Connect the Dots S.L.U.G.S Weekender Pedro Alm贸dovar
SHORT FUSE
Sparks.
Editorial
Square-eyes not so lazy anymore?
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emember when your mum always used to say playing games was bad for your eyes? Turns out she was a filthy liar. Far from making your visual organs square or otherwise grotesquely deformed, scientists have found that children playing games actually fixes amblyopia, commonly known as ‘lazy eye’. The best bit is that the treatment is actually more effective than conventional eye patching, with special video goggles helping the kids’ eyes readjust to normal vision far quicker and more efficiently than the unsightly patches. The only downside is that instead of checking out games suitable for spending copious amounts of enjoyable time with like, say, the Total War series, the scientists picked Tetris for their treatment.
Martin Bottomley
Haim get into the groove
H
aim, three sisters from California, are an incredibly talented band, often referred to as the new Fleetwood Mac, with effortless style and very long hair. However, their music is not what is causing such a stir this week. No, it is Este Haim’s incredible bass face. On last week’s Jools Holland, Haim performed single ‘Forever’, and despite the strong performance by her sisters, all eyes were on Este’s wonderful array of bizarre facial expressions. What can only be described as a combination of fury and
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Now, if you are that kind of gamer, fair enough. But I’m pretty sure the madness induced by the futile hope for that bloody straight line piece to descend from the heavens like it’s the Messiah, and mercifully save your lovingly crafted block-wall from falling prey to the remorselessly ascending floor of hell will drive more kids into lunacy, depression, and disbelief in Santa Claus than it could ever possibly cure. Still, this is an important development. By combining modern day pop culture and entertainment with the medical treatment of serious conditions that have left sufferers scarred by witch mythologies of old, scientists are also doing great work in raising awareness for the misunderstood issue of lazy eyes.
disgust, her face was completely mesmerising; even the cameraman repeatedly went in for close-ups. The response to the ‘bass face’ was even more astounding. Simply search ‘Haim bass face’ on Twitter and you find a ridiculous amount of results; parody accounts, hundreds of screenshots and many a shocked tweet regarding her facial contortion abilities. Este didn’t escape the attention of YouTube either. Numerous remixes and redubs have been made, gaining thousands of hits.
The question that springs to mind is, should we ridicule someone for the way they express their passion? Este was clearly highly involved in her guitar playing and wanted to give the best possible performance to her fans, and her facial expressions were simply a by-product of this. Do we have a right to tease and torment people’s individual quirks? Lady Gaga famously gets deeply involved in her performances, and there is even a website dedicated to the many facial expressions of Beyoncé. So do we have a right to laugh
at Este? Of course we do. As entertainers, singers and bands are meant to do just that: entertain us, whether it’s through their songwriting, singing or simply their hilarious facial expressions. It’s undeniable that Haim are three extremely talented sisters who’ve produced three strong singles and have a bright future ahead of them. The entertainment value that the ‘bass face’ provides is simply the icing on the cake.
ello! Welcome to your first issue of Fuse with the new team of editors! It’s been two weeks of blood, sweat and lots of alcohol, but we’ve managed it. We think. We’d like to give a massive welcome to our new team of editors and congratulate them on the amazing work they’ve done (and for not having a meltdown). Just you wait. We’ve got some really ace stuff in our first issue for you to feast your eager eyes on. Music and Arts took a trip down to Victoria Quays to check out the Connect the Dots festival, whilst Games hung out at S.L.U.G.S’ 48 hour weekend LAN event. Screen got really excited about Pedro Almodóvar’s new project, which you can read all about on pages four to five. Before we sign off, we also want to say a huge thank you to the outgoing team. We’ve all had a great year working with Arnie and Coral and we want to wish them luck in their next ventures, along with the rest of the Fuse editors who are spreading their wings. We’ll miss you loads. We hope you’ll stay with us this year, and watch as we take Fuse from bad to worse. We’re already having loads of fun. Amelia Heathman Kaz Scattergood
Molly Carberry
Keeping Fuse tradition, we asked the wonderfully talented Manuel Fuentes to do a cover for us. We’re a little bit in love with you, Manuel. Don’t ever leave us.
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ven in her death, Thatcher has divided opinion. We’ve suffered the endless debates about her legacy; was she a pioneering moderniser or an evil destroyer of working class communities? It’s been nearly a month since her death now, and we’re just a bit sick of it all. And now, it has even spread as far as art in tube stations. To be honest, when I’m stuck on the Jubilee line in rush hour, pushed against an individual with questionable personal hygiene, the last thing I care about is the political messages in artwork. However, the powers that be have decided that the images of Thatcher, including one depicting her as the Virgin Mary, that were due to be plastered across walls at Westminster tube station
Fuse.
Friday May 3 2013
In other news: Margaret Thatcher is banned from Westminster
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were apparently associated with “public controversy or sensitivity” and as such can’t be used. Unfortunately for those who made the decision (the delightful people at CBS Outdoor) they’re obviously grossly overestimating the effect their station artwork has on general commuters. Over the years, various visual marketers and advertising executives have had field days thinking of ways to decorate the capital’s tube stations. Various poems that claim to enhance the social experience of catching the tube have been met with a large dose of apathy. Similarly, awful paintings that look like the result of a bottle of Malibu and a Hobbycraft paint voucher are splashed across the stations of leafy north London,
whilst south of the river, we settle for edgy graffiti-style artwork that attempts to tap into the rich graffiti culture, and fails miserably. No matter what part of London, or even the UK that you hail from, chances are that you would fail to be offended by any form of art that decorates our stations, because you really don’t care. Debates about funeral funding I can take; debates about biased media coverage I can just about bear. Yet debates about Thatcher-themed artwork in the tube station are one needless debate too far. James Norman-Fyfe
Q&A.
SHORT FUSE
FUNNY YOU SHOULD ASK
Lizzie Hyland interviewed Laura Elliott, a third-year English student and producer at Sheffield-based theatre company, Funny You Should Ask
When and why did you become interested in the theatre? I didn’t really get involved with theatre until coming to university. I study English Language and Literature and a lot of my closest friends are in SuTCo, so at the start of second year I started getting involved too, and loved it.
last term, I suggested to Matt that I’d really like to produce, and he mentioned that he was setting up a new company with Tom. Following a few excited chats about how great it would be to go to the Fringe over the next few weeks, they said that they’d love to have me on board as a producer. And the rest, as they say, is history!
How did you first get involved with Funny You Should Ask?
What is your role within the company and what does this entail?
I met Matt Woodhead our company manager, and Tom Lodge our Fringe director, through SuTCo; both of them have acted with the society, and Tom has also directed a show too. After a few drinks following a social
I’m the producer for our trip to the Edinburgh Fringe festival with Christopher Durang’s Laughing Wild (August 19-24 at TheSpace on The Mile). I’m in charge of making sure that we actually get to Edinburgh. I’ve
Do you have any favourite moments from your work with the company so far? I think accepting the venue offer has been one of the most exciting moments for me. After sending in so many applications, to finally be told that “yes”, this great venue right on the busi-
GIAG: Film Unit Plant Potting & Bird Feed Building Stoker: Friday May 3: 7.30pm
T Fri May 3, 10am, meet outside the Edge Hub at Endcliffe Village, tickets £2
his is a movie without Jason Statham in it, definitely not driving any cars. There is also evidently a scene in which two vaguely attractive young people stare at each other intensely, so there must be some dramatic element involved. We believe it might be a little scary so take a teddy bear and some popcorn (obviously). I predict that the cars get taken by ghosts and everyone dies. Why not go and see it and find out if I’m psychic? You should be totally stoked.
Is there anything in 2013 that you are particularly looking forward to? Watching Lord of the Flies after everyone’s put so much hard work into it will definitely be a highlight. Any aims for the future? For everyone to have an amazing and successful time at the Fringe, and to continue to work with Seven Hills Media, SuTCo,
Funny You Should Ask, and next year, Headlock Theatre Company. I then hope to work either in the creative industry, or as an investigative journalist. What is your favourite thing about our beloved University of Sheffield? Probably the huge number of great societies there are to get involved with. I’ve been involved with SuTCo and SUPAS, but at the moment Seven Hills Media are shooting the activities film for the Union, and filming so many other great societies has been so much fun! There really isn’t time to be bored here.
Tickets: £2.50
Available from the SU box office
Wreck-It Ralph: Saturday May 4: 3.30pm, 7.30pm
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his is a really pretty fantastic Disney movie. Apart from the mind-crushingly awful voice of Sarah fucking Silverman, everything else is pretty great. There’s even a cameo from Sonic the Hedgehog. And Skrillex (but we’ll try to ignore that too.) We haven’t sold it very well but I promise this is a really great movie. Ignore the dubstep and soak up all the videogame references and squirm around in candy coated joy.
Gangster Squad: Sunday May 5: 3.30pm, 7.30pm
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believe Gangster Squad is probably a movie about a squad of gangsters. And it seems it has Emma Stone in it, and Ryan Gosling in a suit so it practically has completely universal appeal already. Pretty people shoot each other for money and stuff, and there’s a lot of cool actors in it so that’s usually a good thing (maybe). If not, you can just sleep your way into a Coca Cola coma and dream of Ryan Gosling in a suit (or perhaps out of a suit).
Fuse.
hat could be a more enjoyable way to spend your Friday morning this week than learning about plant potting and bird feed building? Absolutely nothing at all. So don’t miss out on this. Why waste your time on boring old student hobbies like sleeping and missing lectures? Get out of your damn onesie and get down to the Edge to learn some valuable skills in the potting of plants and the feeding of birds. You never know, you might even make some small aviated friends. Or grow some friends. Have tomatoes for friends. Bring a bottle of water.
est street in Edinburgh wanted us to perform there, was really incredible. Watching our company’s first production, The Last Five Years, being performed to a nearly sold-out Drama Studio was really special as well.
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also helped to arrange publicity shoots for our production of Lord of the Flies (May 8-9 at the Sheffield Library Theatre) and registered Laughing Wild in the Fringe programme in print and on the website. I’m seeking sponsorship from various arts funds, businesses and restaurants in return for advertising, socials and other such things.
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SCREEN
Feature. PEDRO ALMODÓVAR
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Talk To Him
earing a fluorescent lime green bomber jacket with a bright yellow polo shirt underneath, Pedro Almodóvar is just as conspicuous as his latest film, I’m So Excited. “Excited, you see,” explains the Spanish director, speaking to a packed cinema in Hackney, and to another 4,000 of us across the country through a Skype connection broadcast while we eagerly await the preview at the Showroom, “means two things for us in Spain. It means excited. And it means horny.” Horny is the perfect word to describe I’m So Excited. It’s relatively short at 90 minutes, but is hilariously outrageous, and full to the brim with sex. The plotline follows Peninsula Flight 2549’s predicament as it circles benignly over Spain, sporting failed landing gear and waiting to crash. Its passengers and crew deal with their imminent fate in the best way possible by reclining back in their seats, cracking out the drugs and having an orgy. “When one takes a flight, there are two fantasies that you have. They are very opposite; sex and death, two elements that are very important in this film.” His new picture couldn’t be further in content or style from previous film The Skin I Live In, with its clean and clinical photography and hard-hitting storyline. It’s been a long time since Almodóvar produced a comedy. But the director himself recognised the public’s call to return as he explains, “people on the streets of Madrid demanded me to go back.” He recalls how they would say, “Pedro, you make us laugh so much. It’s as if you were a butcher and people would come and say: there was a kind of meat you had in the past; I really, really like that, can’t you get that back?” That ‘‘great meat’’ Almodóvar is referring to is his work of the 1980s, real cult classics such as Women on the Verge of a Nervous Breakdown, Talk To Her and Bad Education. He first burst onto the scene in Madrid during La Movida, a cultural phenomenon that rose from the censorship and conservatism of the Franco dictatorship. There wasn’t a taboo Almodóvar didn’t square up to and tackle fearlessly to the ground, with his work showcasing every sexuality, as well as drug abuse and rape. Almodóvar really gave Franco the two fingers. I’m So Excited marks a return to the spirit of some of these earlier films; he calls it “a tribute to that period.” But of course, in the 35 years since, things are different. “Everything’s changed, not only Madrid. Spain’s changed. The entire world has changed. But I try to put myself in the same mood as I was in when I was writing my earlier films in the 80s. “It was a very important time for the people of Spain, it was the beginning of democracy, and also it was the beginning of my career.” Almodóvar fondly remembers the 80s as a time of liberalisation and self-expression; a flamboyance that is reflected in the song by the Pointer Sisters which the Spaniard says “was perfect for the title and the mood, and the temperature of the film.” Almodóvar, however, is not so positive about Spain’s present condition. “The film is a way to say that the situation in Spain now is a lot worse than it was in that period.” I’m So Excited subtly makes reference to this, with the fate of the plane and passengers acting as a metaphor for the crisis the nation is currently experiencing. Almodóvar describes it as “going round in circles without knowing exactly when you are about to land, knowing you have to make an emergency landing. “It’s a comedy, so of course things end well. But this sense of uncertainty and fear, that’s what we’re living through in Spain at the moment.” Almodóvar communicates with ease, switching midsentence between Spanish and English, light-hearted and serious. In an advisory tone, he moves on to discuss the drugs the air stewards slip the passengers in his latest film. “The Valencia cocktails and the mescaline was a very
Words: Hannah McCulloch
hot combination back then. It’s very stimulating for sex. I imagine you can find mescaline with your dealers, I don’t know the market here, but I gave that all up a long time ago.” As well as being a return to the comedic genre, I’m So Excited also showcases the reappearance of some Almodóvar veterans that dedicated fans will no doubt recognise. Javier Cámara, who starred in Talk To Her and Bad Education, steals the show, playing a very different role from his past performances, and one that was written especially for him. “This is not usual. I generally put faces in after I write the characters.” He is bashfully modest in his own ability, but extremely complimentary when he talks of his cast, holding them in the highest regard. “I was very lucky to find such wonderful actresses. I think I have worked with the best Spanish actresses, there are many more, but I’m thinking about Carmen Maura, Victoria Abril, Marisa Paredes, Penélope Cruz, Chus Lampreave, Elena Anaya. They are really, really great actresses. “I think everything depends on how much time you dedicate to them. And I dedicate my life. And this is very unusual.” Out of all of the elements of a film, the Spanish director seems to consider his cast to be the most important factor, and thinks the journey taken to achieve their roles the most important part of the cinematic process. “Above all, you tell the stories through the bodies, and the faces and the hearts and the guts of the actors. So they are very worthy. I dedicate a lot to this profession; I dream of working with these actors. This is one of the reasons I wanted to be a director, just to work with these actors. It’s not only a pleasure, it’s almost a miracle when something happens in front of you for the first time. This is a privilege and one that only the director gets.” Almodóvar’s time is nearly up, but it’s clear he’s left everyone intrigued and wanting more. His interesting answers managed to cover a variety of topics while simultaneously expressing his charisma as a director. The enthusiasm and high praise he expresses towards the cast have left the Showroom-goers torn between a desire to hear more, and anticipation for the film starting. The latter wins out as the title sequence begins and Almodóvar’s latest vision is brought to life.
Friday May 3 2013
Fuse.
“Valencia cocktails and mescaline was a very hot combination back then; it’s very stimulating for sex”
SCREEN
Acclaimed Spanish director Pedro Almodóvar appears at the Showroom via Skype to discuss his latest film
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GAMES
Feature. S.L.U.G.S
LAN37: THE WEEKENDER Joanne Butcher hung out with S.L.U.G.S at their Weekender event where gaming, pizza and energy drinks are all that matter What is S.L.U.G.S? The University of Sheffield’s gaming society. What is a LAN? A gathering of people with their computers, for the purpose of playing multiplayer games.
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or long-term S.L.U.G.S members, the idea of a three day LAN event was a pipe dream for seven years but on April 26-28, over 40 gamers piled into the Ridge with their individual manning stations for a weekend of seriously hardcore gaming.
A neighbouring room had been set aside for rest but sleep was definitely not on the agenda - or at least not before days of Team Fortress 2 and Starcraft. Instead S.L.U.G.S took to can after can of energy drink and take-away pizza for fuel. Armed with their keyboards and mice, they powered through their biggest event ever. S.L.U.G.S is definitely a well-oiled machine. The sheer amount of willpower of all its members to trek down to Ranmoor for the weekend with their PCs and sleeping bags would shame most other societies who try desperately to organise
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Friday May 3 2013
“Their biggest LAN ever”
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a single bar crawl. It’s this desire to play games with equally eager and skilled players that brings a buzz to the room – even if they are eerily quiet at times. They’re focused totally on the game with their headsets as their only form of communication.
freshing to see a gaming society tailored towards solidarity and good sportsmanship. LAN37 was no exception either, seeing over 20 of its members storm into a game of Counterstrike: Source with themed usernames, debating whether it was really necessary to shoot the hostages. The room seemed to think it should be.
A quick look at any member’s computer would reveal a staggering amount of games available to S.L.U.G.S, from the hardcore shooters like Counterstrike or highly complex RTS like Age of Empires 2 to the glorious open world of Minecraft. The highlight of the Weekender is how the members are able to blend hardcore gaming with absolute camaraderie. As their president James Walley explains, S.L.U.G.S occupies a nice niche between competitive and casual gaming, where members can easily opt in and out of playthroughs as they wish without the fear that they will be trampled by better players.
One of the main projects for Walley over the last year has been broadening the scope of S.L.U.G.S to incorporate a wider audience of gamers. For the most part, good intentions seem to have made a huge difference to the make-up of S.L.U.G.S. LAN37 played host to card games like Magic: The Gathering and Munchkin, allowing for a bunch of new people to get involved in the weekend and giving their PC gamers a good honest break from staring at the screen. Walley concedes that there is still plenty more to do when it comes to inclusion, but there have been surges forward with more conventional socials at local pubs and clubs so that new members can get to know each other better. However one of the most striking things about the Weekender is the lack of consoles. Despite a few Xbox 360s hidden beneath the sea of cables, LAN37 appeared to be still a predominantly PC arena. This is not wholly surprising – PCs are a staple of LAN events around the world
“Members blend hardcore gaming with camaraderie”
When the nasty image of the batshit crazy gamer screaming abuse over Xbox Live is a tired YouTube sensation, it is re-
“S.L.U.G.S are tailored towards solidarity and sportsmanship”
simply because they are much better suited to large-scale multiplayer gaming. For Walley and new president Sam Dickinson, the biggest obstacle for the society remains to weave the console into the narrative of their LAN events. The main problem seems to be accessibility to the right equipment and managing expectations. If they want to engage in multiplayer on the same level as they already do on PCs, it would require each member to bring their own television screen and copy of the game. Not really feasible right now. So it seems console gaming is currently stuck on the margins of gaming LANS, especially with S.L.U.G.S, but there are still adjustments being made to get as many people involved as possible. S.L.U.G.S have always advocated gaming as a social activity, where like-minded people can come together to enjoy the games they love faceto-face. The Weekender is a prime example of this.
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GAMES
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ARTS & MUSIC
Feature. CONNECT THE DOTS FESTIVAL
Connect the Dots O
n a bright Saturday afternoon, a stroll from Sheffield city centre towards Victoria Quays revealed the unconventional and unexpected beauty of this great industrial city. Along the cobbled streets of refurbished warehouses that overlook the shining waters of the canal, the ‘Connect the Dots’ festival was in full swing.
“Combines the monotone architecture of cityscapes with the hustling of energetic human activity that dwells within them” It was an unusual art project set within an equally unusual space. The Grain Warehouse in Victoria Quays gives any visitor a feeling of Sheffield’s rich heritage. The giant grain vats, now rusting and mothballed, jutted down from the ceiling and into the room, integrating themselves and Sheffield’s history into the event.
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Friday May 3 2013
Upon entry you were instantly greeted by an exhibition of dramatic black and white photography. As you looked out into the rest of the room, small record labels were manning their pop-up shops as a DJ set filled the room with reggae, dubstep and rave music. You wandered around, exploring each and every bit of the innovated space.
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Connect the Dots was the brainchild of Abdullah Al-wali, who wanted to create an interdisciplinary art event to celebrate the cultural possibilities of the new media and digital technology of the information age. It featured artwork and graphic design by Evelyn Albrow, photography by Shaun Bloodworth and interactive art pieces by Matt Jones, as well as live music gigs and record label representatives attending the event. The purpose behind the festival was to showcase the collaborative possibilities that the digital age has created by integrating these different art mediums.
Connect the Dots also encouraged its audience to explore the venue and to discover the artworks in places you would not expect them to be. As we entered one alcove of the Grain Warehouse we thought it would lead to an empty space; instead we were greeted by neatly framed black and white photographs that were a part of the collaborative innovation of Sheffield artists and photographers Joel Barton and Elliot Holbrow. Their exhibiting project ‘Nut City’ combines the monotone architecture of cityscapes with the hustling of energetic human activity that dwells within them. Snapshots of ravers at music gigs were systematically frozen in the photographs, occasionally blurred, eyes half closed. The images conveyed static settings with sudden paused activity that Joel and Elliot captured with their cameras. Music was clearly at the heart of these shots as swaying lines, blurred by the motion of the subjects, created a deep, nonexistent humming of a bass rhythm, often conveyed in photographs without colour or faces but with purpose. The space that Joel and Elliot’s artwork occupied also resounded well with the overall tone of the Connect the Dots festival and the project itself. The uneven, coarse brickwork created an industrial backdrop to the commercial modernity of the photography. Connect the Dots featured a number of fascinating contemporary art exhibitions, like that of Elliot and Joel. But the one piece that stood out was a striking installation by Matt Jones. Constructed live throughout the event, Matt Jones’ work was the principal intrigue of the festival. As the central piece of the event, any early arrivals at the Grain Warehouse would have been confronted by a seemingly unartistic, empty white wall. Later we discovered this was in fact the blank canvas that would become Matt Jones’
ARTS & MUSIC
The innovative collaboration of arts and music is celebrated by our new editorial teams at Connect the Dots intriguing star-shaped construction. The artist’s featured work was part of his new installation, ‘Production Line’, which incorporates creations through both human and robotic means. The live construction of the piece enabled the events attendees to see not only the progression of the artwork itself but the innovative techniques used. Matt Jones used a combination of spray painted stencil mosaics and v-plotter robotic drawing to create the dramatic and intricate patterns that formed his artwork at the festival. In a quick chat with the artist himself, we asked Matt Jones what his inspirations were for his interesting artwork and techniques. Three straight days of working had left the artist exhausted, so in the true unconventional style of Connect the Dots, we sat nonchalantly on the curb outside the warehouse. As well as being really cool patterns, we found out that Matt Jones’ artwork has a lot of exciting influences, from nature through to mathematics. He spoke to us about circuit boards and bumble bees and the research of Sir Roger Penrose, once again highlighting the bedrock of the festival, collaboration. Although the art alone gave the festival its innovative and individual style, the concept of ‘connecting the dots’ would not have been complete without the event’s collaboration of art and music.
“Record store day doesn’t get much better than this”
Even the art itself was very much musically inspired; Shaun Bloodworth gave us a taste of ‘The Green Series’, a continuing art and music project from Bleep.com, where various DJs are photographed against dirty abandoned warehouses and overgrown dirty landscapes, crowded with graffiti. James Blake hides in the dark, Objekt stands under the neon streetlights in the wet and dreary Berlin rain whilst Roska slams down a hammer in the desolate back-end of Sheffield. Cages, bins, storage holders and desolate marshes link perfectly to the grubby clubs and drug-cult that the techno scene seems to inspire. The cinematic exhibitions were pretty impressive too: T. Marshall showed off his hypnotic visions, as typified by his recent music videos productions, in which shapes and complex webs shift with the beat of the music. But the real highlight was Trans/Human’s performance, in which the art of music-making was examined. A suspended structure hung above a table, feeded by individual wires. These wires were then plugged into individual audio devices and wired up to one of the performers, who gradually become trapped in this spindly tent-like structure. The sounds were manipulated to create an improvised piece, until the artist’s body became completely physically incorporated within the technological structure and sound art. And if this didn’t satisfy your appetite, Bunga Bunga and Naughty Sounds joined forces to host the after-party, a celebration, continuation and evolution of the Jamaican music sound, headlined by Sir David Rodigan.
Nathan Gibson 2013
For techno/electronic/trance fans this was an event not to be missed. The digital music scene isn’t just about making music anymore.
Words: Rhiannon Pickin, Lizzie Hyland and Nicky Crane Pictures: Nathan Gibson
Friday May 3 2013
Record store day doesn’t get much better than this; independent record labels such as Warp, Bleep, Bad Taste Records and CPU, lined the left-side of Victoria Quays, selling vinyl from the likes of Aphex Twin, Bonobo and The Knife. As well as free records and Re-Mixed in Sheffield
CDs up for grabs, a turntable let anyone have a listen before they bought the vinyl.
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GAMES
Reviews. injustice: Gods among us
Xbox 360/PS3/Wii U 8/10
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THE WALKING DEAD: SURVIVAL INSTINCT
Xbox 360/PS3/Wii U/PC 3/10
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Friday May 3 2013
elltale Games’ The Walking Dead was one of the best games of 2012, with its immersive gameplay and truly emotional story. It stood above other zombie games because it wasn’t all about shooting, and removed the clichés of the zombie game genre. Unfortunately, Survival Instinct has decided to throw in with all the other zombie killing FPS games, which proved to be an awful idea. Your mission throughout the game is to head south, and that’s about as much justification for your trip as you are given. It seems lazy and it’s disappointing that the story never really develops beyond this. Survival Instinct does have quite a few interesting ideas. As the title would suggest, there are
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njustice: Gods Among Us is a three dimensional fighter which stays true to its roots, while allowing players to control their favourite DC superheroes. Injustice is in many ways a natural progression from Netherworld Studios’ 2008 release Mortal Kombat vs. DC Universe, and is the developer’s latest release after the 2011 Mortal Kombat reboot. The game mechanics are much like you would expect, taking the best parts of the Mortal Kombat series, while also managing to retain a fresh feel to make it accessible to new players. Yet it would be wrong to pass Injustice off as a simple fighting game. Refreshingly, Netherworld try to tell an impressive story, ques-
tioning the assumptions of what makes the superheroes ‘heroes’, blurring the lines between good and evil. Superman is tricked into an unthinkable act by the Joker, and, unable to live with himself, he begins a campaign to create order on Earth. The world’s heroes and villains join his cause, through understanding or coercion, and Superman takes his place as the overlord of Earth.
“Truly exciting and well thought out” One hero, however, stands against Superman and creates an insurgency, looking to take him down. This hero, in true DC fashion, is Batman. The rest of the story is best left to be discovered when playing it through yourself, but it offers a chance to try a number of different characters with its chapter-based progression.
various survival elements to the game. On your vague quest to the haven of the south you have to stop at various towns to gather fuel, first aid supplies and ammo as well as searching for, and saving, other survivors.
entirely pointless. The success rate of sending out one lone survivor on a mission is so low, you may as well pour BBQ sauce on their head before they go. The characters are so unlikable, the story so short and the game mechanics so unchallenging, it is hard to recommend Survival Instinct. Although a few moments of unscripted gameplay will remain fondly in your memory, the game is a huge let down. Just play Telltale’s The Walking Dead instead.
All of which sounds fairly fresh and interesting. However, the execution is just plain awful. The random salvaging locations are tiny, and there are only about four different maps. The main resource you have to collect is fuel, but in reality if you ever run out, the game will just drop you into a random salvage area with oceans of the stuff. There is only one spare seat in your car until very late in the game, so saving people is almost
Niall Bird
“It is hard to recommend Survival Instinct”
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It is perhaps only Injustice’s ambition that creates the problems with the game. The story, whilst compelling and fun to play, is at times a bit unbelievable as the writers try to explain why we see known allies break into fighting, or how a character can take a beat-down from someone like Superman and then get up to fight later that day. The combat is fun and is integrated well into the cutscenes which tell the story, but there is a definitive lack of variation in the game, which the few mini-games fail to address. This isn’t to say that Injustice is limited in longevity; thanks to the large number of unlockables, the battle mode and the new S.T.A.R labs mode, which has 240 challenges to complete. The multiplayer mode, which builds on Mortal Kombat, is well thought out and adds extra life into the game, with new modes such as ‘King of the Hill’ offering a chance to earn extra experience points and therefore unlock new costumes for the wide range of characters. Injustice’s greatest strength is in
Cult Corner. destroy all humans! Xbox/PS2
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andemic is one of those game developers that never had much luck; it was bought by EA in the mid-2000s, and by 2009 they had run the company into the ground. But while they were still around, Pandemic made a slew of pretty decent games, including the Star Wars: Battlefront series and cult classic Destroy All Humans!. You play as Cryptosporidium-137, a little grey alien sent to Earth to harvest human brain stems while being pursued by the local police force, the army, and a mysterious government organisation called Majestic. The plot starts like a bad Plan 9 From Outer Space parody and only gets sillier from there, but we’re not here for the plot. We’re here to do what the title says, and thankfully there are plenty of ways to destroy all of those humans. Crypto’s weapons include the Zap-O-Matic, a giant electric gun, an anal probe (no, really) which makes people’s heads explode as they clutch their behinds in agony, and a flying saucer complete with deadly lasers and a tractor beam – using that to fling a cow into a crowd of soldiers never gets old. But it wasn’t all violence with no substance: everything took place in a brilliantly skewed satire of
the roster of characters, giving players a chance to enact battles between some of DC’s best known superheroes. The move sets are tailored to each character, not copied from earlier games by the developer, and have a good balance to them in general. The finishing moves are truly exciting and well thought out, and finding these out as you play is all part of the fun of Injustice. If you are a fan of the Mortal Kombat series, or of DC comics, Injustice: Gods Among Us, is a must have game. If not, there is still plenty here for you, but you may want to wait to pick it up. Sam Pierce
Follow us on Twitter @ForgeGames 1950s America that could have come straight out of a thousand crappy drive-in movies. All of your extra-terrestrial exploits are blamed on either nuclear tests or communism, to an almost insane degree, and reading the minds of the townsfolk around you could reveal some pretty darkly comic insights: “One drink for breakfast, two for lunch, and with any luck I won’t even remember dinner!” The sequels did the Scary Movie thing of getting progressively stupid as time wore on – one in particular bore the very unsubtle title of Big Willy Unleashed – but the original remains an overlooked gem with a great, original premise and presentation to match. Phil Bayles
9 to 5 The musical Lyceum Theatre 8/10
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heartwarming and hilarious musical based on the 1980 hit movie, 9 to 5 delivers both comedy and a catchy soundtrack in its exploration of female empowerment within the workplace. 9 to 5 tells the story of three female office employees that work under their ‘sexist, egotistical, lying, hypocritical bigot’ of a boss. The production is a laugh out loud depiction of what happens when women fight back against the constraints of men. Before the show begins, a clock face appears centre stage with a projected video of Dolly Parton introducing the show. Though somewhat cheesy, touches like this really initiate the feel good nature of the production and gets the audience immediately involved. The set works to contextualize the story further, with the garish office decor, retro typewriters and fax machines transporting theatergoers back to a time where equal rights were still being established. Violet Newstead, played by Jackie Clune, is arguably the strongest of the three leading
roles, and forms an unstoppable team with co-workers Judy Bernly and Doralee Rhodes, played by Natalie Casey and Amy Lennox. Together, the three provide some of the wittiest and outlandish lines, as well as incredibly solid and rousing vocals. Lennox’s performance in the heartfelt number ‘Backwards Barbie’, makes it near impossible not to warm to her naive character who is subjected to sexual harassment by their boss, Franklyn Hart.
members of the ensemble were incredibly exaggerated, yet believable. Any misfortunes they encountered were therefore met with hilarity. However, 9 to 5 appeals to both men and women. As a musical production it provides all the essential components to entice its audience into believing in the message behind it, women are just as good as men. With such minor roles as office drunk Margaret, played by Lori Haley Fox, inducing raucous cackles around the theatre, it is impossible not to smile throughout this production. Though some of Dolly’s bigger hits were left out of the musical score, the winning combination of feel good music, extremely well polished choreography and hilarious lines make this show a must see. Charlotte Elmore
Mark Moraghan, who played the role of Franklyn, does an excellent job of characterizing him as a painfully sexist and incredibly unlikeable man; his delivery of some lines attracting gasps of indignation from the female members of the audience. The hyper-masculine actions of both Moraghan and the male
ARTS
Reviews. platform - Bash St George’s Church 9/10
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t’s difficult to watch a piece of theatre that deals with rape, homophobia and infant mortality at noon on a Sunday. Nevertheless Platform Festival’s production of Bash was stunning. Now in its third year, the festival has only gone from strength to strength under the chair, Alex Marshall, and its very dedicated committee. Across the course of the year they managed to raise a whopping total of over £2700 for Cavendish Cancer Care, whilst showcasing over 40 acts. Bash deservedly stood out from the crowd, winning the award for ‘Best Act of 2013’ because it really captured the heart of Platform. Directed by Katie Laurence and Arrabella Peniston, the team managed to bring a challenging text to life with the professionalism and sensitivity that student theatre should aim for. Dealing with such dark subject matters was always going to be
ON the face of it Graves Gallery 9/10
J FAME
St George’s Church 8/10
Laura Marsden
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Dale Callaghan
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ous harmonies throughout the entire cast was verged on perfect, giving the performance a more professional feel. On the subject of ‘talent’ the dancers too, were extremely dedicated to their movements and displayed moments of real ability. Despite Fame itself not being the most intellectually stimulating piece of musical theatre, SUPAS’ production makes for a truly entertaining evening. With the comic flourish of Matt Woodhead (Jose Vegas), the powerful voices and talented dancers, the audience members are happy to be a part of the performance, especially as the entire cast were obviously enjoying every second. With a guarantee that you’ll be singing ‘fame, I’m gonna live forever’ for at least a week, a trip to the drama studio this week would not be a disappointment.
about the sitter and how they wanted to perceived” in contrast with the photographic products of today’s paparazzi culture. On The Face Of It predominantly displays the works of accomplished photographers such as Cecil Beaton, Jane Brown and Ida Kar. In the differing styles employed by each of the photographers in their own works, the exhibition cleverly demonstrates how photographic portraits can take a wide variety of forms. Despite all being black and white, all of the portraits presented maintain a distinct air of individualism; some, especially the works of Jane Brown, exhibit photographs taken in more natural poses, whilst others, such as those taken by Ida Kar create much more of a staged feel with emphasis instead placed on the environments in which the subject is pictured. Open to the public Wednesday to Friday 10am – 3pm and Saturdays 11am – 3pm, On The Face Of It: Photographic Portraits from Sheffield’s Collection presents to the visitor the idea that photographic portraits are not merely pictorial representations of a person, but are instead inimitable expressions of an individual personality to be preserved in time.
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ased on the 1980s film musical, Fame tells the story of a vibrant young group of adolescents who hope to become successful through intense training in the ‘Fame High School’. Whilst Miss Sherman (Alex Marshall) insists on the importance of academic studies, the students indulge in various relationships and conflicts, whilst the audience enjoy the buzz of consistently cheesy musical numbers. The musical is performed by the University of Sheffield’s very own musical theatre society, SUPAS, who cannot by any means be knocked for enthusiasm levels. Whilst the protagonists dominate the majority of the performance the chorus never failed to erupt onto the stage with energy and smiles. In fact the sheer commitment of the cast’s excitement was a major success factor. Performed in the small drama
studio space, the director (Tom Lodge) had a job to turn the space into something that slightly resembled a school, but the well-made set pieces that were rolled on and off in-between scenes made the location impeccably clear for an audience. The moving of set on and off stage was at times slightly off putting as it was not only frequent but lit, however the energy of the actors entering for their next scene, made it easy for the audience to forget that stage management were moving chairs around. The real power behind the show was the voices. Despite quite regular issues with microphones coming off and being turned down, the cast maintained consistent performances throughout. Two individuals who must be acknowledge are Tabby Alexander (Carmen) and Alex Marshall (Miss Sherman) both females managed to move the audience with their outstanding ability to hold beautiful notes. Whilst these in particular stood out, the vocal power and obvi-
ust like the stunning collection of pieces it displays, On The Face Of It: Photographic Portraits from Sheffield’s Collection is an intimate and very personal affair. The exhibition, on display in Graves Gallery in Sheffield city centre (just above the Central Library), presents a selection of “photographic portraits featuring some of the most celebrated twentieth century figures from the world of art, literature and film” from Sheffield’s Collection. Whilst On The Face Of It is itself only very small exhibition, nestled neatly into a cosy corner of the Graves Gallery, the enigmatic allure of nearly all the photographs on display means that any visitor is able to dedicate some serious time to admiration of works taken by a variety of prominent photographers. The works themselves, all taken at various times within the 20th century, are all black and white portraits (of a great variety of subjects) that have been uniquely assembled with the aim of educating visitors as to how a photographic portrait may “perhaps tell us more
difficult. In Platform’s interpretation however a lot of thought had gone into each character’s psyche and journey. The cast never gave the audience a chance to breathe, even in the scene changes. This performance was head and shoulders above the others. The cast really gelled together as an ensemble and each performance complemented the next. The dialogue between Woz Arshad and Fiona Primrose exemplified this perfectly. The audience really felt they worked with, instead of ‘opposite’, one another (that latter being an awful term that too many directors are throwing around). It’s rare for an event to be so dedicated to creating art for such a worthwhile charitable cause. This was definitely one of the best union events of the year. Matthew Woodhead
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MUSIC
Reviews. RELEASES Noah and the whale Heart of Nowhere Released 06/05/13 4/10
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fter the storming success of Noah and the Whale’s Last Night on Earth, which was behemoth on the indie scene and part of the group of folk pop albums that popularised the genre, the boys have got a lot of expectations to live up to. So can Heart of Nowhere match or surpass the 2010 smash? ‘Introduction’ certainly begins the album in a typical indie style; synthy, bassy and with some really interesting sound medleys which Noah and the Whale have a real talent for creating. While ‘Introduction’ is predictable in its composition and placement, as this long, echoing intro has become a staple of indie acts, it feel right with Noah
and the Whale. However, the album does not build much from here, and while every track can be said to feel right or fitting for this band, there does not appear to be any bite behind the soft indie bark. The single ‘There Will Come a Time’ has all the correct components for a Noah and the Whale track; decent bass line, uplifting rhythm guitar and emotional lyrics. But, none of these seem to be done as well or with as much passion as we have seen from the five piece band in the past. Whilst innovation can sometimes let a band down, especially when they have such a popular and distinctive style, Noah and the Whale could have tried harder with this album, adding more passion and dynamism, even if they stayed within their comfort zone. This said, as soon as ‘Lifetime’ comes on
every old Noah and The Whale fan will begin to grin uncontrollably, as the heart and emotion of this track are so strong that it brings back memories of ‘Waiting for My Chance to Come’ and other slower songs of Last Night on Earth, which makes it the most memorable track on the album. The problem is that it stands alone in a wash of mediocre indie melodies and strained lyrics which feel less heartfelt and more robotic. While Heart of Nowhere is clearly a Noah and the Whale album, and easy to listen to, it will be remembered in years to come as simply ‘that one they did after Last Night On Earth’. We must admit, though, that their 2010 album was a hard act to follow. Lewis Colson
The computers
Now Playing
Love Triangles Hate Squares Released 29/04/13 4/10
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ntil now, the short, explosive career of sharplydressed showmen the Computers was rooted in hardcore punk. Their unholy racket was coated in 50s cool, shuffling through sweat and vomit in a really nice pair of shoes, but make no mistake that they screamed their throats hoarse. Perhaps it’s with long-term health in mind that they’ve straightened their ties and soothed their rage for Love Triangles, Hate Squares, a rock and roll record but a soft, soulful one, taking cues from Elvis Costello, Jerry Lee Lewis and Otis Redding before anybody this side of the 1980s. The twinkling keys and blue chord progressions provide the perfect backdrop for the previously unheard vocal talents of Alex Kershaw, who trades in his scream for a suitably lively warble. The feel-good factor is not to be underestimated. The problems begin, though, when you pass that halfway point and nothing much has really happened. The upbeat jive of ‘Selina Chinese’ injects some much-needed pace, and the swaggering piano of ‘Call On
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You’ is probably the highlight, but sooner or later you’ll realise that the throwback shtick is all they’re really doing, and that is a rather sobering moment. The appeal is supposed to lie in the context. The idea of a bunch of scruffs from Exeter suiting up and paying homage to the greats is undoubtedly very cool. We can all get on board with a bit of postmodernism, but, let’s face it, you’re asking for trouble when you write a rocka-
billy tune and call it ‘Sex Texts’. It’s a big gamble to trade in your fresh, exciting sound and hope that the time is right for your particular brand of derivative pastiche to take off. If the Computers get away with it then you can guarantee it will be down to their irresistible live show maintaining its strength, because this album is a chore. Duncan Geddes
Marques Toliver Land of CanAan Released 13/05/13 8/10
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lready a model, actor and magazine editor, Marques Toliver’s arrival as a recording artist has been punctuated by both enterprise and luck. The singer and violinist was discovered not once but twice as a busker, once by Kyp Malone of TV On The Radio in Brooklyn, and again in London by producer Simon Raymonde, whose Bella Union label is to release his debut album Land of CanAan after plenty of hard work from all concerned. Toliver’s selling point is originality. The album hinges on his
aving already topped the British charts at number one, our playlist has got to start with Daft Punk’s ridiculously catchy comeback single ‘Get Lucky’. The band haven’t moved away from the disco-funk and classic robotic vocals that made them great, and don’t they know it, as the band sings “we’ve come too far, to give up who we are”. Be warned: it’s near-on impossible not to get up for a little dance to this one. Next, if you haven’t heard of Thundercat yet, be prepared to be impressed with new track ‘Heartbreaks + Setbacks’ emerges from Stephen Bruner’s forthcoming album Apocalypse, impressively co-produced by Flying Lotus. The combination of Bruner’s charming R&B voice and impeccable basslines alongside Lotus’s warped beats is a thing of beauty, just proving that these guys were born to work together. ‘Shut Up’, the opener from the Savages soon to be released album Silence Yourself demands your utmost attention, to turn off the static, noise and feedback
ability to pick up influences as he goes, and works them into a soul framework. The success of this hybrid is obvious from early on, as a pair of violins sweep upwards on an exotic scale with a classical flourish on the title track, while bass and percussion sit in the background. Land of CanAan is a spiritual journey for artist and listener, drifting delicately through the instruments and arrangements of classical, folk and gospel before merging one with another through melody, harmony and rhythm. Toliver is thoughtful and eloquent behind the microphone but the way he sets up his band for each track, his careful balance of styles, is what brings these songs to life. It is in some ways fitting with
from all the shit of modern rock music, and listen “to the distant rhythm of an angry young tune”. They’re playing Queens Social Club on Wednesday and we have a feeling it’s not going to be one to miss. For all you MGMT fans, look out for ‘Alien Days’, an even more bizarre mixture of psychrock and synth-pop that begins to border on the sound of Animal Collective, although it’s difficult to say how well this is working for them. Broken Twin’s ‘Out of Air’ is also worth your time; the track quivers with fragility, as Majke Voss Romme’s voice mournfully retreats into gorgeous pianoplaying. To finish this issue’s Now Playing, we’re going to pay homage to Fleetwood Mac’s new EP, Extended Play. First track, ‘Sad Angel’ has all the makings of a Rumours track, but with the injection of being fresh, new material. Nicky Crane
Follow us on Twitter @ForgePressMusic his instrumental prowess that the highlight is ‘Repetition’, a wordless violin-led track dripping in emotion from layers and layers of rich, mournful strings, but it only offers a glimpse of what is on offer here. The confident stomp of ‘Stay’ lays down the groundwork for a rising, euphoric chorus on ‘If Only’, while recent single ‘Control’ has a communal spirit in its choral backing and uplifting singalong. This is one to let your guard down for. Allow it to sink in late at night or early in the morning, and Toliver will take you to places that not many others will this year. Duncan Geddes
Peace
Friday April 19 The Leadmill
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espite Peace’s performance tonight taking place in the small room at the Leadmill, it shouldn’t be taken as a sign that this is not a popular event. The venue is sold out, and as the band come on the stage, rapturous applause follows them. The set begins with ‘Delicious’, and with the rhythmic pounding of the drums and dreary bassline, the crowd begin to pulsate, before frenzied dancing gives way at the introduction of an archetypal indie-pop chorus. Peace are, to say the least, an interesting musical specimen. The first song in itself has a varied dynamic moving between dreary guitar melodies that wouldn’t be amiss with Johnny Squire in the Stone Roses, to a much more
rock-infused solo. But they show through ‘Waste of Paint’ that they can replicate styles of bands such as the Cure with an infusion of the Smashing Pumpkins. Needless to say, the frantic drumming, that once again reminds you of the Stone Roses, keeps the atmosphere and intensity alive to the point of manic dancing and exuberant movement. Moving through the melancholic beginnings of ‘Float Forever’ through to the epic endings of ‘1998’, the set is entertaining, invigorating, and for some of their die-hard fans, a true treat. They leave to a rapture of applause and cries for more; this spectacle is by no means finished if the crowd have anything to say about it. Minutes later, and to what are now deafening cheers and applause, the band re-emerge. A short and sweet encore follows, and produces much of the same
Reviews.
MUSIC
LIVES emotion that has been on show for the past 40 minutes. As the final song reaches its conclusion, bouncers struggle to hold back and restrain the crowd from making their presence felt on the stage; there’s something very intimate about the whole experience. Peace look completely at home moving inbetween intoxicated fans to finish off their set, and you sense a real enjoyment in what the band are doing. Peace are not minnows of indie pop by any stretch, nor are they the guardians of British rock, yet. But one thing is for certain; if they continue to exert the same amount of passion, enjoyment and panache for what they are doing, they will certainly continue to attract those who adore them on the scale they did tonight. Simon Renwick
The Pigeon Detectives: Audio-Technica/Flickr
the pigeon detectives Saturday April 27 The Leadmill
Peace: Oli Dixon
Lucy rose
Sunday April 28 Queens Social Club
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t first glance, Queens Social Club may not seem the best venue for Lucy Rose’s brand of serene indie folk, but the tacky decorations just add to Lucy’s charm. And her charm is something to shout about. Self-written songs such as ‘Lines’ and ‘Middle of the Bed’ show a genuine, and raw talent that was matched by anecdotes about the venues toilets. It feels like the audience want her to be good just because of how adorable she is, and she didn’t disappoint. After the success of her first album Like I Used To, Lucy’s return to Sheffield (a place she holds dear having written her song ‘Sheffield’ in the back rooms of Plug) is a triumphant one. Lucy
shows a quiet brilliance that means even her slowest tracks bring the crowd, a mix of all ages, into silence. Lucy is proving that you don’t need high production value for a great set, as everyone calls for an encore before she even leaves the stage. Opening act Peter and Kerry are also worth a mention, who draw in the crowd with their heartfelt lyrics and matching outfits. Halfway between the bands The XX and She & Him, the couple (that aren’t actually a couple, we did ask) performed tracks from their EP Clothes, Friends, Photos and even collaborated with Lucy, providing vocals to her track ‘First’. It’s clear from this performance that they are likely to gain the same popularity as Lucy. And Lucy’s popularity was clear; the varied mix of people in the crowd at the Queens Social
Club were all brought together by Lucy’s soulful folk, humble attitude and her amazing hair. There was no division between diehard fans and first time listeners that there can be at gigs like this, just a chilled out, friendly vibe that was enjoyed by all. Not only is Lucy Rose a singer, songwriter and all-round nice girl, she even makes and sells her own tea as merchandise. This just shows how dedicated she is to doing what she loves, and this is what makes her so compelling. Kaia Mccoll More reviews online Read more reviews online at Forge Today
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Lewis Colson
Friday May 3 2013
he Leadmill’s packed out tonight, proving that the Pigeon Detectives still have a large and dedicated following. But don’t underestimate the support bands; the Black Sea took to the stage to kick the night off and, although lead singer Albert Ross sounded as if he had swallowed a few razor blades, the husky tone of his voice fitted with the classic rock vibe of the band. The Arctic Monkeys-esque introduction to ‘The Song of the Nightingale’ was a particular highlight, as the distinctive guitar chords and drum patterns made them sound far more advanced than your usual warm-up band. Next on stage are Must, who disappointingly fall into the indie stereotype. While their use of distorted guitar sounds and the whammy bar was innovative, and the track ‘Kiss Each Other’ had some refreshing lyrics, it didn’t slide in this venue. After the energy and passion of the Black Sea, Must just felt average. After a half hour gap, the Pigeon Detectives took to the stage, and it was immediately clear that they were worth the
wait. In a smoke filled room, Matt Bowman launched into ‘I Found Out’ with an energy and explosiveness rarely seen in bands of this style, and the entire band kept this energy on high for the duration of the gig. With Bowman spraying water into the crowd, swinging the microphone around the stage and standing on the front bar, anyone would have thought this was Leeds festival rather than the Leadmill. The Pigeon Detectives smash through their back catalogue of hits like ‘Done in Secret’ as well as new tracks such as ‘I Don’t Mind’, which gained a huge positive reaction. The highlight of the gig has to be ‘Take Her Back’, with the whole room dancing and Bowman pausing half way through the song to let the tewnsion build before exploding back into the track. Indie music does not usually do passion like this, and that’s because it would be wrong to call the Pigeon Detectives merely indie. They are a guitar band, and with live shows like this, they’re proving that they are still at the top of their game.
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Lucy Rose: PaHudson/Flickr
The Pigeon Detectives: Audio-Technica/Flickr
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Reviews.
I’m So Excited
Dir: Pedro Almodóvar 8/10
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panish director Pedro Almodóvar’s return to comedy is hilarious in a way that harks back to his first features from the 80s. It combines the slapstick of classic Airplane! with the sedatives, sexuality and enclosed spaces of Almodóvar’s Women on the Verge of a Nervous Breakdown. The result is hysterical. Every aerophobe’s nightmare comes to life when Peninsula Flight 2549’s landing equipment fails. Originally destined for Mexico City, the plane now circles over Spain as captain, crew
Water Lilies
Dir: Céline Sciamma 9/10
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t is testimony to the complex narrative dexterity of director Céline Sciamma that, after having seen Water Lilies at the Showroom, you feel as if you could easily write a 2,500 word dissitation on the film. Part of the Showroom’s April Teens on Screen season, which has also included Rebel Without A Cause, Pretty in Pink and A Room For Romeo Brass, Water Lilies is a deeply moving meditation on awakening teenage sexuality and the accompanying complexities of love. The potential for clichés in dealing with such material is enormous. However, through delicate camera work and an unwavering eye for detail, Céline Sciamma manages to guide us through the turbulence, aimlessness and frustration of this formative teenage summer with confidence. Recalling the similar partnership between French electronic music duo AIR and director Sofia Coppola on The Virgin Suicides, the film’s beauty comes chiefly
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and control all try to find a solution. There’s nothing the three camp air stewards won’t do to make sure their passengers and pilots are comfortable, offering unlimited access to any illict substance; you name it, they’ve got it (and have probably taken it). The plot focuses on the passengers travelling in first class, the range of which covers every demographic, from psychic to soap star and bounty hunter to businessman, with a dominatrix thrown in for good measure. When the end seems nigh, the natural thing to do is to crack out the narcotics, spike the Valencia cocktails with mescaline and join the mile high club. That and perform a choreographed version of disco classic ‘I’m So Excited’,
which lends the film its English title. While also a return to comedy, I’m So Excited sees many Almodóvar old timers come back to the big screen. Penélope Cruz and Antonio Banderas make cameo appearances on the runway, but it’s the characters inside the plane that really flavour the film. Javier Cámara (Bad Education) deserves a mention, providing the campest third of the cabin crew who, along with Raúl Arévalo and Carlos Areces, give the Pointer Sisters a run for their money. Cecilia Roth, who appeared in Almodóvar’s debut feature over 30 years ago, excels as the dominatrix, Norma Boss. The comedy will appeal to
from the contrast between Sciamma’s finely balanced direction and the accompanying soundtrack. An immersive and haunting series of electronic instrumentals by Jean-Baptiste de Laubier, better known as French music producer Para One, the contrast between his popular output of pulsing techno or acid tracks and those which furnish Water Lilies, with almost serene melancholy, is breathtaking. Set in a nameless suburb on the outskirts of Paris, the film follows teenagers Marie, Anne and Floriane in their various quests for love and fulfilment. Yet as we are shown, realising this is far from an easy task at this period in anyone’s life. Emotional conflict is palpable from the very opening scenes, in which the brooding, dark-eyed Marie rapturously watches Floriane lead her band of synchronised swimmers in a school performance. Admiring Floriane from afar is also the persistent and handsome François, whose own admirer provides slight comic relief in the form of Marie’s best friend and first kiss, Anne. This complex web of loyalties, lusts and loves is the heart of the film’s narrative,
with an outcome which serves as a timeless lesson for all relationships, regardless of age. The social hierarchy of school life is depicted vividly through the powerful, virtual gender segregation in the swimming pool changing rooms, as well as the repartee between Floriane and another girl, about the effect on a boy of seeing a girl eating a banana. In contrast with this, the enforced order and discipline of official school life is equally depicted well, particularly in one scene where all the girls are lined up for an inspection of spotlessly shaven armpits. If you enjoy searching for it, symbolism is plentiful in Water Lilies; my imaginary dissertation notes included the roles and location of water, and uses of shapes such as windows and rectangular swimming pools. However, this is definitely not necessary to appreciate wholly this touching and memorable film. If you have ever felt a love connection of any kind, you will find moments of empathy in this film. Water Lilies is an exquisite addition to anyone’s DVD collection. Kirsty Moyse
die-hard Almodóvar fans and newcomers alike. Although not as hard hitting as The Skin I Live In or Volver, the film can be likened to the Spanish director’s earlier works on La Movida, a period in Madrid after the end of the dictatorship when sexual liberalisation and self-expression were rife. It’s entertaining in an outrageous way that borders on a Latin American soap opera. This comes from the hotchpotch of flamboyant personalities, the majority of whom are overtly gay or questioning their sexuality. The air stewards easily steal the show, each in their own way; one brings a portable shrine in a suitcase, while the others man-
Me & You
Dir: Bernardo Bertolucci 6/10
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talian film Me & You tells the story of a troubled teenage boy, Lorenzo (Jacopo Olmo Antinori). He tells his mother he is going on a skiing trip with his school, yet desperate to be on his own, he instead decides to hide out in his basement for a week. While there, Lorenzo meets half-sister Olivia (Tea Falco), who uses the basement as a place of recovery for her drug addiction, meaning Lorenzo does not get the peace and quiet he wishes for. Directed by Bernardo Bertolucci, this is a film which looks to address many of the mental dilemmas faced in society today. Filmed mainly in the dark basement itself, the film explores the struggle to ‘fit in’ and be normal in the modern world. Lorenzo is an extremely closed person, and one who seems not to seek the friendship of others. Misunderstood by everyone around him, the audience is at first concerned for this boy’s mental wellbeing. A few uncomfortable, sexualised scenes with his mother promote a sense of unease, yet the story shows Lorenzo’s development from this strange boy into a mature young adult.
age to knock back half a bottle of tequila within the first five minutes. Tipping the cliché on its head, one is also having an affair with the married captain. Of course there is a message behind the madness. The satire snubs the Spanish elite, subtly reproving political corruption and the banking crisis. The plane that circles slowly above Spain, while those inside wait for the crash, is a metaphor of the economic situation in Spain, and the stereotypical Spanish outlook on life. Whether it’s message is metaphorical or just plain silliness, I’m So Excited is a film not to miss. Hannah McCulloch
His ability to empathise with Olivia removes any doubts the audience had about their relationship. Olivia, like Lorenzo, struggles with the pressures of modern day society. Once a photographer, a descent into drug abuse has led her to become someone she despises, and her attempts to re-enter the normal world are what makes up the majority of her narrative. This is an extremely well shot film, only let down by occasionally poor acting. Numerous close-up shots and the size of the basement help to reflect the feeling of claustrophobia common to both characters, helping the audience to understand the struggles faced. Bertolucci manages to add elements of comedy to this somewhat dark story, giving it a wider appeal, though it still seems to be aimed at a narrow target audience. For those put off by subtitles, it’s not too bad. You may not even notice them once the film gets going. An almost entirely empty cinema did not do this film justice in my opinion, and while it is certainly not a film to see on a first date, it nonetheless succeeded in entertaining. Joshua Pepper
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Reviews.
Iron Man 3 Dir: Shane Black 9/10
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rom the electric exposition sounding Eiffel 65’s ‘Blue (Da Ba Dee)’, it is clear that Iron Man 3 is a daring, unrestrained threequel by director Shane Black. But he who dares wins, and this is a cinematic victory of epic proportions - the ultimate action blockbuster. Only a man who has climbed out of his own personal hell could embody Tony Stark with such believability, and Robert Downey Jr. has grappled with as many demons as his comic-book counterpart. Continuing from the climatic New York battle in the superpowered tour de force that was Avengers Assemble, Tony Stark is suffering from acute anxiety attacks, and is quite noticeably shaken to his electromagnetic core. Having embarked upon a relationship with his assistant Pepper Potts (Gwyneth Paltrow), Stark’s heart hasn’t seen such vulnerability since he was taken captive in Jon Favreau’s first chapter. “Things are different
now,” Stark reveals, “I have to protect the one thing that I can’t live without. That’s you.” In Avengers Assemble, Captain America posed the question: “Big man in a suit of armour. Take that off, what are you?” Iron Man 3 examines this question to a forensic degree; what’s inside the man inside the suit? These interesting narrative vicissitudes allow a Stark-centric plot which brings the Iron Man back down to Earth, demonstrating that Tony is a genuine, bona fide hero - suit or no suit. One of the most engaging, charismatic actors to have graced the silver screen, Downey Jr. is again worth the admission price alone. As expected, there is the plethora of witty asides welded with the usual tongue-incheek one-liners throughout, but you can just sense that this hero is every bit as broken as his new suit. However, Stark exposed is utterly captivating, as the layers of arrogance and self-worth are stripped
away. Alternate comic book universe aside, you can’t help but feel reminiscent of the The Dark Knight trilogy in terms of baring a character so naked, so raw. Villains have always been the chink in the armour of this superhero saga, but rest assured, the Mandarin is finally the antagonist this series deserves - a Machiavellian genius who, in a literal blaze of fury, is one to finally test Stark’s metal. Guy Pearce is sublime as Aldrich Killian, but it’s the scene-stealing Ben Kingsley who is, in more than one way, a total revelation. Don Cheadle’s Rhodey deservedly gets his fair share of screen time also, as the Iron Patriot. The Roger Murtaugh to Stark’s Riggs, the pair bounce off each other with such zeal, they can’t help but evoke Shane Black’s original buddy cop movie Lethal Weapon. The film is forged with blistering set pieces and innovative
fight sequences, utilising the suit in a variety of ways with such vision and imagination. Fittingly, the film reaches its most dizzying heights during a scene involving passengers hurtling from a plane at breakneck speeds as Stark is left in a race against time to save the day. Absolutely gripping stuff, this is an adrenalinefuelled thrill-ride, worth even a viewing in 3D. A new contender for your favourite Christmas action flick, wrestling with such festive giants as Die Hard, this is every bit as entertaining as Avengers Assemble. As with any Marvel film, it’s definitely worth sticking around for a brief post-credit scene. One which entirely modifies the context of the film; a move worthy of Stark’s intellect. Genius, perhaps. The final lines that appear on screen complete a thrilling trilogy and read as a tantalising end note: “Tony Stark will return”. Graham Wardle More reviews online Read more reviews online at Forge Today
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Small Screen. Hemlock Grove Netflix
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Grave of the Fireflies Dir: Isao Takahata 1981
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eard of Grave of the Fireflies? No? It’s animé. You may think animé is just porn with tentacles. You actually couldn’t be more wrong. For those who think animé is all about strange Japanese catpeople, then you clearly haven’t been introduced to Studio Ghibli. Animé can be entertaining, downright hysterical and deeply moving, and on the latter of these points, Grave of the Fireflies certainly fits the bill. Released in 1988, the original
film is based on Akiyuki Nosaka’s 1967 eponymous, semi-autobiographical novel. In the final months of World War II, with their mother having died in a bombing and their father away serving in the Japanese navy, it tells the story of Seita and his little sister Setsuko as they try to eke out an existence. The film follows their struggle to survive and how they try to make the best of an impossibly dire situation. Described as an anti-war film by many, Grave of the Fireflies certainly provides moments of absolute awe and disgust, yet remains centred on the siblings’ struggle to survive in a time when no one is looking out for them. The melancholic tone of the film brilliantly serves the pur-
pose of highlighting their situation, while also emphasising the brief moments of joy that they share together. Studio Ghibli is renowned for its merry films involving Japanese folklore and mysticism, but what makes Grave of the Fireflies stand out is the depth of conflicting emotions it expresses. A moving, iconic piece of cinema in its own right, this Ghibli film easily measures up to the world of live action. One word of advice though, watch the original version. There will be subtitles, but dubbed animé loses the poignancy that the Japanese versions retain. Set aside an hour and a half to give this one a blast. Kieran Dean
Fuse.
Phil Bayles
Cult Corner.
Friday May 3 2013
t’s somewhat ironic that each new episode of Hemlock Grove is prefaced by a little sign reminding us that it is a Netflix original series, because there isn’t an original bone in its body. Eli Roth’s horror series feels like a rehash of all the worst ideas from a dozen different shows, mushed together to form a bland, homogenised pile of sludge. The story opens, as such stories often do, with a grisly murder, as a predictably attractive young teenage girl is devoured by a monstrous animal. Many suspect Peter (Landon Liboiron), a hirsute gypsy newly arrived in town, of having something to do with it; and so he teams up with Roman (Bill Skarsgård), a brooding spoilt rich kid with a fetish for blood, to solve the mystery. No surprises for guessing that they are indeed a werewolf and a vampire. Still, at least Peter doesn’t sparkle. Almost every aspect of Hemlock Grove is based on something else. It’s trying to be as gory as
Dexter or The Walking Dead, and as sexy as True Blood. It doesn’t help that Skarsgård, like his older brother Alexander, regularly appears shirtless. Peter’s suspect relationship with his mother (Famke Janssen, sporting the funniest accent on TV since Officer Crabtree) couldn’t scream “Norman Bates” any harder if it tried, and like American Horror Story there are references to every horror trope from gypsy curses to ghosts and Frankenstein’s monster – here she’s named Shelley. Slow clap. But what makes it worse is the laughably bad screenplay, which seems to throw such conventions as coherent narrative and interesting characters out of the window. To be fair, it’s not all awful; the production values are surprisingly high, with some great practical effects and one of the best werewolf transformation scenes since An American Werewolf in London, but wasting them on a show this bad feels like putting Dijon mustard on a hotdog made of cheap, processed meat.
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