro group.

The album opens with a rippling piano melody that quickly leads into an electronic drone, which becomes one crucial element of their overall sound. Thrashing, erratic vocals also feature prominently, which is somewhat reminiscent of Aphex Twin.

Sweet Love for Planet Earth is something that one might hear in an underground venue in Dublin City Centre on a Saturday night, and is one of the stronger tracks on the album.

This album is interesting in that different musical styles are incorporated to create a musical mishmash.

Ribs Out shows a progression to primitive music, with the addition of animal noises and castanets also creating an exotic flavor.

Okay, Let’s Talk About Magic is perhaps the weakest offering on the album, in that it fails to create musical sparks at all, and neither does the following track, Race You To My Bedroom, which, with its scratchy and fuzzy sound, is reminiscent of what you hear when the TV reception goes wonky. The final track is not so bad and there are shades of the Afro beat, while the blend of harsh electro with euphoric background-music is quite interesting.

Overall, this is not an easy album to listen to, and not one that people will be running to the shops to grab a hold of.

Lion Killer, the fiery opening track off Cass McCombs’ third album, Dropping The Writ, sets the tone for this eclectic dream.

With feet firmly tapping and head sincerely swaying, McCombs’ inspirational blend of folk and resonating guitar sequences, while common to many singer-song writers, create an overwhelming eagerness on the listener’s part to hear more.

McCombs’ lyrics are amazingly honest, endearing, and at times beautifully tragic, whilst they also offer an insight into the Californians’ nomadic lifestyle. Dealing with personal life experiences, many songs off the album, like That’s That, beckon the return of the wonder and innocence of youth, making it impossible to keep the listener from the grip of nostalgia.

McCombs has constantly been subjected to change. Having lived in many different places and also being forced to re-form his band numerous times, McCombs is able to create a sense of uncertainty throughout the album. Full Moon Or Infinity especially promotes lively and upbeat guitar playing as McCombs’ fingers move effortlessly across the fret board.

Other songs however, like Deseret, generate a darker and more mysterious side to McCombs’ style, heard through voice echoing and light drum syncopation. Also, having returned to California to write Dropping The Writ, with tunes such as Petrified Forest, McCombs southern roots steal their way across the guitar strings to produce a warm, blues sound.

McCombs’ so , almost whining voice clings to notes, reminiscent of Thom Yorke, and throughout the album, it never fades or fails to hold the admiration of the listener.

For those of you out there looking to welcome spring and the dawn of summer, Dropping The Writ is a brilliant way (in McCombs’ own words) of “melting frost”.

Heather Landy

Maeve Devoy

Gig Guide

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20.02.2008

Wednesday. 20nd These New Puritans / Cap Pas Cap, Crawdaddy, doors at 8pm, €14 Grand Pocket Orchestra / Betamax Format, Whelans, doors at 8pm, €8 Thursday, 21st Editors, Olympia Theatre, doors at 8pm, €30 Cathy Davey / Halves, Tripod, doors at 8pm, €22.50 Sweet Jane / Voodoo Jack / The Funeral Suits, The Hub, doors at 9pm, €8 Friday, 22nd The Saw Doctors, The Academy, doors at 8pm, €31.50 Ebony Bones / Cadence Weapon, Crawdaddy, doors at 11.30pm, €14 Saturday, 23rd Seasick Steve, Tripod, doors at 8pm, €24.50 Ham Sandwich (Album Launch), Whelans, doors at 8pm, €15 Damian Dempsey / Various Guests, Noggin Inn, doors at 8pm, €20

Seasick Steve plays Tripod this Saturday, Febrary 23rd

Monday, 25th Kate Nash, Olympia Theatre, doors at 7.30pm, €25 Staathaat / Tunguska, Lower Deck, doors at 8pm, €6 Tuesday 26th Rihanna, RDS, doors at 8pm, €40 (and following night)

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FEATURES

Crying out f Justice

French duo Justice take time out from t to speak to Lorcan Archer about the y beginnings and the runaway success have been enjoy

It has been quite the year for Justice. So much so, that it is fair to say that most people have probably already heard the group, even if they didn’t know it at the time. Breaking into mainstream infamy in 2006 for their hugely successful dance floor hit and remix track We Are Your Friends, they’ve been truly been turning heads the world over ever since.

Xavier De Rosnay and Gaspard Augé are reflective about the ins and outs of the music industry. We find nowadays that record companies give less and less money for music videos, because they know they are not of the same importance as in the past, remarks De Rosnay, in perfectly fluent English that is tinged with a strong Parisian accent.

“In the past, it was so much about the all-important videos.

Nowadays, videos aren’t such a big promotion tool – mainly because of the Internet.

So, you have to find really simple, clever ideas that are cheap and easy to do while matching the music.”

It’s a philosophy that is more than evident on the lead singles on the band’s acclaimed debut album, †, having picked up a ra of Grammy nominations this month, including best Electro/Dance album, and another Best Video nomination for the song D.A.N.C.E. Such praise might distract lesser musicians, but the twosome is committed to keeping it reserved.

“Of course we’re grateful for nominations and awards, it’s cool,” says de Rosnay, drawing out the prolonged French pronunciation of ‘cool’ like a pro. “But we try not to pay too much attention, because we have to think about what we’re doing professionally. You must always be thinking of keeping it fresh and new.”

While many more casual music fans may know of the group through their music appearing in high profile TV advertisements like Sony’s

current campaign, the live arena is where the group are currently engaged, taking part in a monster world tour that is set to last until next November.

Things are a bit crazy at the moment, admits Augé, as car alarms go off in the background, We are in Manchester tonight, the first show of our UK tour. It is very good over here, very different from France.

Justice have played their fair share of shows on Irish shores as well, including an impressive headline show in the Phoenix Park, and the fans they’ve found have certainly made an impression.

“In Ireland and Scotland especially, we have a great time. We find the crowds are so strong, and always go for

“We have to think about what we’re doing professionally.

You must always be thinking of keeping it fresh and new” it. People are very enthusiastic about the sound that we have.

The group’s travelling has taken them around the globe in the last couple of years; touring locations as varied as Japan and the US to promote their unique sound. “We are especially looking forward to playing this tour,” explains De Rosnay.

“We are using a whole new idea for our shows, and we have a new way of performing, as we are going a er a more powerful live sound.

We’re not sure how people are going to react to it, but for us, that is a good thing. More freedom means more danger, which is a bit scary, but it is a good system for us.”

The duo are known for taking risks on the live stage, going so far as to perform versions of songs that would normally never be associated with them, Metallica’s Master of Puppets for example. “Something we definitely enjoy is being comfortable enough with the live performance to do things like

that,” remarks De Rosnay.

Justice’s success on the stage is partly due to their well-known image. The group performs under the glare of a massive illuminated cross that unflinchingly beams over the assembled masses as the seismically loud tracks are aired.

While such use of the cross has become commonplace in modern society, with count-

less celebrities fashionably wearing the powerful symbol, the use of the iconic image has a particular significant for De Rosnay. “If you think of the things in society that really make people come together and go crazy, or become hypnotised, you mostly come up with religion and music,” he explains. “So, we’ve tried to combine both of them and make the most

powerful thing possible.”

That strong visual presence has given the group infamy over the countless hordes of anonymous House DJs and Dance acts, with one glance at the band onstage confirming exactly who they are, and what they’re here to do. The Music Media has long since pointed to the similarity the Electro House duo has

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heir current European Tour year to come, their modest s that their infectious beats ying in their style of presenting themselves as being like a rock band, having character and style that reaches far beyond the norm.

“More than rock, we are really more into disco bands. Our rock and roll influence is mainly visual, but our inspiration is mainly modern Disco bands. We don’t listen that much to rock really. Mainly 70s rock music if we do at all.”

Drawn on the issue of playing live, De Rosnay hammers home the importance of the touring they are now engaged in. “For the moment, the live show is 100 percent of our musical life. Because that is all we do at the moment (tour), we are totally into it.

“In March, we will be going back to America. It is strange though. Much of the time, it is not the shows that you remember, but far more the atmosphere of a place that you experience and the people you meet.”

The modesty of the group is evident when they reject all ideas of having reached some sort of personal fame. Despite selling out venues everywhere, and with legions of fans, it’s not even on their radar. “Really, I don’t think we’re famous as people,” confesses De Rosnay, “We eat and sleep every day in our tour bus. We go to bed in our one-metre-squared tour bunks every night.

“So, it’s not too glamorous really.

We do like the life on the road and meeting new people. That aspect is what rock ‘n’ roll is all about. Even

if we are the least rock ‘n’ roll guys ever,” he adds with a chuckle.

De Rosnay is modest and quick to emphasise, even if in jest, that the band never believed they would

sic on the road, and we’ll be touring until late this year,” explains De Rosnay.

“We will go back to the home environment, to just me and Gaspard together on our own, in my bedroom at home.

That is how we make music.”

It is in such an intimate mode that the group pens their tracks, but unashamedly absorbs influences from music all around them. And who better to take direction from than the troubled King of Pop, Mr. Jackson himself. “Our single D.A.N.C.E. is made from a collage we put together from Michael Jackson lyrics.

“You can see it if you look, lines like ‘music and me’ and ‘black or white’. But we were certainly not trying to be cool or chic with that, more going for an old disco vibe,

“It is not the shows that you remember, but far more the atmosphere of a place that you experience and the people you meet” make it as far as they have. “I never thought we’d get to play anywhere outside of France,” he jokes. Then he pauses and re-evaluates. “No wait, actually, I never thought we’d get to play anywhere outside my bedroom,” he adds with a laugh.

“We never thought we would make it to these sorts of places. But when you actually go and do these things, it is easy to forget about all the people who actually come out to see you, and actually go out and buy tickets for the show. So, everywhere outside my house is amazing in that respect.”

With their much lauded album † having more than made its impact, both critics and fans alike have been clamouring for new material. This is a demand that the band addresses with their prolific remixing, having produced versions of artistes so diverse as Fatboy Slim, Justin Timberlake and the Klaxons.

However, the group are strongly averse to prematurely releasing a follow-up, instead preferring to retreat to the intimate environment that first birthed their sound. “We do not make mu-

like Sister Sledge or someone.”

It is obvious that the group more than pay homage to the forbears of their sound, but make a point of keeping an open eye on the current goings on in the worldwide scene.

Falling out of touch with relevant music is not an option, and the group have their own favourites.

“We do listen to a lot of other groups while we are on the road.

“At the moment, we love Midnight Juggernaut from Melbourne in Australia. They play some very

good modern pop music, and their album is excellent. Also stuff like Estelle and Kanye West, I really like their latest work.” Such a deliberate mention of Kanje West certainly shows that there is no animosity lingering between the two acts, and the songs are what really matter.”

The time is up, and the duo is hurried along to the sound-check. A quick good-luck-wish for the show is graciously accepted, and they’re gone. Here’s hoping the crowd do them justice too.

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College Tribune

19th February 2008

Dealing with grief How does one cope with the passing of a loved one? Cathy Buckmaster talks to a student who has recently lost a friend and explores the importance of the funeral ritual with an undertaker

Michael, a former UCD student, recently experienced the shock of the unexpected death of a friend. He explains how he felt and dealt with his grief when he first heard the news that his friend had committed suicide.

“It was a massive shock for me. I would describe it as almost like being hit by this huge board, like being completely knocked back. Then you suddenly start to think about all things you used to do together. You just go into shock and become quite numb.”

“As time goes on, more obscure memories start to come to the forefront of your mind. Things that you hadn’t thought about for years or thought you wouldn’t ever again, start to come back.

During this process, you start off with a real sense of disbelief. I found myself asking questions like ‘Is he really dead?

Did it really happen? How did this happen?’”

Feelings of bereavement a er a loss are a very normal thing and generally bring on feelings of strong emotion for the individual who is mourning. Working through this grief is always difficult but immensely important for your mental health.

Individuals grieve in order to accept the momentous loss and attempt to carry on with their lives and ensure their emotional well being. In cases of sudden or unexpected death, family and friends are o en le extremely shocked, with no opportunity to say goodbye o en becoming an important factor.

Michael reflects on the devastating impression le on his young friend’s family and friends. “His death was a tragedy, as it would be when any young person passes away but I guess it was more so in his case, as it was pre-meditated. He felt lonely and as if no one could help him.”

Many bereavement experts have broken the grieving process down into phases, starting with a feeling of numbness which is succeeded by a yearning for the person who has passed away.

This can o en be followed by feelings of anger or agitation which premeditate intense sorrow and withdrawal. Eventually most people learn to accept the loss and let the person go.

Michael is familiar with the intense feelings of loss. “Eventually, once you’ve settled into the realisation, it can really overwhelm you and you can become quite sad and even feel like crying quite o en, depending on how close you were.

I never felt angry but I did feel a tremendous amount of regret.

“I knew he had distanced himself from our group and he never really wanted to see me. I kept thinking that I should have made more of an effort to contact him or force him to see me, which I would have if I had known he was going to die. Now I’ll never get the chance and am filled with feeling of regret.”

There is no one right way to grieve and everyone is different and grieves in their own way. When someone close to you is mourning the loss of someone they were close to, o en you feel unsure how to act and may feel there is little you can do for them.

However, helping with minor tasks as well as just being there either on the phone or in person can go along way, according to Michael. “It does depend on the personality but I personally preferred to be le alone to come to terms

with it myself. I did like to meet up with my friends and go on walks and talk about what happened. However, the idea of getting hugs all the time from people who I normally wouldn’t be that close to was a bit off-putting for me at the time.

“In fact, all I really wanted was that kind of tight-lipped half-smile and sympathetic look. I didn’t want anyone to say they were so sorry or that it was awful because they didn’t know him and it would just feel insincere. All I wanted as for them to acknowledge that I was sad.”

Michael found that the funeral rituals were almost therapeutic to his grieving. “Going to the funeral gave me a sense of closure. I got to go and see the coffin and see the picture on top and it was just the confirmation I needed that he was really gone.

“Although it wasn’t physically saying goodbye, it was like acknowledging that he was gone, pushing away, setting sail, moving on from it. The removal and funeral mass was of great importance to me more so than the burial, but it might be different for others.”

Val Lanigan of Lanigan Funeral Di-

rectors explains the importance of the funeral ritual at this particular stage of grieving. “A death in the family is a difficult time for everyone involved.

Whether it’s sudden or expected death, no one is ever completely ready or prepared for it.

“I found myself asking questions like ‘Is he really dead? Did it really happen? How did this happen?’”

“Empathy is so important for anyone who is helping someone through a loss.

However you must never assume that you know exactly what they’re going through as everyone deals with grief in different ways. The most important thing is to be patient and to be there to listen.”

As for helping a friend or acquaintance through a difficult time like this, he suggests some practical ways to be there for someone coping with grief. “Mass or sympathy cards as well as condolence letters are generally valued by the bereaved, especially if you have something pleasant but sincere to say about that person.

“However, you shouldn’t necessarily expect a reply from the bereaved as they probably have a lot to do or may not have the inclination to acknowledge at this time. Flowers are usually also welcome unless they specifically request not to have them but rather donations to a certain charity.”

In Lanigan’s experience, the best advice for friends of a person dealing with bereavement is to be yourself.

“Act around them as you would at any other time, taking your lead from their response towards you. Most bereaved people just want the chance to get it all out or talk about it to someone. The greatest assistance you can offer is allowing them to express themselves without interruption and to demonstrate to the person that you’re absolutely fine with

their emotion.”

When considering the funeral, he talks about how there are a number of events involved which need to be carried out but are o en too difficult for the family to deal with during this immediate period following a death.

“Grief can overwhelm many at this time and the last thing a family member probably wants to deal with is the complexities involved at this time. The purpose of the funeral is to comfort the bereaved and pay respect for the person who has died.

“During this time of grief, friends and relatives will gather to pay their condolences and offer their support to the family. The support of friends is so important during this time when even the smallest tasks seem impossible.”

The funeral director explains that the funeral ritual can be compared to the final milestone of the person’s life and that these days the funeral is considered more as a celebration of the person’s life.

“It gives comfort to those who knew the deceased by giving them a chance to say their good byes and is the first stage in the recovery of the grieving process.”

FASHION

Siren TH E

College Tribune

19th February 2008

Top make-up artist Michelle Pormey shares some tips and tricks with Fiona Redmond and explores the colours set to dominate the season, testing it all out on a very willing guinea pig “This season, the main emphasis is on the skin,” explains make-up artist Michelle Pormey, demonstrating as she applies make-up to the model. “The idea is to have fresh glowing skin, kind of like a morning freshness, so it looks youthful and really healthy.”

Skincare has taken a prominent role this season and the fresh-faced look is easy to obtain once you remember a few basics.

“No matter how

much make-up you put on, unless your skin is in good condition underneath, it’s not going to look right,” Pormey warns.

“A good skincare regime is really important. First of all, always cleanse tone and moisturise. It is the only way forward.” However for those of you who suffer from bad skin don’t despair. Pormey recommends using a primer, such as Mac’s Prep and Prime Skin solution, before putting on your foundation.

“Anything with light particles

WHAT’S IN: OVERSIZED BAGS The bigger they are, the more useless stuff we cram into them. There really is no need for all the extra space.

gives the skin that fresh look. Also, avoid putting foundation around and underneath eyes. This is because the skin around the eye area is so much finer than the rest of the face and the foundation will only dehydrate it. Go for a pink-based concealer instead because this will take away any darkness.”

Another cra y trick is to use a bit of shade and highlighter like All Over Shimmer Liquid Luminiser by Stila to bring out your features. “The main thing is to blend and contour

FRINGES Keep this ever-so stylish hair do full and heavy to have it looking its best.

ASHLEY COLE After cheating on Cheryl, almost everyone would agree that he needs his head examined.

WWW.80STEES.COM With slogans like ‘Sweep the leg’, you’d be a fool not to whip out your credit card.

HEAD-TO-TOE SEQUINS Still tasteful in moderation, but complete sparkly coverage is a no-go for 2008

---------- BE --

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Make up your mind

your face. Maybe use a darker shade powder or a bronzer such as Mac’s Redefined Golden Bronzing Powder, to add contours to your face.

“To start, if you put your finger under your cheekbone you can feel where the bone goes in and that’s where your shade should go. Always put the darker colour under your cheekbone, maybe a little bit on your temple and a bit across the forehead.

“If you’ve a larger nose bring the shade down the side of your nose, and under the chin to get rid of a double chin as well. Use a highlighter powder on top of your cheekbones to make your cheekbones pop out. Or use it in the centre of the face just to give that really nice highlighted skin.”

Once you have the basics sorted you are free to experiment and if you want to keep in with the upcoming trends simply think bright, vivid, tropical colours like and smooth sun kissed skin. “It is all about bronzed skin but that does not necessarily mean false tan or over doing it on the sun beds.

“It’s more about your own natural skin tone but it’s great to use bronzed colours to give the skin that sun kissed look.” The key is to think golden bronze rather than orange, according to Pormey. “As for the eyes there are a lot of metallic eye shadows, for example burnt bronze, burnt orange or a really metallic gold.”

“Metallic lids this summer are going to be really big. Turquoise blues, apple greens are also really p o p u l a r.”

Mac Pigments such as Pink Bronze or Melon are ideal for the metallic look and to get maximum colour, apply it wet.

“Smoky eyes are also in but the look has changed, they’re not as angular. Instead of Amy Winehouse, think more Bridget Bardot with her doe eyes. Think sixties, really smoky and

TY TIP ---U A n arch- w -

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9

sexy. This look is not about being perfect, the eye shadow should be smudged and misty.”

White eye shadow also appeared on the runways, demonstrating a beautifully so look. “Using a pearly white eye shadow such as Urban Decay’s Polyester Bride shade can be very so and will brighten up your eyes. A white eye pencil is also great especially for tired eyes, it tones them down. However, try to avoid chalky whites for fear of looking demented.”

The pearly-eyed look can be used in combination with the startling bright lipsticks that are set to be huge this season. Good examples of this are Mac’s Full Fuchsia shade, the Girl About Town shade or Vegas Volt which is the colour that the model is wearing.

Pormey explains that citrus colours will be key. “The focus is definitely on lips. Think bright, citrus colours. Our model’s look was created by using quite a nude face, so you have your contoured cheeks and a bit of highlighter, loads of mascara but still quite a nude eye, and really strong citrus lips.”

Many might be a bit wary of the bright colours and shocking new looks, but shouldn’t be scared a w a y .

“Make-up artists are in a store to advise and help you try certain looks so take advantage of this” advises Pormey “The main thing is to focus on what brings out your features and what makes you feel good. Make-up is fun, it’s about making you feel good, and it’s not meant to be a chore.”

YSL TOUCHE ÉCLAT The miracle concealer of the stars, covering up anything facially undesirable.

WHAT’S OUT:

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College Tribune

19th February 2008

Never a story of more woe ■ ■ ■

Romeo and Juliet The Abbey Theatre

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The Abbey Theatre’s first ever full production of William Shakespeare’s Romeo and Juliet is the latest attempt to pimp-up and modernise what is widely regarded as the greatest tragic love-story of all time.

Director Jason Byrne has adopted a Tarantino-esque slant with this adaptation, perhaps seeking to appeal to those in Dublin’s adolescent quarters. “Fair Verona” is portrayed as not that fair at all – but rather as a dim, dank, weary, setting that sees little radiance – either aesthetically or emotionally – before Romeo encounters his beloved.

There is great emphasis on the violence in the play, with as much weight placed on the brawls between the warring Capulets and Montagues, as on any interaction between the star-crossed lovers.

The presence of contemporary Dublin is never far away as crumbling public buildings covered in scaffolding tower over the characters who speak in inner-city accents.

The production has been famed for its modern costuming, but it is here that it founders, and distorts some of that which is integral to the play. Juliet (Gemma Reeves) is introduced to the audience in a classy red dress, an expensive looking necklace, and jazzy, sparkling red shoes.

The magic of Juliet’s character in Shakespeare’s play is that in spite of her proximity and exposure to one of the most despicable characters in the play – that of her father – she remains pure – even before she encounters Romeo.

She is innocent, untouched by the feud that has driven everything around her to rack and ruin.

Juliet’s costume portrays her as anything but pure, and this oversight is compounded by the scene where Romeo (Aaron Monaghan) first sets eyes upon her. She is seen dancing seductively with Paris, her would-be suitor. Her costume and demeanor portray her as very much a part of the corrupted world that her father has created for the Capulets.

This is just one example of where this adaptation misses the point of Shakespeare’s classic. It is too concerned with appearing exciting and hip – something it is very successful in as a result of the spectacular props and special effects – but fails to capture the enormity of what is happening with the characters in the play.

It is glitzy, but emotionless. Romeo proclaims his lines to Juliet rather than actually talking to her. The balconyscene, which contains some of the most powerfully emotive prose ever portrayed on stage, evoked chucking from the audience – which captures the faults of this play in a nutshell.

While the excellent lighting does wonders to rescue some semblance of the atmosphere that should snugly grip the audience of a play like this in a powerful trance, it cannot compensate enough for the misconception that to modernise a play like this means to place emphasis on the actions rather than the words.

Colin Gleeson

Siren

ARTS

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Shant

Irish author Darren Shan speaks to Cian Taaffe about striking terror into the hearts of children, how he got into writing and what the future holds for him

“I was six when I decided I wanted to be a writer. I wrote a story in school and got to go to another class and read it out. My Mum taught in the school, but I decided to go to a different class, where a girl I fancied was. I can remember her beaming up at me while I read it out - and that was that,” claims Irish author Darren Shan, best known for writing children’s books about Demons and Vampires.

Born Darren O’Shaughnessy, the author decided to write under the pen-name Darren Shan when he began writing for children. “The first book I ever published was for adults and I released it under my real name. When I came to write a book for younger readers, I decided to change my name, so as not to cause any confusion. Given the number of books I’ve signed since then, I’m delighted I did. My hand would have dropped off years ago if I’d had to sign O’Shaughnessy every time.”

Shan who started out writing for adults, found his literary feet with his children’s series’, The Saga of Darren Shan which began in 2000, and more recently The Demonata, although he never realised his children’s novels would be as successful as they became, “I wrote the first book for fun, as a

side-project. I hoped it would get published and do well, but I never thought I’d make a career out of it.

Children’s books don’t normally sell in huge quantities in the short run, despite anything you might read to the contrary; you need to be very, very lucky to succeed in this branch of the writing busi-

ness.”

Shan’s style of writing can be truly terrifying at times, especially if you’re a twelve-year-old child, but Shan confirms that he doesn’t make it his goal to scare his younger readers, “I o en temper scenes in my books; as hard as that might be to believe when you read about a boy seeing his father hanging upside down with his head cut off, or another boy visiting a world made entirely out of guts; but I’m not interested in grossing readers out.

“I want to take readers to the edge and give them an experience they’ve never had before, but it would be too easy just to throw a load of gore their way. When I’m editing a particularly juicy scene, I always think, ‘Would I be comfortable reading this out in a live environment, in front of a group of kids and their teachers or parents?’ If the answer is ‘No’, I look at ways to fine-tune it.”

There has been much speculation made as to why Shan chose

Success side story As a modern take on Romeo and Juliet, West Side Story deals with themes of forbidden love and unnatural death, which are issues that have been around since the beginning of time, as well as injecting modern issues, such as racism and gang warfare into the story. The love story of Tony and Maria is incredibly moving and believable, and the violence between the two gangs, the Jets and the Sharks, is realistic and an issue we are all to familiar with in modern times.

Despite touching on controversial issues, West Side Story has always been well received, due to its wel- known musical numbers, which o en make the audience overlook the serious issues that are being dealt with, and this production was no different. The performance ran smoothly, the music was flawless, the choreography was spectacular and the set was magnificent.

The standout set added greatly to the performances of the actors. The audience were met with a dreary back-

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West Side Story

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ground; a street with high buildings on either side and a wiremesh fence at the end of the street.

Before the musical even began it was easy to understand, from the set, that the story was set in a lower-middle class area outside of a big city.

Gillian O’Halloran, a second year psychology student, stole the show with her breath-taking performance as Maria. As well as having a great voice, O’Halloran blew the audience away in the final scene, by creating an overwhelming tension throughout the audience, almost bringing some punters to tears, as she lay crying next to the body of the man she had loved.

First year arts student, Alec Ward, who took on the role of Tony, also gave a fantastic performance, as did Rebecca Rice as Anita. Daithi Mac Suibhne provided some comic relief, during the second act - which is quite intense otherwise, in his portrayal of Action, one of the Jets. Not only was the acting and musical talent up to scratch, but some of the somer-

saults performed were absolutely spectacular.

Donal Cumiskey, who played Diesel in the production, revealed that the cast and crew were all very happy with their performances, “We always feel in any production that we could’ve done something better, but all the feedback we’ve gotten so far has been positive and we feel great about it.”

Despite critics claiming that there was lack of community involvement in the musical, Cumiskey believes that there was involvement on many levels of the college.

“There were plenty of people involved from different courses, from different years,

there were people who can act, dance, sing, there were people who can build and paint and people who could handle the technical aspects. I felt it was very community orientated.”

Cian Taaffe

Siren

ARTS

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College Tribune

19th February 2008

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astic to name the main character of his first children’s series, The Saga of Darren Shan, a er himself, but according to Shan, that character is based no more on himself than any of his other characters, “All of my main characters are based on myself to a certain extent, but I’ve never tried to represent myself entirely with a single character, not even Darren in The Saga.”

With a film adaptation of The Saga in the making, Shan reveals that he has nothing to do with the film and is more than happy to stay out of it, “When you sign a deal with a Hollywood giant like Universal, you give them the right to do whatever they want with your stories. As a writer, you can’t exercise control over what happens next with the film, and most writers who try end up bitter and disillusioned, having wasted a lot of time and energy trying to fight the system and control that which is uncontrollable.

“My philosophy is a simple one; take the money, thank them nicely, and use it to finance your writing career, to ensure you can go on writing the sort of stories that matter to you most.”

Although Shan is currently focusing on writing novels for an adult audience,

he is adamant that he will continue to write books for children, “I’ll definitely be writing more children’s books.

Whether I ever do another long series again, I don’t know. I’ve never planned a multi-book series - The Saga of Darren Shan and The Demonata both grew organically. I hope that happens again,

lished formula.”

As an Irish writer, one may presume that Shan would only be a recognised name in Ireland, but Shan’s books have been successful worldwide and many readers are not even aware that Shan is Irish, as his stories are never set in any specific location, “I like the vagueness of location. It means readers in any location can imagine the story happening wherever they live. I think that’s part of the reason the books have worked so well for different audiences, all around the world.”

“The only advice I can offer to aspiring authors is to write. There are no shortcuts; the more you write, the more you learn, the better you get. When you’ve put a lot of hours and gra in, and think you might be getting to the stage where you could get your work published, read The Writers And Artists Yearbook that gives you all the practical advice about publishing you’ll ever need.”

Shan is currently working on his first trilogy aimed at adult readers, in his home in Limerick. The first book of the trilogy, Procession of the Dead, will be released in March this year under the name D.B. Shan, with the second part, Hell’s Horizon, being released in March 2009, and the conclusion, City of the Snakes, in March 2010. “So I’ve a busy few years ahead,” he concludes.

“I want to take readers to the edge and give them an experience they’ve never had before, but it would be too easy just to throw a load of gore their way” as I love working on such an ambitious scale. But it’s not something I’ll ever try to force. We’ll just have to wait and see what comes out.

“Stephen King, Ray Bradbury, Jonathan Carroll and James Ellroy have all had a huge influence on me, but so have many other writers, along with filmmakers and artists. No matter what genre you work in, you should seek inspiration from a variety of sources and fields. Good writers should try to subvert and change the rules of the genres they work in, not just work to an estab-

Breaking down barriers As a young author, James Hopkin is delighted to finally have his novel published, “I have been writing for almost twelve years now and when I won a national arts competition for short stories in 2005, publishers became interested in my work.

“Prior to that, I would send publishers a few chapters of my novel and they would say to get back to them when I was finished. Out in the real world, I had to be earning money, so my novel got put on the backburner. The short story was the breakthrough that I needed.”

Having written for international newspapers, Hopkin was not without experience in the world of publishing, and when writing Winter Under Water, he was glad to be aware of the pitfalls of the industry. “I wrote for The Guardian and the Times reviewing books. It is a good

English author James Hopkin speaks to Adam Watts about having his first novel,Winter Under Water, published place to start and a great way of clearing space for yourself by being critical of all the deadwood out there.”

Hopkin’s choice to become a writer stemmed, as it does for many, from the choices he made in university. “I first realized that I wanted to be a writer when I was nineteen or twenty. I had always been a voracious reader and constantly jotting down poems.

When I went to university to study economics, I realised that it was completely the wrong thing for me.” Overcoming the obstacles of having to re-sit his A-levels and re-enter university to do a literature course highlights Hopkin’s determination to become a writer.

Hopkin was first inspired to write Winter Under Water while travelling in the late 1990’s, “I first went to Poland to interview some writers. When I got there I was completely

taken by the place, especially Krakow.” Winter Under Water paints a budding relationship between Joseph and Marta who first meet in England.

When Marta returns to her native Poland, their relationship flourishes through letters to

came from.”

Winter Under Water is being translated into Polish and should be released in Poland in September. Hopkin is bridging the wide cultural gap that exists between western and eastern European cultures with his novel.

“Many of the letters and phone calls between Marta and Joseph are inspired from experiences of my own. There are loads of nods and winks to Polish literature, I will either be given the freedom of the country or I will be banned from ever going there again.”

Hopkin’s novel was first released in hardback in 2007, but knowing that most sales would be in the paperback edition, he describes this release as being “given a second life”. He goes on, “One of the gripes of the literary scene is that with so many books being published, the decent ones can still disap-

“In an age when so many Polish people are coming to Ireland, it felt like a good time to show somebody going the other way” each other.

“I didn’t want to do a westerner’s view on an eastern country. I wanted to balance it a bit more. In an age when so many Polish people are coming to England and Ireland, it felt like a good time to show somebody going the other way, trying to understand where they

pear; you just have to hope that it will catch a marketing peg or trend.” Hopkin is excited that his work is being published but is also anxious to see what fate beholds it.

The acclaims that Winter Under Water has been receiving from book reviewers have been getting better and better, “I was a bit surprised with the initial reviews, some have been OK, while others have been rampantly good,” he remarks.

Having only returned to England for the release of his book, Hopkin will be relieved when he is back on the road to Berlin, his current home. “I’m busy getting on with my next book. “Spending my time in Berlin is a good way of escaping the marketing mechanism; it doesn’t get me down.”

Winter Under Water, James Hopkin’s first novel was released as a paperback on Friday

15th of February by Picador.

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College Tribune

19th February 2008

A feisty heist Directed by Roger Donaldson and starring Jason Statham and Saffron Burrows, The Bank Job is the story of Terry, a charming car dealer who has his fair share of dodgy transactions buried in his past.

Now though, attempting to make a fresh start, Terry has managed to straighten himself out and start afresh with his new family. That is, until Martine turns up. An old friend from Terry’s neighbourhood, Martine offers Terry the chance to take part in one last heist.

That this ‘foolproof” job involves a potential haul of millions of pounds worth of jewellery and cash, convinces

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Terry to throw his hat in the ring, but his decision is probably influenced by the fact that Martine is an absolute ride of a supermodel.

Inevitably, things don’t go to plan, and Terry, Martine and their crew end up uncovering a trove of secrets, becoming embroiled in a dirty web of scandal involving government officials, diplomats and even the royal family. Based on a true story of a heist gone wrong in London, this film

purports to uncover the truth behind a robbery that never led to any arrests or the recovery of any money.

Fast-paced and edgy, this film lacks the grit of some of its British predecessors such as Green Street but still has the momentum to keep the audience gripped throughout, while the performances from Statham and Burrows are very engaging. Overall, there’s a wealth of enjoyment in this bank job.

Orla Kenny

Planet of the remakes ■

Be Kind, Rewind nnppp

Be Kind, Rewind, starring Jack Black and Mos Def, is Michel Gondry’s (Eternal Sunshine of the Spotless Mind) latest flick. The film’s plot is straight forward enough; Mr. Glover owns a failing VCR rental store in New Jersey. With the town’s industry spiraling downwards there is very little excitement.

However this all changes when Mr. Glover leaves his store in the hands of Jerry (Black) and Mike (Def).

They accidently expose all the VCR tapes to magnetism and as a result all the tapes become blank. Desperate to appease their few remaining customers, the boys do cheap remakes of some classic films such as Ghostbusters and Back to the Future.

On paper, the plot is a potentially brilliant idea for a film but this attempt by Gondry is hollow and contains no volume. The film provides a few amusing moments, however laughter only occurs during the re-

Jumping into the fire ■

makes of the films, but with the plot being tainted with a weak start, the viewer is never going to be fully immersed in this film, and will remain detached from the characters throughout.

As you watch this film, one can’t help but start to find Jack Black incredibly annoying, and as suspected, he fails to shi from his typical crazy, finger-flicking persona which we see in School of Rock. All factors taken into account, you can’t help but leave the film disappointed and slightly cheated. Ultimately, Be Kind, Rewind is a fractured fairytale that few will find heartwarming.

Helen O’Sullivan

Jumper is a film that promised a lot - an action film that centres on a guy who realises that he has the power to teleport to any place that he has been before, hence him being called a jumper.

He is a superhero, just without any of those heroic intentions, having been able to stand on his own due to the robbing of a bank.

This film has a very interesting premise, the fact that there has been a war for centuries between these jumpers and the paladins, a powerful and fanatical religious sect who believe that only God should have the power to be anywhere. They are led by the threatening

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Samuel L. Jackson.

Our main man (Hayden Christensen) comes in contact with another jumper, a smart and secretive one (Jamie Bell), who knows the whole story, and he tries to keep our hero quiet and out of trouble.

We are told that this film is from the director of The Bourne Identity and Mr. and Mrs. Smith, but unlike the latter, Jumper fails to be saved by tremendous performances. Jackson and Bell do well with their limited roles, but Christensen remains wooden and unconvincing throughout, whilst the love story interjected in to it is paper thin to say the least.

For an action film Jumper fails to hit

FILM RETROSPECTIVE

A sci-fi masterpiece Set in 2019 in Los Angeles, Rick Deckard is a semi-retired blade runner whose job is to hunt down and kill six humanoids who have escaped from off-world servitude.

At the core of the film, despite its high octane thrills and stunning cinematography, is Rick Deckard’s (Harrison Ford) inner struggle about the right and wrongs about killing a man created consciousness.

It’s a precursor to films about artificial intelligence and mankind’s desire to play God as well as bringing to the forefront

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Blade Runner (1982)

modern issues of globalisation and climate change.

Directed by Ridley Scott, Blade Runner is based on the novel Do Androids Dream of Electric Sheep by Philip K. Dick. Harrison Ford coming off the success of Star Wars and Indiana Jones was seeking a more challenging role, but poor reception and disagreement with Scott has prevented Ford from talking about the film until

recently.

Blade Runner divided critics on its release; performing better overseas, but slowly became the cult classic that it is today. Its set design is the foretelling of a darker, polluted, somewhat emotionless future, void of identity, as presented by the new language spoken on the streets, which is a mixture of a variety of European languages. The film shares many similarities with Metropolis in its landscape and effects.

In 2007, the American Film Institute ranked it as the 97th greatest American film, and it is as controversial as it is illuminating.

Lisa Towell

many of the marks; the action being all too swi and fleeting and suspense being virtually non-existent. The end leaves you with the notion of a possible sequel, one that many can only hope never appears.

Eoin Boyle