Fuse issue 49 by Forge Press

Fuse.

Gaming’s saddest characters Sheffield’s hidden art gems Wet Nuns exclusive The city on the screen

SHORT FUSE

Sparks. Cause of death: Mercury poisoning

t’s been 20 years since the Mercury Prize established itself as the music award to be nominated for, but as it’s aged, we have to ask: is it still relevant? As the 12 nominations were revealed this week, it seemed that the list was all but predicted by the public (and the bookies), and within the first four to be announced was Roller Trio – as ever, a token jazz act that’s unlikely to actually win. Also in the first four were oft-mentioned acts Django Django, Jessie Ware and the Maccabees. This year, the list is boring, because we already knew what it was. And the bookies’ favourites to win are (unsurprisingly)

Editorial

Plan B and RIchard Hawley. As an award that’s supposed to rival the more mainstream BRITS, this is not right. And as public awareness that you actually have to pay to enter (£200 is the usual quoted figure) becomes more widespread, this could spell disaster for the Mercury Prize. Why bother entering when the public, or at least those in the know within the music industry, know that you’re good enough to warrant a nomination? The whole process is fast becoming unnecessary; particularly as more niche awards such as Huw Stephens’ Welsh Music Prize become more established. Coral Williamson

Summer lovin’, didn’t have me a blast

ver since Jaws in 1975 there has been a tradition of big, blockbuster movies being released in the summer. It’s the holidays so the kids are off school, and it’s August, so it’s raining; the cinema is the obvious place to go. There’s loads of great stuff out, like The Dark Knight Rises, and...The Dark Knight Rises, again. Before you know it, it’s the

end of summer, and you’ve seen The Dark Knight Rises eight times, and nothing else. Because as summer comes to an end, we turn to Hollywood and ask, “Is that it?” Obviously The Dark Knight Rises was amazing, but shouldn’t there have been a couple more films to see? ‘Olympics’ and ‘heat wave’ are just words to us film fans, safely outside our realm of experience until someone makes

Four stars or flop?

Fuse.

Friday September 14 2012

he Edinburgh Festival Fringe, which rounded up a couple of weeks ago, is the biggest arts festival in the world. Thousands of shows compete for audience, and the Royal Mile is abuzz with flyers that scream of four and five star reviews. The real trick to selling your show is to get one good review, and to shout about it as loudly as you can. Ignore all of the bad reviews you’ve had; no one is going to see them anyway. Probably. But a single good one is gold dust. In reality, though, this method distorts the way audiences

choose their shows. Reviewers have to see so many shows in a day that some of the best shows out there get panned because the reviewer was in a bad mood. Some terrible shows get glowing reviews from the student newspaper at their university of origin. And, tragically, I suspect that some of the very best shows don’t get reviewed at all. The lesson, then? If you want to see a show, go and see it – even if the reviews aren’t glittering. The whole point is to form your own opinions. Amy Claire Thompson

them into a movie. We need to go to the cinema and use our Orange Wednesdays and O2 Thursdays (not a thing). So you approach the box office and look up at the list of films on the screen, which somehow looks upset. Where are all the films? Is this definitely a cinema, or have we accidentally wondered into a morgue? Eventually you decide that The

Bourne Legacy will probably be better than The Expendables 2, and two hours and 15 minutes later you realise that you were wrong. Yes, there were a handful of decent films, but for every The Amazing Spider-Man there were a hundred Ice Age: Continental Drifts. Our parents got Jaws; we got Katy Perry: Part of Me. Dan Meier

Spooked by ‘Slender’

very now and then there’ll be a wave of internet popularity for something that probably doesn’t deserve the attention. However, if you happen to enjoy crapping your pants, this one might just deserve your time. We’re talking about the free, downloadable horror video game, Slender. The game was born from the familiar ‘Slenderman’ image, which you may or may not be familiar with from internet memes and creepypasta horror stories. Why is everyone playing it? For one thing, it’s stupendously simple. With no real instructions or warning, you’re dumped in a forest and instructed to find several pages, stating morbid messages such as ‘HELP ME’, or ‘CAN’T

Welcome to Forge Press’ first issue, and its naughty little sister, Fuse. Leave your politics at the door; we’re here to chat music, TV, film, video games and arts. We’ve filled this issue with all sorts of things to introduce freshers to the joys of Sheffield. We’ve got an interview with smashing local up-and-comers Hey Sholay, whose debut album on the legendary indie label Fierce Panda is out this month. Sheffield’s music scene is not to be sniffed at, as you can also see from Music’s live reviews this issue. Meanwhile, the guys at Screen have compiled a list of the best films set in Sheffield. If you want a fun way (although we can’t vouch for its effectiveness) to get to grips with the geography of our fine city, watch a few of these; you’ll soon know your way around. If you’ve just moved in to a new place, whether it’s halls or a house, and discovered that the people you’re sharing with are a little more unsavoury than you’d like, fear not. Games is on hand to prove that things could be worse with a collection of gaming characters it would absolutely suck to be. And finally, our lovely Arts team have taken it upon themselves to introduce you to the smaller theatres in Sheffield. There’s a wealth of arts and culture in our fine city, and a bit of digging (which we’ve done for you) can unearth some brilliant gems. If you’ve never written for Fuse or Forge Press before, whether you’re starting your undergrad or finishing up a gruelling PhD, now’s the perfect time to start! Sign up to our various contributors mailing lists at the Activities Fair and pop on over to our welcome meeting to see how we tick. We’ll be setting up section meetings where you can pick up articles and meet the lovely editors who put everything together. You’ll be a bona fide journalist faster than you can say ‘Best Student Media at the NUS Awards 2012’. Coral Williamson Arnold Bennett

RUN’ etc, before some creepy faceless man catches you. And it’s fucking terrifying. In such a small, simple, seemingly pointless game, the atmosphere achieved is pretty unbelievable, and the terror created by dark woods, a dodgy flashlight, and some looming footsteps is genuinely horrific. This game is horrible. But it’s addictive. Once he gets you (and oh man, he will), you’ll want to play it again. And again, and again, and again. Essentially you’re trapped in a never ending cycle of horror, and doom, and shit. You’ll scream, possibly weep, and you’ll probably never step foot in a forest ever again. Thanks for that, Slender. Kaz Scattergood

This issue’s front cover was designed by Manuel Andrs Fuentes Zepeda. He’s just arrived at the University of Sheffield to study for an MSc in Sustainable Architecture.

Ahead of his appearance at Plug, Lianne Williams got Thomas Bisdee, aka Kissy Sell Out, on the phone for a chat about all things music. So how are you today? I was working on some remixes, I’ve just finished actually. I was in Dubai last week and I was at Bestival at the weekend which was cool. I’m always a bit low on sleep and I never get time to wash my clothes, the boring things y’know. I always end up just buying new socks and pants, not to be flash. What can we expect from your show in Sheffield? I’ve been playing in Sheffield for about 6 years now. Plug is one of my favourite venues in the UK, there’s a group of loyal ravers that always come along. Not every town has a nice audience and the crowd is always amazing in Sheffield. I really can’t wait, I’ve been supported in Sheffield ever since I came through; it always feels like a homecoming every time I come back. What's your favourite thing about performing live? The crowd makes the show what it is and that’s why I always like playing in places like Sheffield where there’s a great atmosphere. There’s a lot of showmanship to my DJing and it’s very quick what I do, but not in a screechy sort of way, I’m more of a big garage bad boy. I’m very interactive with the audience and if the audience aren’t feeling it then I’m not either. It’s a bombastic, kind of like epic adventure. It’s exciting and it’s always pretty important that the crowd are having a rockin’ time. What does the rest of 2012 look like for you? I’ve got a remix album coming out, it’s a big compilation album. It’s out at the start of December and we’ve done it with Pledgemusic and we need all the help we can get at the moment. I think the

pledge thing is quite familiar with a lot of bands but not so much in dance music and we are actually the only people doing it at the moment. I realised that I hadn’t released an album in like a year and a half and that’s quite bad really, so I’ve been working hard putting this together and it has been great working with so many different artists and new talent. What's it been like working with so many people? And which has been your favourite? I’ve done a track with a British rapper called Ty and also a great Japanese DJ called Taku Takahashi, and that’s one of my favourite collaborations on the new album, and it’s not a single actually, I should probably mention that. I’m looking forward to being able to play these tracks to the right people when the album comes out. A peer of mine in the electro scene, Herve, who I did a track with a few years ago that was actually very successful called ‘Rikkalicious’, I’ve done a new track with him which is kinda like our follow-up and comeback track which I’m really excited about called ‘Ready For The World’. I really can’t wait for that. I play a lot of these tracks in my DJ sets and I can’t believe the response I’m getting to tracks I’ve never played before. That’s a really good sign. I always think that’s the sign of a good DJ, when you get support from tracks the audience don’t know.

Yeah, it was quite difficult to hear it on TV, or so I’ve heard. I’m going to put it up on my SoundCloud so people will be able to listen to it there. It was fun, right by Buckingham Palace so it was a pretty big deal. It was nice to be thought of in the first place because I think they came to me because I was an example of an East London musician who’s doing something a bit different with an alternative sound. It’s really nice to know that you are thought of like that y’know. It’s a proper piece of orchestral music, with cellos and everything. You can see play Plug on September 29.

Kissy Sell Out

What new artists around at the moment have really caught your attention? Who would I recommend? There’s an Australian guy called Northie and he did a remix of my single ‘You’re Not The One’ and I think he’s great. He’s dead young, technically his sound is very tight and he’s got one track that’s got almost Pendulum-style basslines. I mean, he isn’t very well known at the moment but he is definitely one of my favourites.

Film Unit

Wednesday September 19: The Artist: 7.30pm

Thursday September 20: Bridesmaids: 7.30pm

stunt man (Ryan Gosling) acts as a getaway driver by night; he falls for his beautiful neighbour and takes a job to help her boyfriend upon his return from prison. Inevitably things go wrong, and Driver is forced to embark on a mission of revenge. Part powerful character study, part action film, Nicholas Winding Refn’s stunning adaptation of James Sallis’ existential thriller presents a fusion of the art house and the B-movie ,with exceptional results. Bloody, brilliant and exhilarating, Drive is a cult classic in the making.

t’s the late 1920s in Hollywood and handsome George Valentin is a silent movie idol. During the premiere of his latest film, Valentin meets Peppy Miller, a star-struck extra and aspiring actress. The two are attracted to each other and Peppy is given a small dancing role in his next picture. As their romance progresses, Valentin’s producer has to cope with a love-struck star who is distracted on the set, Peppy’s career begins to take off, and Valentin fears that a new fad in the movie business, ‘talkies’, will ruin him.

his film, from producer Judd Apatow, is a little different from his usual male-driven comedies. Instead of a group of guys having a long series of amusing mishaps, this time it’s the girls. Or rather one girl: Annie, played by Kristen Wiig, who also co-wrote the screenplay with Annie Mumolo. The film follows Annie in her adventures as maid of honour to lifelong friend Lillian (Maya Rudolph). She already has her fair share of troubles (job, money, car, etc.), and now she’s in competition with ridiculously rich Helen (Rose Byrne) for the role of best bridesmaid to Lillian.

Fuse.

Tuesday September 18: Drive: 7.30pm

A Saturday September 22 Raynor Lounge (inside Bar One), £4.50; 2pm ‘til 6pm

Tickets: £2.50

Available from the SU box office

Friday September 14 2012

GIAG: Fencing ant to fight like Captain Jack sparrow? Or do you see yourself more as James Bond? Have you watched the Olympics over the summer and thought to yourself, ‘I’d love to try an Olympic sport?’ Why not try Fencing? Slash and poke your friends for fun! Fencing is a different and exciting way to get fit, so why not come along and give it a go? Make sure you wear tracksuit bottoms and trainers and bring lots of water with you.

We’ve heard that you were chosen to compose the music for the athletes parade in London recently, how was that?

Q&A

SHORT FUSE

KISSY SELL OUT.

MUSIC

Feature. WET NUNS Lianne Williams ventured down to Reading to catch up with Sheffield favourites Wet Nuns about West Street Live and being ‘dad rock’.

aking to the BBC Introducing Stage at Reading festival early on Friday evening, Wet Nuns attract a modest crowd made up of fans and people wanting to shelter from the light rain. Their first time here, you can instantly tell that they are nervous but they mask it quite well by chatting, relaying stories and making jokes with the audience. When they start playing their music, which has been described as ‘death blues’ sounds great and starts to attract more people to the tiny stage. It’s astounding how much noise can be produced with just two musicians, showing that Wet Nuns really know their instruments, the guitarist and vocalist, Rob, even swapping and changing throughout the set.

“We’re fucking mint!”

Fuse.

Friday September 14 2012

With a such a strong, distinctive sound and an on stage presence that shows they are having the times of their lives, it’s not surprising that the band are starting to get attention outside of Sheffield. Speaking to them after their performance, drummer and vocalist, Alexis, is full of energy and clearly buzzing from the experience, and is as welcoming as if he were talking to an old friend he bumped into at the pub. “Yeah, the performance went alright in the end. We felt like it was a bit ropey at first but apparently it was alright. It’s the first gig we’ve ever been nervous

for really, I just ended up talking a lot of rubbish on stage.” Wet Nuns have been described as many different genres from ‘southern grunge’ to just ‘punk’ and it’s apparent that the band aren’t too sure themselves either and they instantly start laughing as soon as it’s brought up. “Well this is the thing, I always write the bios for the website and it is so hard writing a bio for your own band. It’s like when you are writing a CV and you just make stuff up to sound good, we just sort of create genres. “We have another band, we never play gigs but that genre is ‘folk-good’ and no idea what that means. At the end of the day, we are just a rock band really, its dressed up a bit but what we do is pretty middle of the road really. “Someone once described us as ‘mediocre dad rock’. I think we quite like the sound of that genre though, ‘mediocre dad rock’ with a comedy edge.” It’s clear that the band have been working hard recently and they are completely knackered, however this doesn’t seem to affect their moods and they are incredibly upbeat considering how tired they say they are. “We’re heading straight back home tonight because i’ve had hardly any sleep recently so I need to catch up. We haven’t got the chance to see any of the bands here that we wanted to see, I think it’s definitely better being at a festival if you’re not in a band”. The band start to talk about their future material and it be-

comes more evident than ever that the main reason these guys are in a band is because they are enjoying themselves so much. “We were recording the other day and we ending up creating this 11 minute epic. We spent days on it and it’s so ridiculously self indulgent. After it was done we just sat in the room with all the lights off, lit a few candles and just listened to it over and over. And then after a bit we just looked at each other and said “We’re fucking mint!”

“If we were doing this for money and women, then we aren’t doing very well.”

When talking about their support in their hometown, Wet Nuns light up when reminiscing about playing at some of the many great venues here. “Yeah we get a lot of support back in Sheffield. I think we went through a phase where we were maybe playing too many gigs back home and people would just think ‘ah I’ll go see them next week instead’ because that’s how much we used to play. “We mainly play all the little venues in Sheffield, like The Harley and we used to play at The Bowery loads. When we first started out we used to play West Street Live a lot too. It’s the worst venue ever and we vowed never to play there again but we somehow just keep going back.’ Alexis goes on to talk about their covers group and also the

financial strain that can occur from being in a band. “When we play in our covers band we always play in West Street Live. The funny thing is we get paid more for doing that than for Reading and Leeds. I’m like two months behind my rent at the moment.”

“I’m like two months behind my rent at the moment.”

It is clear that the band are not too worried about making money and being really huge and that they are just enjoying themselves in the moment. Rob jokes “If we bring out this 11 minute epic then we might

have to forget about playing big festivals and just go back to West Street Live. “We’re doing this because we’re having a great time, actually that is the only reason we’re doing it. We make absolutely no money, like the band makes some but it gets spent on band stuff. If we were doing this for money and women, then we aren’t doing very well.” With the attention they got at Reading it seems that Wet Nuns do underestimate themselves, but they are just enjoying what they do and aren’t in it for any other reason. However their career goes from here, with their powerful sound and their impeccable sense of humour we’re sure they will continue being a popular local band.

Feature.

ARTS

HIDDEN GEMS

Hidden gems of Sheffield’s art world Fuse has been investigating some of Sheffield’s lesser known arts venues. There’s more than just the Crucible Theatre, you know... the Lantern Theatre

Sheffield

Site gallery

Library Theatre

Graves Gallery

Artsheffield.org

The Site Gallery is a contemporary art venue in the very heart of Sheffield. Located on Brown Street, just behind the Showroom Cinema, it hosts changing exhibits of all forms of artwork backed up by regular publications. Starting out in Walkley in 1978, Site began exhibiting photography, but has developed in to a vibrant gallery hosting contemporary art in all its forms. Showcasing emerging and established artists, Site is dedicated to tackling debates in the art world head on. Entry is free, and the gallery is open from 11am5pm Tuesday to Saturday.

In the very heart of Sheffield’s most artistic district, the intimate, art-deco Library Theatre is another unique performance space. Used mostly by amateur groups, the theatre showcases Sheffield’s upcoming talent as well as hosting lectures, pantomime, burlesque, variety shows and much, much more. The current season includes productions of Calendar Girls and Weekend Breaks by renowned playwright John Godber. The nature of it’s productions means that tickets are often under £10, which means that students can easily afford to see some remarkable and famous productions.

One of Sheffield’s better known arts venues, the Graves Gallery is justifiably famous for its collections of visual art. The collections, both permanent and changing, are run by Museums Sheffield, meaning that they are all free to view. The gallery is currently hosting self-portraits by Andy Warhol, as well as many other contemporary and traditional collections. The gallery also hosts a range of events to help people to connect with its works, including film nights, talks and performances. Just above Central Library, the gallery is open 10am3pm Wednesday to Friday.

ArtSheffield.org is the website of the Sheffield Contemporary Art Forum, a priceless online resource for anyone interested in the arts in Sheffield. It has a fully comprehensive listings section, detailing hundreds of current and upcoming arts events across a range of venues. It also has a section detailing a number of Sheffield arts venues - their locations, opening hours and what they host. If you have any interested at all in the art scene in Sheffield, getting on to their mailing list is an absolute must to make sure you’re up to date with what’s happening in Sheffield’s art world.

“It also hosts a comedy club, live music and independent films”

The theatre’s programme for the coming season includes both local and touring, professional and amateur theatrical productions. Excitingly, the famous Hull Truck company are bringing their production of The Strange Case of Dr Jekyll & Mr Hyde to

the theatre in late September. The theatre also hosts a comedy club, and live music as well as screening independent films. The coming season sees local musicians and former DocFest film We Are Poets alongside the Tickle Rib Comedy Club’s season and the theatrical season. An exceptionally beautiful theatrical venue in one of Sheffield’s oldest suburbs, the Lantern Theatre combines history and tradition with a new and exciting theatrical program. It has gone from strength to strength in recent years, and the appointment of a new creative team headed by Ruth Carney will surely see it continue to rise in significance among the arts community in Sheffield. Amy Claire Thompson

Fuse.

has a vibrant and exciting arts scene which extends far further than you might have ever imagined. While there’s a good chance that you’ve come across the Crucible and Lyceum theatres, Sheffield’s most famous arts venues which are located right in the centre of the city, but you probably haven’t explored a lot further than that. These two venues might be nationally famous, with international touring productions (oh yeah, and the snooker), but they aren’t the be all and end all of the arts scene in our fair city. So why not use the quieter period at the beginning of this academic year to investigate further?

“It had even been used as a rubbish tip by local people”

and on Ghost: The Musical both in the West End and on Broadway. This new development in the theatre’s history has seen the return of professional companies to perform on its stage for the first time since the Websters’ friends did in the 1890s.

Friday September 14 2012

ucked away on a leafy residential street in the Nether Edge area of Sheffield is perhaps one of the most unique theatres you are ever likely to discover. The Lantern Theatre is a tiny, independent theatre which, until last year, was run by a team of volunteers. Seating just 84 people, its productions are made even more special because of the fact that so very few people ever get to see them. Built in the 1890s as a private theatre for the entertainment of one of Sheffield’s richest men, the Lantern Theatre was patronised solely by the family and friends of William Webster. It was thanks to his connections in the world of music hall and

tre to its former glory. For years, it had remained closed and had even been used as a rubbish tip by local people. However, its original features were still discernible and it was soon being used as a performance space again. After Guite’s death, the theatre company was handed over to the Diyls Guite Players, the theatre company she had established in 1957. It has remained in their ownership ever since, and was run by volunteers from the company until last year, when a trading arm of the Lantern Theatre began running the theatre from day-to-day. In July of this year, the theatre appointed a new artistic director, Ruth Carney. Carney has previously worked with Sheffield Theatres (the comShe then began the lengthy pany which presides over the process of restoring the thea- Crucible, Lyceum and Studio),

professional theatre that some of the first professional productions made it on to the stage of Sheffield’s oldest theatre. However, the theatre quickly fell in to disrepair after the Webster family left. It was used for a brief period in the 1920s, but was finally rediscovered in the 1950s by Dilys Guite, who agreed to pay the £1 a week rent on the building.

SCREEN

Feature.SHEFFIELD ON THE SCREEN Sheffield isn’t just the home of the greatest university in the world - it’s also been the setting for some great films. Phil Bayles and Dan Meier pick their favourites.

THE FULL MONTY (1997) Dir: Peter Cattaneo o famous that Sheffield’s branch of Cineworld named their largest screen in its honour, The Full Monty is undoubtedly one of the city’s most successful contributions to cinema. Simon Beaufoy’s story of six former factory workers who put together a male striptease act is a frank and honest portrayal of working-class men struggling to make ends meet in a bad economy, and feel like they’re still useful to their families. Robert Carlyle and Tom Wilkinson head a strong British cast that give believable and relatable

Fuse.

Friday September 14 2012

performances, looking lost as they find themselves in the uncertain position of being on the dole, but never losing their optimism. And it’s that optimism that gives The Full Monty its heart – out of a bad situation we’re given a movie that’s full of warmth and some genuinely funny one-liners. Some great Sheffield accents don’t hurt, either. And then there’s the soundtrack, which is probably one of the best ever compiled, and gives the film some of its most hilarious moments. There’s the night-time dance to Hot Chocolate’s ‘You Sexy Thing’, the infamous thrusting to ‘Hot Stuff’ in the line at the JobCentre, and of course the grand finale set to Tom Jones, where the lads

do indeed leave their hats on. The film was nominated for four Oscars, including Best Picture and Best Director, but unfortunately lost both of those to a small, unknown movie about a sinking boat. But it still won Best Original Score, and became one of the highest-grossing films in the UK for that year. Not bad for a film with a tiny budget of £3.5 million. PB

FOUR LIONS (2010) Dir: Chris Morris

adicalised Muslim suicide bombers may seem like an odd subject for comedy, but thanks to Chris Morris’ limitless talent, Four Lions is one of the best modern comedy films, and it all takes place in Sheffield. Filmed around the city’s suburbs, the city centre and of course the Kebabish restaurant, Four Lions follows Omar (Riz Ahmed) and his friends as they shambolically attempt to bring down western society. Morris’ script, co-written with Jesse Armstrong and Sam Bain of Peep Show fame, with additional material by Simon Blackwell, fizzes with inventive swearing, insults and threats, and a level of idiocy which is nothing short of hilarious. The foul-tempered Barry (Nigel Lindsay) wants to blow up a mosque, the crowexploding Faisal (Adeel Akhtar) wants to blow up a branch of Boots, and the impossibly stupid Waj (Kayvan Novak) wants to blow up the internet. The reason Four Lions works, however, is that it successfully highlights the absurdity of these characters’ beliefs without ever

looking down on them. Morris finds a perfect balance between mockery and compassion. That he spent three years researching the controversial subject matter is always obvious; he immersed himself in the world of terror and counter-terror, talking extensively to experts, Muslims, academics, the secret service, radicals and ex-radicals. It’s a film made by someone who clearly understands its subject and a film which shows that you can be both sensitive and funny. Arguably the greatest British satirist of our time, Morris sends up stupidity wherever he sees it. This means that the counterterrorist characters are just as ridiculous as the terrorists, from the clueless negotiator (Benedict Cumberbatch) to the confused snipers (Kevin Eldon and Darren Boyd). Four Lions is simultaneously thoughtful and hilarious, satirical and measured. It never trivialises its sensitive subject matter, remaining impressively brave throughout, criticising every aspect of the ‘War on Terror’ and the sensationalism that surrounds it. And no one attacks media sensationalism quite like Chris Morris. “Fuck Mini Babybel!” DM

hough not actually set in Sheffield, Shane Meadows’ This Is England was made by Sheffield’s own independent production company Warp Films, who are also responsible for such great movies as Four Lions, Submarine and Kill List. This Is England explores the lives of young skinheads in 1983; the 12-year-old Shaun (Thomas Turgoose), whose dad died in the Falklands, is taken in by a group of skinheads led by Woody (Joe Gilgun). Things soon start to spiral out of control, however,

when the racist and volatile Combo (Stephen Graham) gets out of prison and divides the group with his support for the National Front. It’s possibly one of the most important British films of recent years, made by one of the most important British filmmakers currently working. Meadows tackles important issues with real energy and a lot of heart. This Is England is a breathtakingly raw exploration of racism and marginalisation, which always feels authentic, steeped in skinhead culture with its ska and soul soundtrack. Perhaps most impressive of all is the film’s young cast, particularly the 13-year-old Turgoose who had

never previously acted and completely steals the film with his heartfelt and naturalistic performance. Meadows’ handling of social realism gave This Is England serious impact, depicting the lives of members of society who were largely ignored by the mass media. It even spawned possibly greater television sequels in This Is England ’86 and This Is England ’88, which actually were filmed in Sheffield.

SCREEN

THIS IS ENGLAND (2006) Dir: Shane Meadows

THREADS (1984) Dir: Mick Jackson

THE HISTORY BOYS (2006) Dir: Nicholas Hytner

Fuse.

any who study History here would probably agree with Alan Bennett’s statement that history is just “one fucking thing after another”. And there’s no better line that sums up the humour in The History Boys, Alan Bennett’s story of a group of sixthformers gearing up to take the entrance exams for Oxford and Cambridge. Based on his Tony award-winning play of the same name, Bennett’s script is full of deadpan one-liners and sparkling wit, as the young men talk about sex, love, philosophy, art and, of course, history. But it’s also an exploration of the boys finding their sexual identity, a topic which Bennett writes about with great skill and tact. The characters of Posner (Samuel Barnett) and Dakin (Dominic Cooper) never have the kind of angsty

scenes one might find in an episode of Skins - it’s a much more subtle, delicate affair, and it works perfectly. The cast is a gem, filled with young actors who make for very convincing 18-year-olds. Some have even made big names for themselves in years since – Being Human’s Russell Tovey, Dominic Cooper of Mamma Mia! and The Devil’s Double, and even James Corden, all feature. And the older cast members stand out brightly, too. In particular, Richard Griffiths steals the show as Hector, the General Studies teacher who inspires his kids like a jollier version of Robin Williams in Dead Poets Society – even if his interest in his students isn’t entirely kosher. Like all of Alan Bennett’s work, the humour here is always tinged with melancholy, but it’s a brilliantly witty film that will make you laugh and think in equal measure. PB

Friday September 14 2012

roduced by the BBC, Threads is a television movie that answers the age old question: What would it be like if Sheffield were hit by a nuclear bomb? Spoiler alert: It wouldn’t be much fun at all. In fact, Threads is unrelentingly harrowing and depressingly bleak, thanks to its uncompromising realism. Constantly praised for its accuracy, it’s a terrifyingly real account of something that never actually happened, but at the time was a serious threat. This realism is achieved by mixing documentary-style elements in with the drama, such as narration by BBC journalist Paul Vaughan and grim public information advice; for instance, on what to do if someone dies in your fallout room. That’s always worth knowing. Threads is probably the only film in which a nuclear attack is one of the happier moments. After that it just gets bleaker, as the survivors suffer from radiation sickness and run out of food. Infrastructure collapses, corpses burn in the street and children are born deformed. It’s a horrific warning from would-be history, with harrowing images that are sure to burn into your mind. One particular aerial shot of people running for their lives across Sheffield city centre will send a chill down the spine of any Sheffield resident. Thanks to the almost unparalleled realism of Threads and Mick Jackson’s impressive direction, it remains staggeringly powerful, and will make you think twice about setting off a nuclear bomb. DM

GAMES

Feature.10 VIDEO GAME CHARACTERS IT WOULD SUCK TO BE

ey freshers! So, you’ve taken the plunge, you’ve packed up your life into a car boot and moved it into a strange city full of strange people. Shoved into your student accommodation with complete strangers,

you might find yourself suddenly lumped together with all kinds of people - from the creepy to the downright insane. Still, whether you love or hate your new buddies, things could be a whole lot worse. Imagine dealing with this sorry bunch...

Kaz Scattergood has collected together a pitiful list of game characters and tried to imagine life in their shoes, coming to the conclusion that it would really, really suck.

dominic santiago Gears of War series Xbox 360/PC

jOHN MARSTON

Red Dead Redemption Xbox 360/PS3

n orphaned reformed outlaw, tracked down by the government and forced to pursue and betray his old friends by either killing them or turning them in – life’s certainly not easy for John Marston in the events of Red

close friend to main character Marcus and a useful buddy for co-op purposes, Dominic is a trusty partner throughout the series. With a strong sense of family, Dom spends much of his time talking about his beloved wife Maria. However, it’s no surprise all of his

Dead Redemption. With his family at stake and good friends to betray, he’s constantly punished for his devious past. John’s story is drawn to a tragic end when you realise his promises of redemption were all empty, and in reality, there’s no way he was going to be allowed to live a happy life.

hopes are lost when he fails to save her from the Locust, being forced to euthanize what they’ve left of her. With nothing left to fight for except the friends he’s made along the way, an empty Dom makes a truly heroic sacrifice. A broken man with a broken story, Dom’s tale is one to admire but certainly not to envy.

Jack

4 S

ole survivor of a plane crash, he might expect to feel lucky. However, when Jack comes across a corrupted underwater city, riddled with murderous, drug-induced insane folk called ‘splicers’, he’s probably not feeling lucky at all. With a paranoid city leader to dodge, Big Daddies to

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Max payn

Max Payne see Xbox/Xbox ries 360/PS2/PS 3

oor, poor Max. Born to alcoholic and abusive parents, eventually orphaned and really not a happy guy at all, Max aims to mercilessly bring death to whoever caused him pain. However, his pain just keeps on coming. His wife and daughter

are murdered, and by the third game you’re dealing with a very moody, introverted alcoholic and drug addict. Haunted by his past, ‘Max Complain’ successfully delivers misery in monologues in his surly voice throughout, have we ever seen him smile?

alice liddel

Alice Madness Returns Xbox 360/PS3/PC

his poor lady’s had a really rough time. Alice became insane after believing herself responsible for the burning of her home and death of her family. Seemingly cured of madness, she finds herself hallucinat-

ing right back into a corrupted Wonderland. With broken memories to piece together and a whole host of craziness to battle in Wonderland, the truth of Alice’s past is a dark and disturbing one.

BioShock series Xbox 360/PS3/PC fight off and some fucked-up hallucinogenic shit happening at every corner, escaping Rapture is a lot less simple than finding it. Jack probably found himself wishing he’d plummeted to his death in that damn airplane, even if fate had its own plans for him.

o be honest, if you’re in the Halo universe and you’re NOT Master Chief, you’re not the hero. Sergeant Johnson is a heroic member of the series, and is respected for his vital roles in many wars, his leadership, and even his love of eccentric metal music. But he’s still not on the poster on your bed-

SUICIDAL CYCLIST

Trials HD Xbox Live Arcade

chELL

Portal series Xbox 360/PS3/PC

an you imagine being thrown into a warehouse full of test chambers, presented with a portal-firing gun and being commanded to robotically complete challenge after challenge, with only the promise of cake to keep you going? The puzzle game Portal’s hu-

man lab-rat Chell is constantly bullied by GLaDOS. She’s adopted, her parents never loved her - oh, and she’s fat. Keeping your cool and getting through a maze of mindbending puzzles is pretty much all you’ve got to live for in Portal. And the cake is a lie.

GAMES

Sgt johnson

Halo series Xbox/Xbox 360

room wall. The guy dies at the end of the first game, and is magically resurrected without explanation (although Bungie do make a tongue-incheek nod to this in the third game), and still fights on until his noble second - and assumed final - death. Who else can die twice and not be the hero?! This poor dude deserved a hug, at some point.

ou’re a nameless, faceless dude in a helmet and no one particularly cares who you are. Just hop on a motorcycle, accelerate and pretty much hope for the best as you fly through

hoops and explosions, and let’s face it, die quite a lot. It must be tough being thrown off your bike and breaking every bone in your body for the 29th time in a row. I just don’t know if the gold medal is worth it.

LUIGI

Super Mario Bros ube/Wii Nintendo 64/Gamec Mario, rescuing that little tease Princess Peach, only for her to be captured over and over again. It’s a lot of effort with no real reward, as poor Luigi never gets the girl. He should probably stick to his day job.

ou’ve finally made it. It’s your dream career. The streets of the glorious Liberty City, the city that never sleeps, are yours. You can prance around scantily clad all you like! And your next client is a seemingly pleasant guy with a sexy Russian accent and a heavy wallet, score!

However, after performing your top-notch services in the back of his stolen sports car, you find your brains splattered over the concrete, and all your hard earned cash stolen. A tragic and common end for many ladies of the night in the GTA series.

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prostitutes

Grand Theft Auto IV Xbox 360/PS3/PC

Friday September 14 2012

e’s everyone’s second-favourite Italian plumber – hooray?! Personally, if I was this guy, I’d be sick to fucking death of running round with the glorious red jumpsuit that is

GAMES

Reviews. Sleeping DOgs Xbox 360/PS3/PC

8/10

f you know that Sleeping Dogs was at one point being developed as True Crime: Hong Kong, you can already guess what sort of game it will be: a free roaming, cop-playing, GTA-comparable game. This reboot of a popular series is in the unfortunate position where it’s inevitably going to be measured against past games, as well as the Grand Theft Auto series. Fortunately for Sleeping Dogs, it is a game with more than enough quality to stand up with both its predecessors and current generation free-roam games.

The Legend of Zelda: Majora’s Mask Nintendo 64

CULT CORNER

n the world of video games, it is tantamount to blasphemy to speak ill of The Legend of Zelda: Ocarina of Time, a game with such universal success and critical acclaim that its sequel, Majora’s Mask, has been overshadowed, somewhat unfairly. Taking place directly after the events of Ocarina of Time, Majora’s Mask follows Link on his journey through The Lost Woods where he is ambushed, has his horse stolen and is transported to a parallel dimension. Here he meets a creepy mask salesman

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You play as Wei Shen, a Hong Kong police officer sent undercover to infiltrate and help take down a large triad gang, the Sun On Yee. Wei is helped into the gang by his childhood friend, and current Sun On Yee member, Jackie Ma. As the game goes on, Wei has to battle with conflicting feelings about which side of the Hong Kong justice system he really belongs on. The story will

have you fighting against the police, the rival triad “18K”, and will throw you in the middle of an impending civil war within your own squabbling gang. It is an engrossing, mature, often dark story that is interesting throughout the long main campaign. Hong Kong gives the game a change of scenery that helps it to stand out from the crowd. The regions are distinctive, and the city as a whole successfully captures an Asian feel. Driving through the city is great, and although the camera can be a little tricky when manoeuvring, it is a lot of fun. The gameplay focuses on hand-to-hand combat, and uses a combat system that fans of Arkham Asylum and Arkham City will find very familiar. You will break limbs, counter enemy attacks and plan fights based on the varying strengths and weaknesses of particular enemies. It works well, and with multiple different moves and combos, it doesn’t get old too quickly. This is pretty important, seeing as your average play-through will see you beating up close to 1,000 thugs. This doesn’t mean, however, that Wei cannot hold his own in a fire fight. Many missions will have you Rambo III your way to the objective, proving your competency with a gun. The slow-mo feature used to shoot enemies as Wei jumps over cover is both useful and incredibly satisfying. These gun battles do however feel a little unrealistic compared to the serious tone of the rest

who has the good sense to inform Link that he has “met with a terrible fate.” Thanks, I hadn’t noticed. Since Link is the only semicompetent person in this dimension as well, you are tasked with summoning the four giants to stop the m o o n from crashing into Clock Town. Eventually you shall face the evil spirit Major a who resides within the mask that the jackass who ambushed you just so happen to be wearing. Along the way, you must kill hordes

The Walking Dead Episode 3: The Long Road Ahead Xbox 360/PS3/PC

9/10

of the game. Wei can easily charge through tens of heavily armed henchmen in a matter of minutes, and in a city where you are told that guns are a rarity, they don’t seem so. Aside from the main story, there’s plenty to keep you busy. You can scour the city for collectibles that will benefit you with health increases, and unlockable outfits to help Wei look fly (isn’t that what really matters?). Or, you can crack other cases for the police, bust drug deals, compete in street races, or just help people who call out your name on the street. There’s a lot to do, and it’s fun. You can also bet on cock fights, eat pork buns or curry fish balls- and if you prefer pasttimes that don’t sound like lewd sexual acts, there is even a karaoke mini game. These activities are a welcome addition to the game, giving you a break from the action whilst maintaining an authentic feel. Sleeping Dogs is a success for Square-Enix who saw the potential in what was a previously abandoned title. It also is not simply something to tide you over until the release of GTA V. While Rockstar may be the kings of the modern free-roam genre, Sleeping Dogs shows they’re not alone. Reece Nunn of enemies, acquire items and inevitably spend half your time playing mini-games. Now, while this may sound like your standard Zelda game, Majora’s Mask reveals itself as a wonderful anomaly in an increasingly stale franchise. Along with the classic dungeons, puzzles and incredible music the series is known for, there is a time limit of three in-game days before being crushed under the weight of your inaction

he Long Road Ahead is the third instalment in the downloadable episodic series of The Walking Dead game. If you’re a fan of the TV series, you’re likely to appreciate the similarities drawn between the game and show, and the comic-inspired graphics throughout are enough to satisfy fans of the comic book series. The game is extremely storydriven, creating intense emotion and a personal feel for every player. Decisions made in the previous two episodes are likely to impact your storyline more than you might think, making the difference between characters being alive or dead, and massively altering the relationships between you and your current crowd. The choices you make are a vital aspect of the gameplay, and you’ll have to deal with the ongoing effects of your decisions. Make a mistake, and it might just hang with you for the rest of the series. This episode sees your journey progress from the motel and dairy farm, into an RV and on the road. With a bitten member in your group, the clock is ticking and you’d be a fool if you expected a smooth journey all the way to your destination, Savannah. With attacks not only coming from the undead, and tensions high in the group, you’ve got a traitor to figure out and a journey to complete, making this possibly the most action-heavy episode yet. The gameplay is quick, tense and can be pretty damn stressful. If you panic, your irrational decision could burn some bridges or result in someone getting hurt. You need a level head, and more than half an eye on your controls.

(metaphorically of course, you’ll actually be getting crushed by a moon with a face). The foreshadowing threat of annihilation and failure co nstantly looms l i t e ra l ly above your head. As your time runs out, t ow n s f o l k go into hiding, the music becomes faster more ominous, and the ever-growing moon couldn’t say ‘impending doom’ any better if it was

Action can consist of quick-time events and speedy reactions, and incompetence can lead to your own death or even someone else’s. At this stage in the game, a lot has gone wrong for you and your pals. You’ve learnt that you can’t trust everyone, and in a zombieridden post apocalyptic world, not a lot is going to go smoothly. The best laid plans... etc. By this episode you’ll be wary of every stranger you meet, and every corner you turn. You can’t even trust your own camp of survivors. The third episode creates a lot of progression for you, Clementine and co, with actions up to now either forcing you to consolidate or doubt your existing relationships, depending, of course, on which decisions you’ve made. By the end of episode three, you’ll be more emotionally involved than you ever were before. Your group is getting smaller, fast, and your decisions on where to go and what to do are starting to look way more serious than your dwindling snack supply. In a series that has arguably been a little slow to start, with more focus on conversation than action, things are starting to get real. The game leaves you on a m a s s i v e ‘ w h a t- t h e -f u c k ’ cliff-hanger, threatening the safety of the survivor you care about the most. With loads more action, possibly some tears and a whole lot more zombies, this episode is a real game-changer, and will leave you waiting on tenterhooks for the next episode. Kaz Scattergood More reviews online Read more reviews online at: www.forgetoday.com

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Follow us on Twitter @ForgeGames written all over its face. This is exactly where Majora’s Mask excels, by tapping into the player’s fears. The dungeons aren’t just creepy, they’re haunting. The visuals aren’t just trippyas-balls, they’re genuinely disturbing. Majora’s Mask sets out to do nothing less than emotionally cripple you, or at least give you a severe case of the heebiejeebies. Nintendo took a huge risk with Majora’s Mask, altering the standard Legend of Zelda formula; a risk it has arguably not since taken, but that risk most definitely paid off. Despite its short length and its repetitive nature, The Legend of Zelda: Majora’s Mask is an incredible game that never got the recognition it deserved. Alex Titcomb

MACBETH

The Crucible Theatre 9/10

here is a good chance that several people in the audience for each performance of Daniel Evans’ spectacular Macbeth have already got previous productions to judge against. Macbeth is, after all, one of Shakespeare’s most often performed tragedies. To say that this is one of the best productions I have ever seen, then, is no mean feat. Evans’ production is ambitious from the off, transforming the Crucible into a theatre in the round. With actors absolutely surrounded by their audience, it is easy to see the growing insanity of many of the characters: the claustrophobia of the staging, from which there is no escape, surely mirrors the mental states of Macbeth and his Queen. The title role, played by Geoffrey Streatfield, is both vulnerable and strong. Although the warrior Macbeth was evident in both the closing fight scenes – so beautifully choreographed that sparks actually flew from clashing swords – and the opening post-war conversations,

Land, life and love The Circle Gallery 6/10

and, Life and Love, an exhibition at the Gallery in The Circle running from August 1 to September 24, features work in a variety of media by the Walkley Edge group. The Circle, a conference and exhibition space run by Voluntary Action Sheffield, plays

Evans focused on the character’s humanity, as well. His relationship with Lady Macbeth, portrayed by Claudie Blakely, truly brought out the humanity in Macbeth as a character. The chemistry between the two was beautiful to behold, and at moments it

sent shivers down my spine. The couple’s reunion at the beginning of the play felt so intimate that watching was almost wrong. Upon hearing her husband’s footsteps approaching, Blakely’s Lady Macbeth bit her lip in anticipation, and turned to face him so slowly

that it seemed like she could hardly believe her luck at having him home. This one moment was so perfectly human and real that all other interpretations of this relationship, as negative and twisted, seem completely worthless. The way that Streatfield

host to this body of work by local artists. The collection on display is, like its venue, modest in size, yet boasts a wide array of media and styles; from more traditional pastel works of coastal scenes by Grenville Wilkinson, to ceramic sculpture by Krishna Alegswaran. What the exhibition lacks in quantity it certainly makes up for in variety. The works revolve around the central theme captured in the title. Most depict scenes of natural beauty, craggy outcrops in the peak district or coastal

landscapes, but some take a very different approach. Claire Lee’s wire sculptures, for example, depicting the body of a naked woman, her arms outstretched as if in flight, echo the ethereal, natural atmosphere consistent throughout the exhibition, yet offer a very human engagement with such themes. Lizzy Alegswaran’s acrylic paintings of two lovers in bed together, bordered by beautifully poetic lines that echo the title of the individual works, explore the idea of ‘Love’ more

than that of ‘Land’. Certain artists do stand out. Sue Nichol’s ‘Snow Approaching Stanage’, a magnificent painting of a cliff edge lost in snow clouds, contrasts sombre blues, greens and purples painted in free brushstrokes with sharp delineation, flashes of bright white and impasto sprays of orange grass to stunning effect. Jean Luce’s three pieces Stanage Edge 2012, Wild Rocks 10 and Gold Rocks explore the effects that can be achieved with ink and water colours, as bright blues, purples, reds and

sheffield young artists present: 15 minutes of fame

The £40 show

Amy Claire Thompson oranges are brushed, dripped and sprayed onto the paper and craggy outcrops are picked out in bold yet delicate lines of black. The exhibition is not groundbreaking and contains much of what one might expect from a group of local artists, yet there is sufficient interest and several outstanding works that make both this exhibition worth seeing and this group of artists worth watching. CJ Leffler

Cupola, Hillsborough 8/10

Martin Bottomley

simple paintings as they deem worth the £40 price tag, and, in doing so, both Todd and Sherwood really challenge the perceived worth of artwork in our society. Whilst the exhibition space may be modest, the ramifications of the £40 show! are huge. SettingM out to question the relationship between art’s creative process and its price tag, the Cupola Gallery has succeeded in creating a thought-provoking yet beautiful exhibition that fully lives up to its ambitious premise. CJ Leffler

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flourishes, the personal touch that makes the pictures interesting. Some are predictably and, given the Warholian context, ironically MySpace-y, in particular one where a guy does that annoying faux chin-stroking pose, and don’t really go beyond completing the task the art teacher set, but those that play with the form and add their own flourishes defy Warhol. The exhibition isn’t just their 15 minutes of fame; it’s a small, low-key, but nonetheless personal and meaningful expression of self.

illsborough’s Cupola Gallery’s £40 show! is exactly what it says on the tin: an exhibition of works all priced at £40. And yet it is so much more besides. Karen Sherwood, who first opened the gallery in 1991, explains the philosophy behind the exhibition as a desire to both engage people with an art world that often seems prohibitive, and to call into question the relationship between an artwork’s value and its creation. Prior to the event she tasked artists with seeing what they could produce to be sold for £40. The results are a joy to behold; honest, provocative and beautiful. The exhibition hosts a range of media and styles. From pastel works to jewellery, the collection on display boasts real diversity. Nowhere is this philosophy better captured, however, than in the simple black and white figures painted by Stephen Todd. Buyers are encouraged to buy as many (within reason) of these

Friday September 14 2012

Graves Gallery 7/10

ndy Warhol once proclaimed that everyone would have their 15 minutes of fame. Under that title and surrounded by Warhol’s late self-portraits, students’ work is exhibited. It’s an odd name for an art project: why are students given such a motto of “15 minutes of fame”? The Warhol exhibition was striking because of the artist’s preoccupation with death, and his archetypal vanity.In this context, the pupils’ self-portraits make sense: the most ephemeral of mediums is simultaneously the most revealing and counteracts the fast-paced tendencies of modern society. Transforming these snapshots into paintings refines this even more, and so individualism is displayed far better than the title motto would let on. The technical skill varies. Some paintings more resemble a blob than a person, while some young painters clearly have much artistic talent. But even in the lesswell painted pictures, it’s the individual

portrayed Macbeth’s mental degeneration was pitch-perfect. The ‘is this a dagger’ soliloquy showed a man on the brink of a precipice, the presentation of Banquo’s ghost, a moment of true directorial mastery, illustrated someone whose grip on reality was waning. Perhaps the greatest triumph of acting and direction in the whole production, however, was Blakely’s ‘out, out damned spot’. Performed as I have never seen it before, with the full surrounding dialogue, the character’s restlessness and nerves were tantamount but not overdone. She scrubbed desperately at her own hands while conversing with people who were evidently not there, and appeared to be just seconds from breaking point. It is beautiful moments like this, when actors connect so strongly with each other and their dialogue, that separate good productions from great ones. While I would question the production’s ambition in producing the play uncut, the fact that it succeeded to elicit a standing ovation from at least half of the audience speaks for itself. This is a truly remarkable production, worthy of the most glowing review.

ARTS

Reviews.

SCREEN

Reviews. Anna karenina Dir: Joe Wright 8/10

he 13th adaptation of one of Leo Tolstoy’s most famous novels, Anna Karenina is headed by an unbeatable duo of director Joe Wright (Antonement and Pride & Prejudice) and screenwriter Tom Stoppard (Shakespeare in Love and Parade’s End). What could go wrong with a team like this? Well, many things. Tolstoy’s 800 page novel is hard to adapt into a two-hour film - there were an estimated 246 different scenes when Stoppard originally wrote the screenplay, and the budget was reportedly slashed leading to worries about the film’s future. But, for some reason, it appears to work. The entire film is set in a 19th-century theatre, save for moments out in the country; which, though confusing at times, add to the indulgence of the film. 19th-century Russian society was an indulgent one, with peoples’ lives being played out like theatre to an audience of their own friends and Wright’s intricate direction portrays this in an original manner. A tale of love, lust and politics, the story follows Anna Karenina (Keira Knightley), an aristocrat from St. Petersburg as she struggles with her dull bureaucratic husband, Karenin (Jude Law) and finds solace in

that’s my boy Dir: Sean Anders 3/10

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n Adam Sandler’s latest bigscreen brain-fart, adorably daubed That’s My Boy, he returns to the dysfunctional family motif that saw him make an absolute tit of himself as he paraded around dressed as a woman for two hours in Jack and Jill. As if that wasn’t bad enough, whilst we were all considering the numerous imaginative ways in which we could do away with the incompetent boob, he was spawning yet another cinematic atrocity. In a collaboration with Andy Samberg that shows at least a faint glimmer of comedic promise, you’ll be disappointed to find out that it isn’t funny. In fact, some would even go as far to say that it sucked, like a boss. Take several minutes to consider the benefits of an evening of relative productivity, compared to sitting for two hours until your brains are fried to the point where you can feel them starting to drip from your nose. Yes, it is that bad. The first of the many bewildering problems with the film is the less than salubrious plot; the entire thing teetering over the top of a very large, very dark precipice. The reason for this is the tenuous basis for everything that goes on, described therein as an “inappropriate teacher-student relationship”. In other words, the main character Donny Berger (Adam Sandler) is caught sleeping with his Maths teacher,

the young, athletic officer Count Vronsky (Aaron Taylor-Johnson). Anna sees Vronsky as her chance at freedom and escape, but then becomes entrapped in a different manner. Keira Knightley as Anna was hardly an unusual choice; Wright has directed her many times and the role finds Knightley doing what she does best, being in a corset. She plays the role of Anna as well as she plays any other period role, but lovers of the book will note that Knightley doesn’t appear to have the same spirit and energy that Anna has, which can lead to the performance seeming slightly lacking.

“Jude Law is a stand-out choice” Jude Law, however, is a standout choice for the role of Alexei Karenin. Though Law is typically typecast as the playful heartthrob, he plays the role of the stiff, passionless Karenin well and duly goes about everything encircling Anna as though passing a bill in Parliament. Many may feel sorry for Karenin’s position but Law also shows us why Anna strayed; even when Anna declares her love for Miss McGarricle (Eva Amurri Martino / Susan Sarandon). The results are a short lived boost of fame and a baby boy named Hans Solo Berger (Andy Samberg). That’s right, Hans Solo (as if George Lucas needed any more royalty money). Following this short-lived fame and after an ever-classy shift to the future, Donny is an alcoholic bum in financial trouble. Can his son help? Well, provided you haven’t left the cinema by that point, you’ll soon find out. The second main problem with the film is the irritating nostalgia that Adam Sandler continues to instill in his creations; a longing to return to his roots and the 80s, and a need to add a bit of himself to his characters. This isn’t necessarily a bad thing. Although, when it gets to the point when you cannot escape his large, expressionless features gawping at you on a big screen for more than three minutes, it becomes somewhat tiresome. With all of that said, it is evident that he has tried to redeem himself with this feature and there are glimpses of the originality seen in Happy Gilmore. Having Vanilla Ice play himself, having a crazed shotgun wielding Indian shopkeeper, and throwing in a fat guy in a marathon were all quite amusing. It is just a shame that these moments are drowned out when all is said and done. Ben Brunton

Vronsky he barely flinches. Aaron Taylor-Johnson, meanwhile, is good as Count Vronsky; he portrays the idea of obsessive love very well and his adoration of Anna from the minute he sees her is clear. The other characters are wellcast: in particular Matthew Macfadyen plays the part of Anna’s brother Oblonsky well, showing his love for his family despite his need to find lust elsewhere; “Divorce is one thing, but dinner is quite another.” Domhnall Gleeson as Levin, Oblonksy’s friend, contrasts Oblonksy’s lust and indulgence in an excellent performance. Gleeson rightfully brings across Levin’s shy and tense nature but still demonstrates his unconditional love for his future wife, Kitty. The film is done well, considering the limitations and the size of the source material. Those who don’t know the book may find it hard to follow thanks to the complicated story and intricate setting. But for lovers of period dramas and Russian literature, this is an interesting one to add to the collection. Amelia Heathman

lawless

Dir: John Hillcoat 7/10

et in Virginia during the 1930s, Lawless follows the Bondurant brothers as they run an illegal liquor production business during the period of US prohibition. As the moonshine flows they become embroiled with corrupt officials and dangerous gangsters as they seek to make a living bootlegging in the postDepression era. Director John Hillcoat, the man behind grim, post-apocalyptic drama The Road, straddles the line between western and gangster film well, with parallels to more recent gangster movies but with alcohol in place of drugs, making an interesting comparison. For the most part it avoids the swashbuckling, gunslinging, rootin’ tootin’ clichés of the typical western, even if it remains typical in its setting, costume and music, preferring instead to focus on character development and plot. Extremely violent and at times suspenseful, Lawless maintains its focus throughout and never talks down to its audience. The best thing about Lawless is its strong cast from which it consistently receives first rate performances. Particular highlights are Hardy’s restrained portrayal of hard-as-nails oldest brother Forrest Bondurant, making up for his over the top turn as Bane in The Dark Knight Rises, as well as Pearce’s deliciously villainous Charlie Rakes who steals every scene he’s in. Even Shia LeBeouf endeavours

to repent for past sins by donning a thick Virginia accent and giving it his all. However, most of the action is left to the men, giving the film’s only two female characters, played by Mia Wasikowska and Jessica Chastain, little to do. It exhibits a high level of attention to detail throughout, benefiting from fantastic production design across the board that brings 1930s Virginia to life in a convincing if conventional fashion. There is also a smattering of light humour, usually in the form of a running joke about Forrest’s supposed invincibility, which adds to the film, and plenty of human interest in between the shootings. While not groundbreaking, Lawless is engaging throughout and is a mature, steady, even-paced exploration of the alcohol black market under prohibition. In spite of a sprinkling of dark humour Lawless is a film which takes itself very seriously and while it may not be an instant classic, its tidy execution ensures it is a more than watchable modern western. Alex Chafey

Dir: Pete Travis 6/10

t has been a strong summer for comic book movies; Avengers Assemble, The Amazing Spider-Man and of course The Dark Knight Rises all delivered the caped and masked goods. The latest helmet-wearing hero to reach the big screen is Judge Dredd (Karl Urban), one of the ruthless law enforcers in a violent future where the law is all that remains. With the help of his psychic trainee Anderson (Olivia Thirlby), Dredd finds himself hunting, and hunted by, the brutal gang leader known as Ma-Ma (Lena Headey), who controls the supply of the drug SLO-MO, which, surprise surprise, makes time go really slowly. Cue lots of people being brutally murdered in ultra-slowmotion in a way that’s reminiscent of, though far superior to, Zack Snyder’s 300. This is similarly all style over substance, which is forgivable because the style is very, very cool and strangely beautiful, in a horrifically violent kind of way. The problem is with the character of Dredd himself, who is machine-like in his remorseless murdering of minor criminals. He’s meant to be ‘Judge, Jury and Executioner’, but ends up more

like ‘Executioner, Executioner and Executioner’, which might be a better tagline. His sociopathic levels of ruthlessness make him impossible to sympathise with; it’s like trying to warm to a calculator. That problem, though, is with the character; Karl Urban does a fine job inside the helmet, showcasing some of the best chin, jaw and mouth acting of the year. Fortunately, Dredd’s psychic sidekick Anderson is more human, as the film’s moral anchor. She stands in as the audience; an outsider looking in at this soulless, amoral world. Unlike Dredd, she is likeable and brought to life with wit and energy by Olivia Thirlby. The best character, however, is Ma-Ma, the viciously nasty gang leader whose bloodstained, smiling face is the stuff of nightmares. It’s a shame Lena Headey doesn’t get more screen time, as it’s much more fun watching the tiny-framed MaMa frighten the living daylights out of hordes of massive men, than Dredd and his constant growling. Incidentally, now that Christopher Nolan’s Batman films have finished, can we finally stop doing that voice? By unlucky coincidence, Dredd 3D’s concept is almost identical to that of this year’s Indonesian martial arts movie The Raid; police enter tower block for a simple bust, the building goes

SCREEN SCREEN

dredd 3d

into lockdown, police fight to get out alive. While stylistically very different, the two films share this premise and Dredd 3D can’t help but pale in significance when compared to the breathtaking elegance of The Raid. It’s also worth mentioning that the 3D is pointless, serving to do little more than simply darken the picture. Every splatter of bright red blood would be even more vibrant in the clarity of 2D. All that said, Dredd 3D benefits hugely from its freedom from studio-dictated constraints. Thanks to its 18 certificate, it can be dark, bold and violent. And it really, really is. John Wagner, creator of Judge Dredd, has a grim and bloody view of the world, which is also evident in his A History of Vioence, which was adapted for the screen by David Cronenberg in a far more interesting, intelligent and substantial movie. Overall, Pete Travis has made Dredd 3D look and sound awesome, with one of the best soundtracks of the year. However, there’s not enough below the blood-soaked, corpse-covered surface. Dan Meier

Cult Corner. Deadwood 2004 - 2006

M Small Screen. Saturday, 9:45pm BBC 2

David Ewing More reviews online Read more reviews online at: www.forgetoday.com

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Arnold Bennett

Fuse. Fuse.

elevision’s sweariest political satire has returned to our screens. Looking to replicate the success he had with Veep in the States, Armando Iannucci is back with the much anticipated fourth series of the brilliant The Thick of It. The election which was announced at the end of series three has resulted in a coalition, and the tensions which it has thrown up are immediately shown, with Manion’s archaic style clashing with the modern, forward thinking policies of his junior minister, Fergus. Although lacking any Tucker rants, the first episode has plenty of fantastic Stuart moments to keep fans tied over until next week’s show: “Have you ever seen him like this before?” “No, he took the

And although the episode is amusing, it doesn’t quite reach the belly-laugh proportions of the series that precedes it. The introduction of Tucker and Nicola Murray in episode two should, however, set this right. There are ample cringe moments though, one of the finest being the Q&A session where Manion’s technological backwardness plays havoc with the announcement of a new policy. Not quite a return to form for the old gang, but not far off.

Friday September 14 2012 Friday October 7 2011

the thick of it

morning off when Steve Jobs died though”. Retaining the comic brilliance of the throwaway conversations the characters have with each other was always going to be the toughest job for Iannucci, as these were the greatest feature of the earlier episodes. However, fans need not fret , as the tit-fortat arguments come thick and fast. The one complaint with the new episode, apart from the lack of Tucker, is the introduction of Adam and Fergus (affectionately named ‘The Inbetweeners’ by Emma), Manion’s coalition partners in the department. One of the key reasons the earlier series were so good was the fact that the ministers were shown to be flawed, vulnerable characters who the audience could relate too. Adam and Fergus, however, are shown to be cold, calculated characters who are void of the bumbling farce of earlier ministers, making them immediately dislikeable.

en with questionable morals, lusting and battling for power, are a common theme in HBO shows: think Tony Soprano, Nucky Thompson, and almost every character in Game of Thrones. Setting and place are equally important, too. The Wire’s main character was arguably Baltimore itself, as each series peeled back another layer of the city’s various internal organs, from the docks, to the schools, to the government, to the newsroom. Context is similarly valuable; Boardwalk Empire’s prohibition backdrop is the fuel that gives the show life; the lens through which we understand the world and its inhabitants. Deadwood has all of these things. A period drama set in the late 1800s, Deadwood is a settler’s camp free from government and control. It’s a place for entrepreneurs, mavericks, and outlaws.

Al Swearengen, sublimely portrayed by Ian McShane, is the owner of the local whore house and saloon, the man who pulls the strings in a camp that has no official hierarchy of control. His conflict with the other main character, Seth Bullock (Timothy Olyphant), a former sheriff, and a man with unimpeachable values, as they vie to influence the development of Deadwood, is a central fixture throughout. It’s the authenticity of the period that captures the imagination, and perhaps caused the show to be cancelled following its third season, despite being an unequivocal hit with the critics. Unlike The Sopranos, Deadwood doesn’t balance its grim realities with comic relief, and unlike Boardwalk Empire, the allure of gratuitous action and violence isn’t frequent, nor ever as bombastic. It’s a story about place, more than anything, and the evolution of culture. Unfortunately, TV audiences were, and still are, in the midst of a similar sort of progression, one which left the story of Deadwood to die in the dirt.

MUSIC

Reviews. RELEASES Hey Sholay ((O)) Fierce Panda 9/10

heffield favourites Hey Sholay are finally releasing their debut album and about time too, considering the amounts of attention they have been receiving from the likes of the BBC and the Independent as well as incredible support in their hometowns. And ‘randomly’ in Serbia, where they reached number three in the charts after playing at Exit festival this summer. Their style of indie fused with psychedelia is refreshing and helps the band and their debut separate from the pack, preventing them from sounding like yet another generic indie-pop band. It’s all quite riveting, upbeat and lively but amidst the spirited jangly sound interweaves

Aimee Mann Charmer Proper Records

T 4/10

he undeniably talented Aimee Mann releases her eighth solo album this month. The album showcases the American folk-rock star’s lyrical capability that she is renowned for. It kicks off nicely with the title track ‘Charmer’, enforcing all of the reasons why Mann has remained in the music industry with its mix of her folk vocals and an upbeat tap-your-footalong tempo. However, as the album wears on Mann’s vocals become somewhat monotonous. ‘Living a Lie’ (a duet with James Mercer of the Shins), stands out from the rest of the record. The variation of Mercer’s vo-

cals is a pleasant alternative to the repetitive tones of Mann. The mellow pair enhance each other’s finesse. In an odd twist Mann uses the nursery rhyme ‘Daisy, Daisy’ to compare herself to a Labrador in ‘Labrador’. This is an example of her usually impeccable lyrics at their weakest and weirdest. The track that sticks in your mind after the last strum of the guitar has died down is ‘Soon Enough’. Mann’s simplistic repetitive lyrics have an ability to remain in your mind hours after the song itself. Mann displays her vocal ability in the concluding ‘Red Flag Diver’, but unfortunately the preceding songs leaves a certain sense of unfulfilment. It often feels like she is lacking passion or interest in her own work and is merely reeling off the lyrics which she created with

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Fuse.

Friday September 14 2012

ith the abundance of new releases each week it can be difficult to sift through the shit in search of the gold so Fuse has handpicked some of the musical highlights for you. First of all, there is a brilliant new track from Villagers that has been causing a storm on Twitter and Facebook this week. ‘The Waves’ is completely different to anything on their Mercury-nominated debut album Becoming a Jackal and shows a new found electronic style. You can buy the track now from iTunes. Benjamin Gibbard of Death Cab for Cutie fame is releasing his first solo album in November and the first single ‘Teardrop Windows’ can be downloaded for free from SoundCloud now. It’s a great track and suggests that the album will be worth a listen too. London duo AlunaGeorge release their new single ‘Your Drums, Your Love’ on October 7 and we have become quite

record may be Band of Horses’ strongest album yet. Listening to lead single, ‘Dumpster World’, it appears that Mirage Rock is an apt title to describe their latest record. Hiding behind a curtain of raw folk music; not dissimilar to Fleet Foxes, the illusion of being a mere indie cast-off band is easy to assume. But tracks such as the aforementioned single and ‘Knock Knock’ show a comprehensiveness that means Band of Horses should be given more recognition than a typical OC soundtrack kind of band. As well as this, tracks such as ‘How to Live’ have elements of maturity that show how far the band has come since 2006’s Everything All the Time. The reassurance of the lyrics “So what, you made a mistake / Guess what,

you’re getting old” show more than the hapless cares of earlier albums, intertwined with almost a wish to go back and do it all again. Where Mirage Rock falls down though is that it’s hard to differentiate between tracks, which is fine if you’re a Band of Horses fan, but it may not win anyone else over. However, the style of music is such that a lack of variety plays to the band’s strength, and creates a smooth, consistent and easily listenable album. Either way, it’s a gentle album and there’s nothing particularly wrong with being gentle.

Lianne Williams

Sinéad Graham

Mirage Rock Columbia

else on the album and has an almost tribal sound to it and long, drawn out howling vocals. The driving melody is eerie and the lyrics “golden is the colour of your heart” have a very powerful effect. Starting and closing with a slightly unnerving electronic distorted sound and vocals that trail off towards the end, ‘run rabbit’ being whispered over and over. Hey Sholay’s debut is just superb and should inevitably gain them even more hype through the press and on radio. Obvious hits like ‘Wishbone’, ‘My Blood’ and ‘Burning’ are simply excellent indie-pop tracks and the later tracks on the album show their progressive side and how they have the potential to really grow as a band.

no enthusiasm at all. The style of the guitar in ‘Gamma Ray’, hints at a rock era gone by and perfectly compliments Mann’s folk vocals and simplistic lyrics. It appears that Mann cannot deviate from the bygone folkrock that she has perfected. An album of songs that hardly differ does not make a good one. Whilst Charmer is pleasant and soothing it lacks zest. It is more a CD that is left in the car to fill long car journeys than one that is played on repeat.

Band of Horses fond of them since their incredible performance at this year’s Tramlines. This electronic track sounds great with the combination of smooth, soulful female vocals and the warped male voice that accompanies them. Everything Everything are back with a new single ‘Cough Cough’ which is out October 14. It’s quite unusual but it has to be said that it’s very original as actual coughing is used as percussion which isn’t something you hear everyday. The video that uses some footage from the London riots is also worth a look at. Finally, Macklemore & Ryan Lewis released a track last week in partnership with the Music for Marriage Equality campaign. The track ‘Same Love’ sends out a fantastic message and all proceeds will go towards trying to gain marriage equality in Washington state. LW & AH

a darker undertone half way through the album, even incorporating a haunting piano part which changes the mood before the uplifting ‘Burning’. One of the stand out tracks on the album, ‘Dreamboat’ which is reminiscent of the Shins jaunty indie-pop sound can’t help but make you feel good about the world as vocalist Liam chants ‘I sing a long with you’ repeatedly. ‘Ol’ St. Nick’ is also another belter that sees them leaning more towards their psychedelic side with the use of synths and clapping that disperse the chilled out vocals and melody. The great thing about this album is that it is very diverse with each song sounding different to the last, yet Hey Sholay still have their own distinctive sound that is unique to them. Closing the album wonderfully is the epic nine minute long ‘Golden is the Colour of the Sun’ which is quite unlike anything

6/10

here’s a certain haziness around the time when August runs into early September, and the realisation that the nights are going to get shorter and that summer freedom seems further away than ever. Band of Horses’ fourth studio album, Mirage Rock, manages to portray this feeling with their tight southern rock and Bridwell’s calming vocals that make autumn and going back to the real world seem easier. Created in the same studio where the Doors’ masterpiece Strange Days was made, this soul-cal, Neil Young-influenced

Amelia Heathman

Reviews.

BRIGHT LIGHTS & MUSICAL DELIGHTS OF SHEFFVEGAS

The Book Club: myspace.com/thebookclubofficial

the book club The Leadmill

Saturday September 8

aturday night at the Leadmill finds you in the midst of some decent Sheffield talent. Tonight’s gig is headlined by the Book Club, led by Joe Carnall, also a member of Reverend & the Makers along with support from Ed Cosens, Canrall’s fellow band member. If this doesn’t show the impact ‘the Rev’ has had upon the Sheffield music scene, then what else will? Cosens begins tonight’s proceedings, taking the standard singer/ acoustic guitar mix on stage and injecting it with some rock, showing us what you can do with a guitar and a MacBook. Ed has a crooning, soft voice, proving a hit with the crowd as

the dancing starts to flow. Next is London band, Life in Film. Sounding like an upbeat Smiths, they guide the crowd cautiously through their hits; mainly songs from their recent EP Needles & Pins. Life in Film have a decent sound but let themselves down by not supplying anything else to the audience. This lack of interaction makes them appear nervous to the observer and in this world of ever-increasing alternative-indie bands, personality on stage is ever more important. This is certainly something that headliners the Book Club don’t need to learn. This is their first gig in over a year and from their sauntering on stage to an enticing backing track, the band show that the stage is where they feel at home. Amongst old favourites they play new material including a

song about “turning old but not being a miserable bastard” and new single ‘Dad’s Army.’ This movement from original material doesn’t faze the audience who are still chanting “Book Club, Book Club” in-between songs, much to the band’s wonder. The Book Club showcase Sheffield’s musical material brilliantly, from their on-going tunes to their northern manners of thanking people for singing along. Their variety, moving from acoustic rock to Specials-esque reggae synth in the matter of a song, and panache proves they are living up to the furore the audience have created on the dance floor, and made sure that even though, in the words of Canrall, “the economy may be fucked”, you certainly got your 500 pennies worth. Amelia Heathman

Best Friends: facebook.com/bestfriendspartyhard

Queens Social Club Thursday September 6

Aussie front woman Elizabeth Morris is effortlessly cute with her youthful looks and sweet sounding voice as she strums her ukulele to the transfixed audience. Allo Darlin’ have a really strong sound and the support they’ve attracted here is quite impressive. Morris’ vocals and style of song writing are similar to Emmy the Great’s, such as in her songs, each lyric seems really well thought out and every track tells a story. A cover of the Just Joan’s ‘If You Don’t Pull’ is a highlight, as well as the audience’s love of the bassist’s striking moustache. A great evening of fun indiepop has been had by all but Allo Darlin' definitely steal the show.

Read more reviews online at: www.forgetoday. com

DOT COM

1. BLESSA - ‘Vices’ (@semi_detatched) 2. Polkadodge - ‘The Catfish’ (@jo__black) 3. Best Friends - ‘Surf Bitches’ (@unevenblonde) 4. Pulp - ‘Common People’ (@ Leadmill) 5. The Crookes - ‘Godless Girl’ (@coralamberrr) 6. Whispering Dolls - ‘The Fear’

(@filibertguitars) 7. Bleaklow - ‘The Sunless Country’ (@sloucherzine) 8. Low Duo - ‘Fifteen Years’ (@lydiross) 9. Def Leppard - ‘Pour Some Sugar on Me’ (@philwbayles) 10. Toddla T - ‘Take it Back’ (@SheffieldSU)

Best friends

even featuring an original Lady Gaga cover. Loveboat’s music is built with the kind of songs that make you feel euphoric in the moment. And they’re lovely guys too. There’s something very endearing about the combination of jet black dishevelled hair with matching full black outfits, and a Sheffield accent. Whilst Best Friends were the main act, it feels as though a 10 man strong group of crowd surfing moshers really dominate the room – impressive, given that the Harley isn’t packed. It may be that an enthusiastic crowd is always a symptom of a great performance and great music, but it doesn’t feel as though there was anything great about the band. With melodic and upbeat riffs, Best Friends produce a summery sound and moving and grooving to it is a nice way to spend a Saturday night, but that was just about it, nice. Sheffield is a city with something really special about it and it’s always great when its residents collaborate to contribute and represent its identity. Make sure to take opportunities to immerse yourself in city culture and feel it.

The Harley

Saturday September 8

t Sheffield’s home of ‘gin and music’, the Harley, tonight sees Best Friends team up with fellow home-grown Sheff bands Sly Pariah and Loveboat, for their single launch, with the Mystery Jets keeping the good times going until the early hours. To kick-start the night Sly Pariah are a surprise, putting a pleasantly twisted and quirky sound on the table. They are a newly formed band and it does feel as though you can read in their music that the artists are still getting a grip of their sound and themselves as a collective. But this isn’t necessarily a bad thing, and as Sly Pariah show all the components of an addictive and interesting band: nice guitar solos, diverse sounds, lazily soothing vocals; it’s all just waiting to come into fruition. Add a suave name into the mix and Sly Pariah are a band worth following. Grungy, self-described punkrock-psychedelic band, Loveboat deliver a performance with oomph and lots of it. Morose at points and cheerful at others, it is dirty, loud and with a lot of grit;

Lianne & Amelia

Anne-Marie Allan

Fuse.

heffield’s very own indiepop four piece, the Sweet Nothings kicked off the evening in the best way possible, showing yet another example of the great music that’s produced all the time in this city. Declaring themselves as a socialist band, most of their set was made up of sweet and fun tunes that made you want to tap your feet but other songs showed that they also have a fierce, folky edge. One stand out track off their new single, ‘Subterranean Moseley Blues’, describes the frontman’s unhappy experience living in Birmingham. Up second are This Many Boyfriends, who with their northern indie-pop have gained a lot of attention recently, their song

‘Number One’ being played by Lauren Laverne on BBC 6 Music, which the frontman announces excitedly at the show. Lead vocalist Richard is incredibly hyper on stage and bounces around throughout the set. The band communicates really well with each other on stage and you can tell they are having an amazing time and love performing. Pop-punk inspired ‘(I Should Be a) Communist’ which was produced by Ryan Jarman of The Cribs gets the audience dancing and the influence is noticeable. Final track, ‘Young Lovers Go Pop!’ is clearly a favourite with fans and the frontman gets down from the stage and jaunts around the audience. Headlining the evening are London-based twee indie-pop group Allo Darlin’ and as soon as they appear on stage it’s clear that they are who the crowd really want to see and they erupt.

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Friday September 14 2012

Allo Darlin’

Hello freshers. Did you know Sheffield signs the most bands only second to London? Bet you didn’t! With the wondrous music to come out of Sheffield every year, we took to Twitter to ask our followers their recommendations for YOU. Here is our complied top 10 songs:

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Lianne Williams Allo Darlin’: Tangentical/Flickr

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