Fuse Issue 86

SHEFFIELD’S BEST VENUES // 20 YEARS OF THE SHOWROOM // UNI IN MINECRAFT // JOSHUA JENKINS INTERVIEW

FREE ISSUE 86

“NOTHING CAN PREPARE YOU FOR SEEING FLORENCE WELCH LIVE.”

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INSIDE

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ARTS

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The Lyceum sees classic East is East grace the stage (p.11)

GAMES

Explore the wasteland in Mad Max (p.10)

SHORT FUSE 3

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MUSIC

Florence + the Machine hit Sheffield (p. 12)

SCREEN

Tom Hardy stars as the Kray twins in Legend (p.14)

MUSIC FEATURE 6-7

A run down of the best live music venues in Sheffield.

MUSIC FEATURE 4

GAMES FEATURE 8-9

A run down of the best live music venues in Sheffield.

We use Minecraft to lovingly recreate our own University buildings.

SCREEN FEATURE 5

REVIEWS AND LISTINGS 10-16

We celebrate 20 years of Sheffield’s great independent cinema.

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forgetoday.com/fuse

EDITORIAL

nd so, another year in the wonderful Steel City (sorry Phil) begins. A huge welcome to all you fabulous new students and welcome back to everyone else returning.

We’re both excited to be back and can’t wait for the year ahead - we have a great feeling about it, and hope you do too!

For those returning, you may have noticed Fuse looks a little different.

We’ve had a bit of a face lift and, due to my phobia of orange, Fuse has a brand new look.

The reviews pages have changed and made way for some fancy images, as well as more space for the awesome reviews we get sent in.

I know I’m biased, but this is one hell of an issue. Our Short Fuses are back and battling the topics of cultural appropriation within poetry, the BBC’s plans to change iPlayer, Metal Gear Solid, and XFM’s decent into Chris Moyles and Johnny Vaughn. Yes, Johnny Vaughn.

Arts Editors Jo and Joshua have interviewed Joshua Jenkins, star of Curious Incident of the Dog in the

Night-Time, and have reviews of East is East, Dirty Rotten Scoundrels, and Three Moments of an Explosion.

Games Editors Ash and Moya have been spending all summer putting together a Minecraft version of the University for you all to enjoy.

If that wasn’t enough they have reviews of Mad Max, Magicite, and Lux Dulux.

Tara and Charlotte, our Music Editors, have incredible lives from Florence + the Machine and Alvvays, brand new singles reviews of Wolf Alice, Royal Blood, and the Weeknd ft. Lana Del Rey, as well as album reviews of the Libertines, Bring Me The Horizon, and Arctic Monkeys. Their feature this issue is all about Sheffield venues, so make sure you read it if you’re looking for places to go this Freshers!

And finally, flying as solo Screen Editor, Rhys (with a little help from us two) has put together a feature on the Showroom cinema as well as reviews of Legend, Everest and American Ultra just to name a few.

The magical listings page remains as it was, just with a little sprucing

FUSE EDITORS Phil Bayles Joss Woodend

up. With events such as Henning Wehn, the Wombats, EGX and Sensoria Festival happening over the next couple of weeks, the back page is one to check out.

As ever, we’re looking for contributors and if you’re out there wanting to write some meaty features or get your hands on some press tickets then drop us an email, sign up to our mailing list at the Activities Fair, or come along to our contributor meetings.

For now, we’ll leave you with a picture of me and Phil, JOSS AND PHIL

ARTS EDITORS Jo Gallacher Joshua Hackett GAMES EDITORS Ash Emritte Moya O’Rourke MUSIC EDITORS Tara Hodgson Charlotte Pick SCREEN EDITOR Rhys Handley

CONTRIBUTORS Beth Andralojc Jack Beal Alex Burns Oliver England Jess Green Anna-Marie Higgins Jack Hunnaball Kate Lovatt Andrew Martin William Morley Marcus Raymond Joey Relton Matthew Reynolds Luke Scrivens Phillie Spottiswoode Isaac Stovell Dan West Robin Wilde Mark Wood FRONT COVER Dan West

Want to write for us?

Email us over at fuse@forgetoday.com or come and find us at the Activities Fair on Thursday 24 September

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SHORT FUSE GREAT POEMS DON’T EXCUSE CULTURAL MISAPPROPRIATION

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he latest piece of controversy to hit the Arts world last week was one that raised deeper issues of cultural appropriation and western dominance.

A collection of poems submitted to the Best American Poetry Anthology under the name Yi-Fen Chou, has been revealed to be the actual work of white American poet Michael Derrick Hudson (pictured), who only publicised his true identity after the collection had been accepted into the anthology lineup.

This approach to poetry is problematic not only in the

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the work of crime author Robert Galbraith, whose debut novel became an instant bestseller when it was revealed that Galbraith was actually a pseudonym of JK Rowling.

Alexi justified retaining the poems because the content was of a high calibre. But by letting this kind of subversion go unpunished, we’re doing little to prevent it happening again in the future.

KATE LOVATT

less.” This being the internet, and nuance therefore punishable by death, people have still got up in arms about it.

Let’s be clear, it probably is wrong to be charging players to make extra progress. But that option only exists because they understand some people are prepared to do it.

As long as there are players stupid enough to fork over money to cheat themselves out of gameplay, of course publishers are going to capitalise on it.

This is a position that is incomprehensible to most seasoned players. A sandbox game is surely,

like the best fiction, far more about the journey than the destination.

Does anyone remember the ending to Just Cause 2, or is it in fact far more likely they remember the grappling, hijacking and general destruction that game entailed?

Given the ending involved fighting Kim Jong-Il on top of a nuclear missile in flight, it definitely reinforces the point.

To include microtransactions to the degree they were present in something like Dungeon Keeper is definitely unfair. The game was unplayably slow without the micropayments, which were not even permanent additions, and

some of which cost more than entire big name games at full price. It was that episode which led games journalist Jim Sterling to coin the term “free to wait” instead of “free to play”.

But to criticise Konami for offering their own version of an Action Replay seems a little unfair. It’s simply reflective of a very demanding, quick-paced and greedy approach to modern gaming - a problem which goes a lot further than Metal Gear Solid.

But that’s a Short Fuse for another day.

ROBIN WILDE

XFM: CELEBRITY HOSTS CAN’T REPLACE LOCAL HEROES

nother local radio station is at this autumn, with Xfm set to be replaced by a more national themed station.

Xfm will be relaunched as Radio X on 21 September.

The shift in direction means Manchester will no longer produce any of the programmes for the station.

This isn’t the first time that owners Global have dismissed the value of local content in favour of a more national style, with London’s LBC recently becoming a national radio station. But this is not the only big change to happen as part of the rebranding.

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desire for racial equality.

As an outsider, Hudson is arguably devaluing Chinese culture by using a name that holds significance in China without transporting the same significance into his own work.

Guest editor Sherman Alexi even commented that the poetry ‘didn’t contain any overt or covert Chinese influences or identity’.

Alexi has come under fire for opting to keep Hudson’s poetry in the anthology, despite the intentional subversion. Such criticism is merited when considering the fact that an author’s identity can fundamentally change the way we view their work – just look at

METAL GEAR SOLID V: TACTICAL MICROTRANSACTIONS

nother week, another fuss kicked up over microtransactions.

Metal Gear Solid V, already the recipient of one bucketful of steaming controversy over Hideo Kojima’s ownership of the franchise, contains the ability to pay to unlock missions, characters and items.

Konami have been quick to stress that there is no content available only to those who pay. As they put it: “Microtransactions have been added as a completely optional feature for players who might not be able to spend as much time in the game. Nothing more, nothing

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falsehood at its core, but also in its evocation of white, western entitlement. Not only has Hudson invoked a nationality that is not his own, but also a racial ethnicity of which he is not a member.

In its basest form, this is the act of a white American man – dissatisfied with literary rejection – deciding to utilise another culture because it furthers his own interests.

Brian Spears has called such an act ‘yellowface’, an in essence this is exactly what it is.

As a westerner in a position of privilege, Hudson has used a nonwestern authorial identity to elicit a response driven by the editor’s

Presenters across the local radio station are being axed in favour of more ‘established’ names in the hopes of bringing more experience to the station.

Chris Moyles, the former Radio 1 breakfast presenter, will be headlining a new celebrity line-up including Dan O’Connell, Johnny Vaughn and Kaiser Chiefs frontman Ricky Wilson.

Yet Xfm’s longest serving Breakfast show host Tim Cocker, who fronted the station for five and a half years, was hardly a novice.

Still, look on the bright side: the North will be represented solely by Vernon Kay. How exciting.

Unsurprisingly, this star-studded list of new hosts hasn’t had the warmest of welcomes that was hoped for by Global. Listeners worry that Radio X will be another carbon copy of the already increasingly similar national radios, which most tuned into Xfm to avoid.

It’s more than a little disappointing that another great northern staple will be permanently moved to London. Xfm, with its refreshing mix of local and national programmes, had the best of both worlds for most listeners, but many fear that these new celebrity presenters will lack any passion or knowledge of the local area.

When I tune into my local radio station I want to hear funny anecdotes about the city and people I know. I want to hear those little quirky news stories that wouldn’t necessarily make it into national headlines. I want the comforts of home rolled up into one neat radio station.

So while admittedly I may look forward to listening to the playlists made by Ricky Wilson, it doesn’t negate from the sadness I’ll feel when it’s no longer Tim Cocker’s voice I’ll wake up to in the morning.

JESS GREEN

LORD HALL’S BBC: A BASTION OF BUREAUCRATIC “CULTURE”

ord Tony Hall, BBC Director General, has done one of those launch things where he outlines his “vision” for the corporation’s future, with a bunch of stuff about “open platforms” and turning iPlayer into Netflix.

But underneath the digital jargon there was a more insidious narrative at work, in the form of much bombastic nationalist waffling about “making Britain the greatest cultural force in the world.”

Contained in that soundbite is the generally pretty destructive idea of a nation’s culture simply as an industry, to be marshalled against that of competing rival nations.

All of which is a massive excuse for never taking any risks in programming. The kinds of risks which might make people like me, who have basically abandoned the BBC in recent years thanks to it’s sheer bureaucratic nightmarish presentation of “talent” without any apparent understanding or care for what real art might look like, come back.

Brian Cox is exhausted.Just look at him, you can see the years in those beautiful blue eyes, but imagine knowing everything about the cosmos and being an academic to boot, and then having Tony Hall ringing you every ten minutes to

front this or that new launch with yet another made up shiny slogan about “cultural force”.

The sad fact is that the BBC has been terrorised by the right-wing press and the Conservative Party for so long that the only way they can conceive of surviving to is swallow and regurgitate the same kind of reactionary drivel they’ve been pummelled with in the vain hope it’ll persuade the forces of darkness to leave them alone.

But it won’t, because the very principle of a national public broadcaster is anathema to everything this government stands for.

Where’s Chris Morris when you need him? Oh yeah, he’s not allowed in the building anymore.

Nice one, BBC. MARK WOOD

Friday 18 September 2015

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FEATURE

From Punk to Plug: Everything you need to know about Sheffield’s music scene

Music contributor Beth Andralojc takes a look at Sheffield’s vibrant music scene.

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ith a music scene vigorous enough to rival Manchester, it’s no wonder that students around the country flock to Sheffield to sample its myriad of musical delights. Whether it’s jungle, jazz, raves or rock, Sheffield is unparalleled in the range of music that it has to offer. In fact, with its intimate venues and collection of bands, Sheffield is gradually coming to be recognised as one of the music capitals of England, not just the North.

Sheffield is already the home of a wide variety of well-loved bands, ABC, Pulp and Arctic Monkeys to name but a few, and is always inspiring new bands from all different genres of music. Having played a key role in the electro movement of the 1980s, where industrial tinkering sounds from factories and steel works influenced electro-industrial pop groups like the Human League, Sheffield went on to lead a long-lasting musical legacy.

While the ‘80s was filled by Sheffield-born punk bands like Def Leppard, the ‘90s cast a magnificent spell of Britpop over the city, as locally-grown band Pulp were gaining world-wide recognition. Clearly, Sheffield has always inspired captivating talent.

Even within the last two decades, the city has seen the evolution of indie rock with the rise of prominent bands such as Arctic Monkeys. The music venues, culture and essence of Sheffield have all influenced

amazing developments in the British music scene.

“With its intimate venues and collection of bands, Sheffield is gradually coming to be recognised as one of the music capitals of England, not just the North” In terms of its venues, the fantastic thing about Sheffield is that nearly all of its music spots cater to all musical tastes. One of the most highly-acclaimed venues, the Leadmill, does not only play music affiliated with Sheffield’s ‘80s electro past, but also puts on an array of cheesy tunes from the ‘60s to the present day, as well as its infamous indie nights, Gaga and Sonic. It also hosts unforgettable gigs, having hosted early performances from bands as huge as Oasis and the White Stripes. For anyone interested in music, gigs or

even just having a great night out, it is well-worth a visit.

If your taste in music in slightly more refined than this, then a trip to somewhere like The Dove and Rainbow, the city’s much-loved punk and metal bar, or Mulberry Tavern, which regularly hosts punk nights, will most definitely suit your musical taste. Plug, doubling up as a club and a phenomenal gig spot, hosts both great gigs and fun night outs.

Additionally, if you’re not looking for anything in particular, but just feel like strolling into a cosy pub with live music, then why not try the smaller, more intimate locations like The Harley, a right-on, student-

friendly bar, or The Grapes, where Arctic Monkeys played their first ever live performance.

In supporting the legendary music scene of Sheffield, the University hosts a variety of different music events that suit all manner of tastes in music. From showcasing local talent at Forge Presents, to the nationally-renowned house music night The Tuesday Club, there is always something to suit everyone.

As well as providing great nights out, the University also has a variety of music societies, to which anyone and everyone is invited to join.

Some of these societies include a Rock Society, an Alt-music Society

(Small Ideas), a Rap Society, and many more. Whatever your musical preference, the University has it covered.

If you’ve always loved exploring music, or want to learn more about genres and sub genres which you’ve never even heard of before, then you have come to the right place.

Sheffield is a city that offers an endless feast of musical delights.

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Friday 18 September 2015

FEATURE “Show Me the Movies!”

Anna-Marie Higgins celebrates 20 years of one of Sheffield’s most beloved landmarks: the Showroom Cinema.

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or those entering Sheffield via its train station the Showroom Cinema is like a lighthouse, guiding visitors from all around the country to come to our city and find shelter in entertainment.

The former site of a car dealership, it has been a stalwart pinpoint on Sheffield’s bright cultural map since 1995, while the art deco building which houses it has stood since 1936. It is comforting to think that although the landscape of the city is always changing, the Showroom will remain constant.

It is an independent cinema that has managed to carve out a niche apart from the larger chains, and one that has managed to retain its charm.

The Showroom offers cinephiles in the city a home away from home.

That is, of course, if your home were an ultra-cool, sleek, filled-to-therafters with amazing snacks, film merchandise and posters sort of dream house. What I have always felt stepping through the doors of the Showroom is an overwhelming

sense of glamour, hidden neatly within our charmingly concrete city.

The red velvet seats and theatrelike screen rooms give occasion to what could easily be just a simple cinema trip. Artisan ice-cream and an eclectic range of independent foreign films could almost convince you that you were in a turn-of-thecentury European cinema.

The restaurant has a great, classy menu which is constantly being reinvented, and if you’re feeling in a particularly celebratory mood there is the tempting Take Two Deal which provides dinner, wine and a film for two for £30.

The Showroom has firmly put itself within the annals of film history, and if you are clued up on Sheffield films and bands, you may have recognised the cinema on screen.

The building has been seen in the Arctic Monkeys’ video for ‘Leave Before the Lights Come On’, and Chris Morris’ brilliant Sheffield-set dark comedy Four Lions. Your runof-the-mill chain does the job it was created for, but it sure doesn’t beat

the sensation of seeing the cinema you are sitting in on the screen you are looking at.

“The Showroom is a place of unadulterated cinematic joy” The Showroom staple Celluloid Screams Festival, established in 2009, commences 23 October this year. It showcases the year’s best short and feature horror films. Along with classics such as A Nightmare on Elm Street and The Texas Chainsaw Massacre, this year the festival is screening the hotly anticipated film Goodnight Mommy and the excessively eerie Pagan thriller The Witch.

As is evident, the events do not always centre around film.

The Showroom puts emphasis on

creative and informative sessions as much as it does upon cinematic events, like Jon Ronson’s So You’ve Been Publicly Shamed event tying in with the launch of his latest book.

This event, along with seeing a screening of Northern Soul with a cinema screen full to the brim of locals, showed me just how import creating a sense of community is to the Showroom.

The Showroom has recently celebrated its 20th anniversary as Sheffield’s premier independent cinema. At the moment, it is making efforts to renovate. It is a venture that the cinema sets at the price of £250,000, one that once it is carried out will see the floors, chairs, toilets and foyer receiving a makeover.

While some would argue that the cinema is just fine as it is, renovations at any venue that serves entertainment and creativity are always welcome to the public that frequent it.

Visitors can buy badges and t-shirts, and if they truly want to go

down in the cinema’s history you can sponsor a cinema seat and have it named after yourself or a loved one. People will be reading your name for years to come, just before they watch Jurassic Universe or Fast & Furious 27.

If you have been to the Showroom before, you know of its virtues and you obviously have imminent plans to visit again. If you haven’t been before, you can plan which blockbuster or small indie you will enjoy on its screens first.

Either way, one thing is undeniable; the Showroom is a staple of Sheffield’s landscape, and a place of unadulterated cinematic joy.

ARTWORK: PHILLIE SPOTTISWOODE

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Friday 18 September 2015

FEATURE

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ased on the much-loved novel by Mark Haddon, The Curious Incident of the Dog in the Night-Time explores themes of family, individuality and the struggle for independence that will be familiar to any eager fresher exploring the unfamiliar city to Sheffield.

The play recently completed a hit Broadway run and is now touring nationally. Joshua Hackett spoke to Joshua Jenkins about playing the lead, Christopher.

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Friday 18 September 2015

What’s the main challenge in putting a novel like this one on the stage?

I think the biggest challenge is getting the audience inside Christopher’s mind. The book is told through his eyes, so we have to make that theatrically interesting. In this production, we’ve chosen to do that with music, lighting, projections and especially physical theatre.

Whenever Christopher feels overwhelmed, or confused, or anxious, we portray that with these mechanisms – it means the play really does have the production values of an enormous West End show.

And what do you think it is that makes this novel work well on stage?

It’s fundamentally a beautiful story.

It’s based on these beautiful themes of family, love and difference that we can all relate to. There are many musicals but not many plays with these kinds of production values.

Having those gives us the freedom to really do the story justice.

What do you want people to take away from the play?

For me, the most important thing is how we as a society treat those who are different. To be different isn’t just OK, it’s a good thing. That was the message I took when I read the book.

Every audience member will be able to point at a particular scene and take away something personal to them – I think that’s the beauty of it.

The author Mark Haddon famously disagreed with the description of Christopher as

FEATURE “autistic”. Will your portrayal be one of a textbook case of autism?

The idea of Christopher being on the autistic spectrum is never mentioned in the book, or indeed the play – only in the marketing.

It’s nonetheless fair to say that he possesses the traits and qualities of someone who is.

I tried to research autism as much as I could. I read up on it, I visited some schools in London and chatted with pupils on the autistic spectrum, along with their parents and teachers.

But while we are portraying Christopher as autistic, the play isn’t just about a boy on the autistic spectrum – it’s so much more than that.

Out of the roles you’ve played before, are there any that have been particularly useful in helping you prepare?

There’s not much I’ve done before that could prepare me for a role this unique, especially in terms of the physical demands. What might be a page of dialogue can translate into a ten minute movement sequence.

We’re working with Frantic Assembly – one of the best physical theatre companies in the business – to work that out.

I trained at the Royal Scottish Academy of Music and Drama and in Swansea before that – I like to think that it’s because of the fantastic people who trained me that I’m able to take on challenging roles like this.

How exactly are you externalising Christopher’s internal world?

It’s a very technical show for the entire ensemble. The physical

aspects are most challenging; standing up or moving at just the right time to cue the lights or the projections. It’s very structured and regulated, and over the six week rehearsal process, we worked on those parts time and time again to lock them down.

Working in that regimented way is appropriate for Christopher’s personality; he doesn’t like a break of routine.

Every morning we did a boot camp to get us all physically fit; sit-ups and press ups and all these other horrible things. For the rest of the mornings we rehearsed the play itself, and then in the afternoons we’d look at the themes of the story and study those in detail. It was a very special rehearsal process.

How has the tour been so far?

I feel very lucky, taking this wonderful production on the road.

Even though we might be nine months into the tour, visiting brand new cities and venues keeps it exciting and fresh. My favourite has to be the Millennium Centre in Cardiff. I’m Welsh, so I had all my family and friends in the audience.

Have you been to Sheffield before?

I’ve never been, but I’ve heard nothing but amazing things so far and of course everyone knows about the theatre scene. The rest of the cast and I are looking forward to a bit of exploration.

The Curious Incident of the Dog in the Night-Time is at the Lyceum until 26 September.

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Friday 18 September 2015

FEATURE

ALL MINE

A Crafty Tour of the University of Sheffield

Minecraft builds, interesting factoids, gaming societies: Games Editors Moya O’Rourke and Ashfaq Emritte help you get acquainted with your new University.

Friday 18 September 2015

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FEATURE

Don’t Forget:

If you’re bringing a console to uni, do check CiCS (Corporate Information and Computing Services) on the University of Sheffield website to find information on how to connect your console to the University internet, where to seek help if you experience any problems, and how to register your console if it needs to be registered.

The Octagon

Arts Tower

Students’ Union

Firth Court

“Dave Grohl once set foot in here. I like that factoid.” - Joshua Hackett “Tallest paternoster in Europe. At least we’re currently beating the Germans at one thing.” “The University of Sheffield’s superior version of the United States’ Pentagon building.” - Ash Joshua Hackett Emritte “The enjoyability factor wears off after three days, but still good for meditation.” - Ash Emritte

“Nice million pound redevelopment you have there. It would be a shame if anything were to... happen to it.” - Joshua Hackett “The Students’ Union is home to Forge. It is also home to a myriad of other things. You will get to know it well.” - Ash Emritte

“Alumni can get married in Firth Court. Assuming, of course, you don’t die alone and unloved.”

- Phil Bayles “One of the oldest buildings on campus, Firth Court was officially opened in 1905 by King Edward VII and Queen Alexandra.” - Ash Emritte

Games Societies

Sheffield Minecraft Society What better place to start? MineSoc has its own server and a strong community, not too big, not too small, where you can meet new, like-minded people. Keep up to date with the latest news on their Facebook page (Sheffield Minecraft Society) and builds on their YouTube page (ShefMineSoc).

Sheffield University Gaming Society SLUGSoc hosts several gaming events throughout the year, playing multiplayer games such as Team Fortress 2 via local area network, most with a turnout of between 40-80 people. You can also get in on some competitive split-screen action at their socials. This is the society to join for multitudes of multiplayer fun.

Sheffield Board Game Society Board of video games hogging the limelight? BoardSoc offers an incredible range of board games and card games to play. Search Sheffield Boardsoc on Facebook for more information on games and gatherings.

Friday 18 September 2015

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REVIEWS

MAD MAX

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h what a game. What a lovely game!

After many hours of shouting ‘Witness!’ and smashing cars into other cars, causing them to explode into plumes of orange flame, it seems safe to say that Mad Max is a blast.

Featuring brutal car combat in a huge open world, with a dash of Arkham-style melee combat on the side, this game is an over-the-top romp from the moment it begins.

CULT CORNER

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MAGICITE

here’s nothing particularly new or groundbreaking about an indie RPG platformer with permadeath and randomly generated dungeons, and you’d be forgiven for thinking that you’d seen everything in Magicite before.

The game has the player run through dungeons, avoiding obstacles, attacking enemies and gathering resources whilst under a soft time constraint. All this combined can make for stressful situations where players can slip up and die – which they will, time and time again.

However, the combination of randomised, varied terrain and an impressively large progression system rewarding you with new abilities makes starting afresh a new exciting opportunity. “Just one more go,” you’ll keep telling yourself, “I can get further this time!”.

Besides, not every game has to

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Indeed, the very first thing that Max does is plant a chainsaw into a warlord’s cranium, hence setting the tone for the rest of the game.

If you’re looking for a deep and well-crafted story, you won’t find it here. This is a revenge tale, pure and simple. The game begins with the unfortunately named antagonist, Scabrous Scrotus, beating the crap out of Max and destroying his fabled Interceptor.

Understandably, Max isn’t too happy about that. So, with the aid of a new friend called Chumbucket, who believes Max to be a saint and is also very much off his rocker,

Max sets about building a new car, the Magnum Opus, in order to wreak his revenge on Scrotus.

The player has complete control over the customisation of this vehicle, from choosing the body shape, right down to selecting which hood ornaments they want. You can create a fast and agile machine, or armour it up and turn it into a lumbering four wheeled wrecking ball. The choice is yours.

The car combat is where this game really shines; with blisteringly fast chases full of huge explosions and high speed collisions, it never fails to get the heart racing. Yet what

really stands out is the vast array of ways in which you can smash other cars to pieces.

You can pull wheels and armour off with a harpoon, you can shoot exposed fuel tanks, turning them into balls of screaming flame, you can throw explosive javelins at them, or you can simply bash them to pieces with your own car.

Unfortunately, the portion of the game in which you are on foot is by no means as exciting as the driving sections. It’s not bad, it’s just very much overshadowed by the explosions and the madness of the car chases. The game uses the tried

and tested fluid combat system that was used in the Arkham games and Shadow of Mordor, and while it still feels satisfying to beat a load of guys to a pulp, it brings nothing new to what is fast becoming an overused formula.

Mad Max is a fitting companion to the new film, accurately nailing its atmosphere and aesthetic, but stands on its own as an intense and explosion filled jaunt. If you’re looking for a huge open world full of mindless violence and pretty explosions, Mad Max is the game for you.

MATTHEW REYNOLDS

break the mould to create something exceptional. What makes Magicite stand out from the crowd, is the art style. Lone developer Sean Young created a simple yet vibrant world using pixel art, which is successfully complemented by the unique use of neon-fluorescent lighting. The warm colourful glow that inhabitants and structures of the game emit is easy on the eyes and aesthetically pleasing. The game’s musical score only improves on this, and is used effectively to really differentiate the separate environments in the game.

To produce a game like Magicite single-handedly is a feat worthy of recognition, and it’s a game that will have you repeatedly coming back for just one more go.

LUX DELUX

they are. It’s a game of decisions and (forgive me) risk.

It’s up to you what strategy you use, where you want to position your troops, where you want to defend and fortify.

other players destroy your empire, time and time again.

Having played Lux Delux for a total of 54 hours, rest assured that it does not get stale. There are a plethora of custom made maps and plugins to download, all available from the menu screen with very little hassle.

The game also comes with a map editor, should you wish to create your own map. The map editor isn’t solely for advanced users, however. You are taken through the process step by step, but it does take time and energy and whilst straightforward, can be a bit tedious.

Lux Delux is a game designed to tear apart families and friendships on a scale Monopoly fails to reach.

It is also massively entertaining and incredibly satisfying. If you win, that is.

JOEY RELTON

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imply put, Lux Delux is the computerised version of the board game Risk. But be warned: it is as addictive as they come and it certainly brings out the worst in you.

Right off the bat, other players will attempt to convince you to join in an alliance, promising strength and security. More often than not, it’s a lie. You will be betrayed.

You will waltz along, capturing territories, only for the next player to have an unexpected set of cards to cash; empowering their army to recapture everything you’ve taken and reducing your holdings to a single, minutely small territory. This is a game where hours of hard work can be undone in seconds.

The game lets you choose how you want to play, randomly allocating troops and territories, or setting up the board properly. This can be a lengthy process, depending on who you play with and how indecisive

“A game designed to tear apart families and friendships on a scale Monopoly fails to reach” The controls are easy-peasylemon-squeezy. You can do almost everything with a simple mouse click and the interface is fairly straightforward. It is not exactly a complicated game; you place your troops, you attack or defend, and you sit and, whenever you think you are getting somewhere, watch the

ASH EMERITTE

Friday 18 September 2015 /ForgePressFuse

EAST IS EAST

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riginally performed in 1996, East is East is best known for its successful film adaptation.

Set in Salford, 1971, it’s a comedy with some serious undertones, telling the story of a large family ruled by the iron fist of father George “Genghis” Kahn (Simon Nagra). He’s obsessed with the idea that his family should behave

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like a ‘good’ Muslim family, whilst also distracted by the ongoing conflict between West (where he originates) and East Pakistan.

The rest of the family are a complex bunch, from the nervous but devout Muslim Maneer (Darren Kuppan) and the rebellious Tariq (Ashley Kumar), to their compromising British mother Ella Kahn (Pauline McLynn). The family is strained by the westernisation of their children and George’s reluctance to change.

The play was indeed funny, especially when the children of the family try to cover for each other, while

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also trying to get the others told off.

It’s built upon very interesting ideas of parenthood, respect and how culture changes, both wilfully and subconsciously. Partially because of that, the play doesn’t work as intended.

“Enjoyable but by no means perfect” At times, the comedy sets unnecessary hurdles for the heavier themes

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of the play. Preventing the progression of ideas for the sake of a gag can come across as rather crude.

The character of Auntie Annie (Sally Bankes), while played well, is a needless addition. She’s only there to add comedy that could just as easily be carried by the other characters, and brings little in terms of plot impact. She’s more of a distraction than anything else.

The acting was of a very good standard, especially from George, Maneer and Abdul (Dharmesh Patel), with a short but enjoyable stint from the Shahs (Kammy Darweish

REVIEWS

and Sakuntala Ramanee).

East is East is enjoyable but by no means perfect, owing to the clashing of comedy and drama. If you enjoyed the film, you will definitely enjoy this production, thanks to its excellent performances and keen distillation of the film’s more sprawling plot.

DAN WEST

BOOK CORNER THREE MOMENTS OF AN EXPLOSION

T DIRTY ROTTEN SCOUNDRELS

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he play’s core plot is faithfully inherited from the 1988 movie of the same name. However, this high-quality musical deviates from its cinematic predecessor in the best possible way, giving assurance to old and new fans that this story was always meant to be reborn as theatre.

From the fruitful encounter between Jeffrey Lane’s (also author of Women on the Verge of a Nervous Breakdown’s theatre version) writing expertise and David Yazbek’s (composer for Women on the Verge of a Nervous Breakdown and of TV version of The Full Monty) musical mastery, a brilliant example of

theatrical comedy comes to life.

Lawrence Jameson (Michael Praed) is an elegant, British conman who has selected the French Rivera to plunder naïve, rich heiresses’ patrimony, armed only with his unstoppable charm. After meeting with Freddy Benson (Noel Sullivan), a young New Yorker and aspiring conman himself, he decides to share his secrets with him and impart some manners. After a while, a competition ensues between master and pupil.

The object of the bet is the beautiful and naïve American heiress Christine Colgate (Carley Stenson); the first one to conquer her heart and her money would be the winner of both money and title, with the loser doomed to give up on the conning career in both the French Riviera and beyond.

Between major plot points, a farcical tone and slapstick-filled sketches come thick and fast, causing almost never-ending laughter from the audience.

“Enjoyable but by no means perfect” The musical is most remarkable for its impeccable comic timing and the non-stop entertainment it provides.

Even though the entire cast of actors (the splendid Michael Praed in particular) do an incredible job, Noel Sullivan is the central surprise of the play. The maturity and inspired comic force that he brings on stage even manages, in

fact, to eclipse comic genius Steve Martin, who fills the same role in the original movie.

Ultimately, a special mention goes to supporting actor Emma Caffrey, who triggered the highest-pitched laughter of the night with her loud and exaggerate personification of Michael Praed’s insistent love interest, the Texan Jolene Oakes.

Hysterical, frenetic and dazzling, Dirty Rotten Scoundrels combines the finest writing with an impeccable execution. It’s a musical that you never get tired of watching, despite its glorious over two-hour duration.

It’s an instant classic.

MARIACLAUDIA CARELLA

By CHINA MIEVILLE

his short story collection by the god and master of weird fiction (the eldridge offspring of science fiction, horror and urban fantasy) introduces us first to the idea of rotvertising; companies paying to display their logos in decaying food.

From there, Mieville tours us through worlds weird and wonderful; visiting people whose only home is a gargantuan space elevator stretching from the earth into orbit, or archeologists on a volcanic island uncovering specimens of the extraterrestrial creatures the island’s citizens once lived alongside. The reader truly never knows where Mieville will go next.

But Mieville’s preponderance for opaque oddness, usually seen as his strength, is simultaneously the main shortcoming of this collection. The longer novel format gives him time to develop his ideas, while the short story format gives only fleeting glimpses into worlds which could support whole novels by themselves.

That his plot conclusions are rarely neat only compounds the problem.

After the tenth or twentieth glimpse, you feel the need to slow down and appreciate the scenery.

Whether that’s a testament to the relentless imagination of the author or his inability to adapt to a shorter format is unclear.

JOSHUA HACKETT

Friday 18 September 2015

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“There is no better form of entertainment”

FLORENCE + THE MACHINE @ MOTORPOINT ARENA

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othing can prepare you for seeing Florence Welch live, and her How Big tour at Sheffield Motorpoint Arena presented the audience with the incredible artist that she has become.

After a killer headline set at Glastonbury 2015, putting to

bed any reservations about her live capabilities, Florence + the Machine put on one hell of a show.

Gracefully entering the stage to ‘What the Water Gave Me’, Welch immediately had the crowd singing along.

‘Ship to Wreck’, ‘Shake It Out’ and ‘Spectrum’ went down a treat, with the arena echoing back Welch’s lyrics and jumping along to the beat. ‘How Big How Blue How Beautiful’, the title track from the new album, was a highlight of the evening, with Welch explaining how it was the first song she penned for the release. “I see it as a big blue

cloud of hope”, Welch said, “and tonight I’m going to give that to you”.

The night wouldn’t have been complete without some classic songs from Lungs, and those came in the form of ‘You’ve Got The Love’, ‘Rabbit Heart (Raise It Up)’ and ‘Cosmic Love’. All three brought the crowd to their feet and even members of the audience to tears.

At one point, Welch ran to the back of the arena, jumped on top of a hot dog stand, and finished a song from there.

During ‘Mother’ she proved not just her vocal skills and love for her

SINGLES WOLF ALICE - ‘STEAL MY GIRL’ (ONE DIRECTION COVER)

ALVVAYS @ THE LEADMILL

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fter Kentucky rock‘n’rollers White Reaper woke up a crowd still nursing their weekend headaches, the soothing yet uplifting brand of hazy indie-pop from headliners Alvvays proved to be the perfect cure for a Bank Holiday hangover.

Straight off the back of performances at Leeds and Reading Festivals, this show was the first of a 10-date UK tour. After easing themselves in with ‘Your Type’, vocalist Molly Rankin exclaimed “Sheffield, you look beautiful”, before their top-notch debut album opener ‘Adult Diversion’ got the crowd really into things.

A re-started ‘Next of Kin’ and ‘The Agency Group’ followed, before Rankin’s humour really took hold.

“What is a Half Man Half Biscuit, and why is it £20?! We have never been here before”, she jested, evidently having seen the adverts for upcoming Leadmill gigs on the wall. “Last night someone said they would give me £5 if I got into a suitcase. I was in the thing before

he had even finished his sentence!”

These whimsical remarks continued at pace, with Rankin confessing the band’s complete ignorance of what the concept of a Bank Holiday is.

‘Party Police’, aired towards the end of the main set and brought the biggest cheer of the night. This brilliant track sounded even better live, with fan favourite and curtain call ‘Archie, Marry Me’ leaving the crowd imploring for the band to return to the stage.

“Thank you so much Sheffield.

This kind of response makes me not so depressed when I’m sat in our van playing cards and forming alliances!” Rankin quipped.

She returned alone for the first of a two-song encore to perform a heartfelt soul rendition of their album closer ‘Red Planet’, before the rest of the band rejoined her for the final song of the night: a cover of ‘He’s on the Beach’ by Kirsty MacColl.

This translated really well into Alvvays’ bittersweet sound; a very fitting end to an accomplished performance from a band who it is important to remember - only formed three years ago.

MARCUS RAYMOND & ALEX BURNS

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t’s been 22 years since grunge’s first collision with its squeaky clean cousin pop music; when Nirvana, Seattle’s most gloomy and chaotic rock band, reimagined ‘The Man Who Sold The World’ by David Bowie.

Such beautiful times are long gone and, in 2015, it can feel like we inhabit a world where the remnants of this godfather ‘wave’ of sludgy rock are only immortalised by the trampled Nirvana t-shirts on the floor of your local Primark.

Out of grunge’s fetishisation, a new hope for harmonious chaos is emerging. Wolf Alice, armed with the soothing voice of front woman Ellie Rowsell and a wall of fuzz and reverb, are quickly becoming heirs to the throne of alternative rock. What better way to assert your monarchical dominance than to transform a creation of the squeakiest of clean pop acts, One Direction, into a noisy mess of melody on BBC Radio One’s Live Lounge?

This daring cover of ‘Steal My Girl’ exhibits the best the band has to offer - calm and looming vocals alongside FX-drowned guitars and tight grooves, all wrapped up in a borrowed pop sensibility.

Who said you couldn’t head bang to One Direction?

LUKE SCRIVENS

own mother, but her ability to design an outstanding set. The sparkly silver backdrop split to reveal a large circular shape which drifted forward and eventually glowed bright red. The stage design suited the song perfectly, tying in with the lyric “the sun keeps burning deep”.

‘Dog Days are Over’ saw the singer whip off her waistcoat and silk top, encouraging everyone in the crowd to do the same, and shout “tonight Sheffield, you are free”. In classic Florence tradition she bolted around the arena, top off, showing the audience exactly why she’s headline material.

Louder than sirens and louder than bells, she blasted the audience with the closer, ‘Drumming Song’, dancing along effortlessly. Ending with this seemed fitting considering the amazing show she had just put on.

There is no better form of entertainment.

JOSS WOODEND

ROYAL BLOOD - ‘HOOK LINE AND SINKER’

THE WEEKND FEAT LANA DEL REY - ‘PRISONER’

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he Brighton duo Royal Blood are perhaps one of the hottest units in UK rock at the moment.

Fresh out of a UK number one self-titled album, momentum is building for their latest release.

The group recently gave a glimpse into that release by dropping a new track, ‘Hook Line and Sinker’, at their main stage appearance at Reading & Leeds Festival.

Royal Blood’s live shows can be hit and miss; while they delivered a thunderous performance that nearly stole the show at Reading & Leeds, performances on their headline tour at the Electric Ballroom felt stale and safe.

Thankfully ‘Hook Line and Sinker’ helps put to rest doubts that the band are running out of steam. The track’s raw and cerebral feel encapsulates their earlier live shows, and being tonally rough around the edges gives it a lot more weight. Vocally there are undeniable influences in delivery coming from Queens of the Stone Age’s frontman, Josh Homme.

While ‘Hook Line and Sinker’ doesn’t represent a radical mix up in the Royal Blood formula, it is a strong entry in the second release of a band who may well be headlining festivals in the near future.

JACK HUNNABALL

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he latest album release from Canadian singer-songwriter the Weeknd features ‘Prisoner’, a collaborative single with Lana Del Rey, and it is a definite auditory delight.

The Weeknd adheres to his usual style, starting slowly and building up to a brilliant, punchy, RnB chorus. But, he also employs a softer background drumming effect, altering his usual style slightly.

Throughout the song, the rhythmic drums, which is followed by a pleasant high-hat beat, adds an authentic, slightly exotic feel to the song.

In addition to the pleasing blend of contrasting effects, the strong vocals of Abel Tesfaye and the soft, soulful voice of Lana Del Rey work in cohesion with one another to illuminate the poetic lyrics.

Angelic and gospel-like, Tesfaye’s vocals contrast beautifully to the gritty RnB style in the background.

In deviating from the communal feeling produced by Tesfaye’s echoing vocals, Del Rey’s oneiric singing style creates a detached, ethereal tone, re-enforcing the principal theme of solitude and uncertainty.

Overall, ‘Prisoner’ is well-worth listening to. Lyrical, beautiful and captivating, this track will take you on a journey and help you transcend the forthcoming bleakness of autumn.

BETH ANDRALOJC

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REVIEWS

“Songs from this singularly messy band have always had an elusive quality”

THE LIBERTINES: ANTHEMS FOR DOOMED YOUTH

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t’s been 11 years since their last album, with the hiatus filled with shambolic tabloid headlines left in the wake of Carl Barât and Pete Doherty, the kind that came to define the band more than their effortlessly characterful music.

But hey, they are back. And at first, it might seem as though nothing has changed. Tracks like ‘Fury of Chonburi’ and ‘Belly of the Beast’

sound so much like a desperate imitation of the Libertines’ original sound that it goes in one ear and out the other.

That’s not to disparage their style – far from it. Songs from this singularly messy band have always had an elusive quality, a deep sadness buried in dirty frenetic romps. Picture an impressionist’s sketch of a down-and-out drunk prancing through darkened alleyways, clutching wilted flowers in one hand and a treasured possession of his until-recently-bestfriend in the other: this is the soul of the Libertines, a distinctive musical

style that made them kings of British rock for half a decade.

And this same style that marked Up the Bracket and The Libertines as remarkable albums, is exactly what makes Anthems for Doomed Youth somewhat disappointing.

England has grown past rock, even indie has fallen off the spectrum of interesting music nowadays – but here’s Carl and Pete, playing pretty much more of the same.

Fortunately, the ‘same’ that they’re playing more of was brilliant in 2004, and seems to have matured, not considerably but notably, for 2015. The lyrics,

which have always been as violently self-destructive as the band’s lifestyles and relationships, contain recognition now of their past stupidities, anger replaced with apology. Even the harsh grungy tone of their earlier music has been tempered; soft piano-led track ‘You’re My Waterloo’ and the grainy, nostalgic finale ‘Dead for Love’ are testaments to this. One track (the titular) can be sincerely called beautiful, listeners meeting that familiar soul who now seems to have things worked out a tad better.

It’s not an overly innovative

album, but it is an enjoyable one, and a deeply encouraging one.

The band have reconciled again, and leaving behind dark pasts, it appears calmness has settled, mellowing their music too. This is a decent album on its own merits, but a must-listen for long-time fans.

CULT CORNER

relatable, it feels as if Alex Turner is the mouthpiece of a generation.

Never before had a lyricist related lairy bouncers and dubious nighttime encounters with such cynical clarity.

Taking influences from the Strokes and the Libertines, Arctic Monkeys’ choppy guitars and killer melodies were a tried and tested formula.

ARCTIC MONKEYS: WHATEVER PEOPLE SAY I AM, THAT’S WHAT I’M NOT

I BRING ME THE HORIZON: THAT’S THE SPIRIT

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he newest offering from the Sheffielders is totally different from anything we’ve ever heard from them before.

Gone are the days of Count Your Blessings and Suicide Season, there’s no hiding that, but in their place is a more grown up, professional sound.

Bring Me The Horizon have enjoyed massive success over the past 11 years, and That’s The Spirit has a lot to live up to. The run-up to the album has seen tracks ‘Drown’, ‘Happy Song’, ‘Throne’ and most recently ‘True Friends’ released onto YouTube with a pretty good reaction. That being said, criticisms that BMTH have lost their heavier roots have been aired a lot, and it’s been hard to ignore some fans’ concerns over their new sound.

There’s no denying that this album is different. Album opener ‘Doomed’ feels reminiscent of the

London Wembley Arena gig, and is a track that marks not just the start of the album, but also the start of a new era.

‘Happy Song’, ‘Throne’, and ‘True Friends’ follow and already sound like classics thanks to the media campaign. These tracks prove that despite Oli Sykes inability to scream anymore, the band can still put out some damn good songs.

“There’s no denying that this album is different” ‘Follow You’ is a fresh sound for the band and, even though it takes a while to realise it’s them, it somehow works. The almost ballad is soft, yet still has some iconic lyrics like “cross my heart and hope to die, promise you I’ll never leave your side” to bring back some of the Horizon charm.

The rest of the album seems a

bit hit and miss. ‘What You Need’ has great guitar and Sykes’ Yorkshire accent shines through, but ‘Avalanche’ feels like something that’s been done before by other bands, and doesn’t add much to the album. ‘Blasphemy’ and ‘Run’ are catchy, continuously running lyrics through your head. But the closing track, ‘Oh No’, doesn’t sit quite right. It seems odd against the feel of the rest of the album, becoming more of an indie club anthem than a BMTH classic, which is a shame.

‘That’s The Spirit’ is a great album that proves that there’s still a BMTH without the old screamo and metalcore sound that we’re all used to, but it isn’t without its flaws. It’ll be exciting to see what the lads can pull out with their live tour.

JOSS WOODEND

f there ever was an overnight success story, it came in the form of four scruffy teenagers from Sheffield, calling themselves Arctic Monkeys.

Singing about their hometown, girls and the odd Smirnoff Ice with such insightful wit, the fourpiece went from internet sensation to producing the biggest selling UK debut album ever. This band were destined for something big since day one.

Just like Whatever People Say I Am, That’s What I’m Not is destined to hold a place in the distinguished ranks of classic albums forever.

While the band has undoubtedly progressed from their ramshackled, punky early days, their debut still sparkles with a youthful arrogance, daringly opening their masterpiece with the lyric: “Anticipation has the habit to set you up for disappointment” – an obvious backlash against the massive hype surrounding the band previous to the album’s release.

No band had had such balls since Oasis, 12 years before. ‘I Bet You Look Good on the Dancefloor’ is still their biggest single, and remains a staple at any Sheffield nightclub.

And it’s not just the singles that make this album such an undeniable classic. ‘Mardy Bum’ still has the power to make grown men cry, and tracks such as ‘Red Light Indicates Doors Are Secure’ and ‘From the Ritz to the Rubble’ are so painfully

ISAAC STOVELL

“It feels as if Alex Turner is the mouthpiece of a generation” And yet, they managed to sound like no band ever before. The heaviness of ‘Perhaps Vampires Is a Bit Strong’ is at odds with the chiming guitars of ‘A Certain Romance’, and Turner’s strong Sheffield accent, using words like ‘reyt’ and ‘summat’, all helped to establish Arctic Monkeys’ unique, identity.

Such an identity in fact, that for the last decade or so, every guitar band has aimed to become the next Arctic Monkeys.

Their evolution into one of the slickest bands on the planet all began with an album for the everyday man in a taxi queue, for the adolescents in the chip shop at three am. Do yourself a favour, and believe the hype.

TARA HODGSON

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“An impressive vehicle for Tom Hardy”

LEGEND

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rian Helgland’s Legend follows the story of the Krays in 1960s London, focusing primarily on Reggie’s (Tom Hardy) relationship with Frances Shea (Emily Browning) and his efforts to reign in the excessively violent activities of his twin, Ronnie (also Tom Hardy).

The film takes the structure of an epic biopic set over the course of several years which inevitably offers up a flurry of contemporary tips of

CULT CORNER WET HOT AMERICAN SUMMER

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ilmed on a low budget, filled with bundles of talent, and fuelled by the vigour of an 80s soundtrack, Wet Hot American Summer certainly lives up to its wacky title.

Following the final endeavours of a group of horny and helpless counsellors on the last day of summer camp, the film provides a spot-on parody of American 80s teen movies.

Aside from its amusing collection of sub-plots, the main focus of the film is the love triangle between adorable ‘80s nerd Coop (Michael Showalter), popular yet pleasant Katie (Marguerite Moreau) and chauvinistic jock Andy, skilfully portrayed by a young Paul Rudd.

As the synopsis suggests, the film relives all of the 80s clichés that we love, and leaves out all of those which we do not.

This is perhaps why it has gained such a huge cult following since its release in 2001. Whilst critics and several audiences expressed dislike towards the film after its release, it seems that viewers are now invigorated by its youthful, unapologetic spirit.

Wet Hot American Summer gives its audience the chance to invest in normal, relatable characters. It’s no surprise that a new show based on the film is gaining popularity on Netflix.

BETH ANDRALOJC

the hat, such as England’s world cup triumph and an appearance by PM Harold Wilson (Kevin McNally).

Tom Hardy’s performance as both Krays is predictably impressive; playing Reggie as honest and straight but with a nuanced sense of underlying malice, and playing Ronnie with a severe intensity that occasionally borders on the ridiculous. Hardy does an outstanding job in bringing to life the differences in the two characters and his interaction with himself is effortless.

Helgeland demonstrates flashes of skill and intelligence in his

directing; capturing passionate moments of severe violence, tragedy and subtle character development.

Flaws do still rear their ugly head however, usually in the form of several cases of bizarre cinematography choices and poorly-written dialogue.

We are shown scenes in which the Krays interact with the Mafia, represented by Angelo Bruno (Chazz Palminteri), but beyond these scenes there is little impact on the plot by this component. A parallel struggle by Detective Superintendent “Nipper” Read (Christopher Eccleston) to bring

“What is likely the final season of Hannibal finished on a high note”

the Krays to justice largely wastes Eccleston’s talents by giving him dreary screen time in which the investigation lacks any urgency.

From the outset we are “guided” through the film by Frances Shea as she documents her life with Reggie.

While Helgeland may have felt that this was necessary given the film’s epic status, we are given banal recounts of what we have just seen or bland philosophising on the morality of the key players’ actions.

Frances seems to fill a void in which Helgeland believes viewers of his film will be so taken aback by the complexity of the plot that

we’ll need something to latch our understanding on to, but this is simply not the case.

Legend sets itself up as more than it actually is, and certainly suffers for it. But at its core - beyond the weak subplots, the poor narration, the unfulfilled expectations - it is an impressive vehicle for Tom Hardy and an ambitious attempt

by Helgeland to reshape our expectations of British gangster culture in film.

SMALL SCREEN

tedious exposition at the start to create something very artistic but ultimately insubstantial and really quite dull. What was once thoughtprovoking became repetitive fast as the series struggled to kick itself into gear. Upon the introduction of Mason Verger, however, the tension and unsettling tone returned and continued until the mid-season finale which was just as explosive as one would hope.

The second half could have been another show altogether; where the season’s first half saw Fuller throwing around ideas and playing with thoughts that did not always turn out so well, the second was controlled, well-paced and almost always entertaining.

This is because the second half of the series was based on Red Dragon and followed the plot relatively closely, although there were various changes which were, for the majority, good decisions.

Richard Armitage took on the role of Francis Dolarhyde and did a great job of conveying both the tragic and terrifying sides of the character, while Mikkelsen’s Lecter continued to be just as unnerving even behind his trademark mask.

Fuller’s trademark style shone through, elevating the series and delivering a finale that was short, but most definitely sweet.

Despite a wonky start and some throwaway subplots, what is likely the final season of Hannibal finished on a high note with strong characters, thought-provoking visuals, tense action scenes and a wonderful ending.

HANNIBAL: SEASON THREE

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here was a sourness that hung over NBC’s psychological thriller Hannibal as it moved steadily into its third season.

There had been talk for a while of falling ratings and, despite a good showing for the finale of season two, there was an element of inevitability to the whole matter.

Sure enough, shortly into the third season we were met with the tragic news that the series would not be renewed for a fourth.

For the entirety of season three it felt as though the show’s creator, Bryan Fuller, was acutely aware that his creation was coming to an end, and so decided to indulge himself.

The results were a mixed bag.

For those unaware, Hannibal is a prequel to Thomas Harris’s Red Dragon, although the final few episodes encompassed the novel. It follows Will Graham (Hugh Dancy), a criminal profiler, in his attempts to outwit his greatest foe: the titular Dr Lecter (Mads Mikkelsen).

The third season saw Hannibal on the loose in Florence, assuming the life of one of his latest victims, while his former friends over in the states - aided by Lecter’s previous victim Mason Verger (Joe Anderson) and Florentine inspector Rinaldo Pazzi (Fortunato Cerlino) - attempted to finally bring him down.

Admittedly it was this half where the show was at its weakest, slowly trudging through recycled images and body horror with some

JACK BEAL

OLIVER ENGLAND

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REVIEWS

“Kormakur’s camera seems to defy gravity”

EVEREST

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irected with remarkable acuity by Baltasar Kormakur, Everest immortalises the perilous true story of a disastrous 1996 ascent of the colossal peak, utilises a large ensemble cast to do so and yet still pulses with genuine emotion fron start to finish.

Where the film truly shines is in its astounding visuals. Kormakur’s sweeping camera seems to defy gravity as we are presented with

AMERICAN ULTRA

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he basic premise of American Ultra is promising. Mike (Jesse Eisenberg) is a stoner shop assistant who is actually a deprogrammed CIA agent.

After being ‘restarted’ by a subliminal message, he reluctantly turns into a ruthless trained killer, whose skill inevitably makes him a serious threat to the establishment that created him.

Mike is programmed to suffer anxiety attacks whenever he attempts to leave the area which the CIA has provided him, which is pretty much a tailor-made characteristic for Eisenberg.

Combined with his unassuming and recreational drug user charisma, this makes him the most unlikely candidate for a trained assassin.

There’s potential here for a cult film combining the Dude’s wonderfully bizarre stoner characteristics from The Big Lebowski and the intense and arguably revolutionary action sequences of the Bourne trilogy, which worked around the basic

several breathtaking shots of the infamously treacherous landmark, with the final shot of the film destined to haunt audiences for long after the credits roll in its solitary, tragic beauty. Salvatore Totino is a sure-fire contender for an Oscar nomination come awards season for his superb cinematography work here.

The cast in general also provide a solid performance collectively despite their respective roles of varying gravitas and screen-time.

Keira Knightley spends the majority of her appearance desperately clutching a phone waiting to hear

from her team leader husband Rob Hall but nevertheless injects her role with as much poignancy as possible.

Jason Clarke puts in a particularly well-judged performance as the affable, inherently likeable Hall; in less capable hands the character could have been portrayed in a considerably more lacklustre manner, but Clarke induces empathy from the audience effortlessly. Josh Brolin as Beck exudes a resilient stoicism that makes the character impossible to dislike and easy to root for in spite of the apparent hopelessness of his own situation.

Nevertheless, there are some odd

casting decisions; Jake Gyllenhaal’s much publicised starring role is more cameo appearance than key story component. Looking like some sort of Bear Grylls knock-off, what might have been a humourous yet affecting performance is instead reduced to a few fleeting quips in minimal scenes.

Other usually reliable actors do indeed get lost in the huge cast, such as John Hawkes and Martin Henderson in what should have been pivotal roles, and several characters are somewhat thinly drawn; consequently some emotional moments don’t pack

quite as much of a punch as they perhaps should.

Maybe Everest doesn’t possess the contemplative profoundness of such survival dramas as Into the Wild, or the tear-jerking pathos of Titanic, due to its lack of singular focus.

As a whole, though, the film is ultimately a towering achievement that will linger in the memory for a long time to come.

premise of a relentless pursuit of an agent out of control.

Unfortunately, this latest Eisenberg instalment falls far short of what we have come to expect from this cult indie star. An action film of this intensity simply sees him out of his depth, creating almost slapstick action sequences.

performance.

The uninspired script written

by Max Landis was equally poorly executed by director Nima Nourizadeh, and didn’t really allow for Eisenberg or Stewart to overcome the clichéd and ultimately tiresome affair this film eventually became.

The main comic moments were unfortunately, like in so many films today, all given away in the trailer, and so left little for the audience in the cinema to have for themselves.

This was undoubtedly a step too far for Eisenberg and he really needs to think more carefully about his film choices. He is an actor with lots of potential which will be wasted if he continues to choose films like American Ultra.

ME AND EARL AND THE DYING GIRL

he’s equalled by his co-star Olivia Cooke, who manages to be quietly endearing and is very believable as her character’s health worsens.

Gomez-Rejon’s direction has real flair. Zipping camera movements and swooping pans adds a sense of life to the film’s aesthetics but the director also displays an aptitude for dealing with the film’s more sensitive moments, knowing when to quiet his colourful direction.

Given the heavy subject matter, the film manages to be just as funny as it is touching. The cynical, often paranoia-based narration of selfloathing lead Greg is charmingly fresh. The story is also well-versed cinematically, with references to the films of Werner Herzog and the French New Wave (to name a few) scattered throughout.

While very touching, the film doesn’t seek to manipulate its audience. . More time is dedicated to the relationship between characters and their struggle through high school and teenage life, and as such the characters become about much more than just their illnesses.

“Jesse Eisenberg needs to think more carefully about his film choices” Mike is simply the same paranoid and meek character we’ve seen before, but repackaged without the same conviction and subtlety seen in Zombieland and Adventureland.

Kristen Stewart similarly didn’t demonstrate the class and appeal that she has proven on more than one occasion that she can provide and simply joined Eisenberg in turning in a very forgettable

WILLIAM MORLEY

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ased on the bestselling novel

by Jesse Andrews, Me and Earl and the Dying Girl is very similar to last year’s The Fault in Our Stars in that both tackle the issue of dealing with cancer as a young person.

However, Me and Earl doesn’t deal with prim and perfect all-American teens, but rather flawed individuals who, if not for the humour, could have even become dislikable.

The film follows amateur filmmaker Greg Gaines (Thomas Mann) who has spent his school life becoming invisible. With best friend Earl (Ronald Cyler II) helping him to make his home-made parody flicks, life seems pretty safe. That is until his mother forces him to befriend Rachel Kushner (Olivia Cooke), a classmate diagnosed with leukaemia.

Thomas Mann is ideal for the role of Greg, superbly exhibiting the social awkwardness and aura of an out-of-place teenager, and

ANNA-MARIE HIGGINS

ANDREW MARTIN

WHAT’S ON ARTS WE WANT YOU TO WATCH 22-23 September, 7:45PM The Crucible Theatre

GAMES

MUSIC

FIFA 16

WOLF ALICE

22 September PC, PS4, Xbox One

22 September Plug

Another year, another Fifa game, but The North London rockers come This National Theatre production, to Sheffiled for a night of starring Abbi Greenland and Helen this year there’s something genuinely interesting to write home about. For unforgettable music, with support Goalen of the theatre company from local heroes Drenge and New RashDash, asks a fascinating question: the first time ever, players will be able to play as female footballers, York band Made Violent. would the world be better if all with 12 womens’ teams to choose pornography was banned? from including Brazil, England, THE TUESDAY CLUB Germany and the US. 22 September FAME - THE MUSICAL Foundry and Fusion, SU Building 23-26 September, 7:15PM EGX 2015 The Montgomery Theatre 24-27 September The Tuesday Club returns after The NEC, Birmingham the annual summer hiatus with a Dust off your leg-warmers for this season ram packed with exclusive production of the classic 80s musical, The UK’s biggest gaming event appearances, including Chris which takes place over the last four returns to the Birmingham NEC, with Lorenzo, DJ Zinc and Isaac Tichauer. years of the New York City High developer events and the chance School for the Performing Arts. to get your hands on new releases like Fifa 16 and Assassin’s Creed: THE VIEW Syndicate. For people who want to 25 September enter a career in gaming, this is the The Leadmill DONALD ROBERTSON IS NOT A event to be at.

STAND-UP COMEDIAN If you loved their latest album 30 September, 7:45PM TONY HAWK’S Ropewalk as much as we did, you’ll The Crucible Studio PRO SKATER 5 be pleased to hear that Scottish 25 September indie rockers the View are playing Donald Robertson has no mates and PS4, Xbox One the Leadmill. he isn’t funny. But with guidance from his new mentor Gary, he hopes that Skateboarding legend Tony Hawk this is all about to change. Writer/ returns in his first videogame in eight DJ YODA: performer Gary McNair’s acclaimed years. Pro Skater 5 goes back to A HISTORY OF HIP HOP monologue weaves a classic the classic Tony Hawk formula of 25 September, 9:00PM coming-of-age story with a pinpoint completing a bunch of tasks in a time Picture House Social Ballroom deconstruction of the darker side of limit, as well as bringing back the stand-up comedy. chance to create and share your own Turntablist Duncan Beiny brings skate parks and share them online. his unique brand of audiovisual spectacle to the opening night of JERSEY BOYS Sensoria 2015. His seminal How 6-17 October, various times FALLOUT ANTHOLOGY To Cut & Paste series showcased a The Lyceum 29 September tongue-in-cheek mixing style that PC prompted Q Magazine to declare The Broadway and West End hit, him “one of the ten DJs to see charting the rise to fame of Frankie With Fallout 4 coming in November, before you die”, while Hip Hop Valli and the Four Seasons, is touring this is the perfect time to revisit Connection voted him “one of the the UK and Ireland for the very first the other games in the series in this top three DJs in the world”. time. definitive collection, which comes in an awesome bomb-shaped tin.

PRESUMPTION

6-10 October, various times The Crucible Studio It’s a story about love. Not romantic, thrill of passion love, but everyday, what shall we have for dinner, expecting to go on living together – well what else would we do? – love.

HENNING WEHN: EINZ, ZWEI, DIY 9 October, 7:30PM The Octagon

After more than a decade in Britain, the German Comedy Ambassador has ‘groan’ to like puns, though he still couldn’t eat a whole one. As Henning’s assimilation is not yet complete he hasn’t lost his sense of Westphalian wonderment at the foibles of British society. Expect a crash course in personal accountability and a right old laugh at the same time.

STEEL CITY, CITY ON THE MOVE Until Sunday 11 October Millennium Gallery

In her latest exhibition, Jo Peel has explored the links between our very own city of Sheffield and the city of Pittsburgh, USA. Both cities have been shaped by the steel-making industry, and Peel uses a variety of mediums to show their similarities and differences.

LEGO DIMENSIONS 29 September PS3, PS4, Wii U, Xbox 360, Xbox One

JAAKKO EINO KALEVI 1 October, 8:00PM Bungalows and Bears

SCREEN FILM UNIT

21-27 September, 7:30PM Nelson Mandela Auditorium Sheffield’s volunteer-run student cinema returns with a whole week of great films, including Birdman, Whiplash and Guardians of the Galaxy, for just £2.50 each. For more info and a look at their full schedule for the autumn semester, go to filmunit.org.uk

NATIONAL THEATRE LIVE: CORIOLANUS 24 September, 7:00PM The Showroom Cinema

NT Live will broadcast the Donmar Warehouse’s production of Coriolanus, Shakespare’s searing tragedy political manipulation, with Tom Hiddleston in the title role and Mark Gatiss as Menenius.

B-MOVIE: LUST AND SOUND IN WEST BERLIN 1979-1989 25 September, 6:00PM The Showroom Cinema

Showing as part of this year’s Sensoria Festival, this documentary captures legendary artists like Iggy Pop, David Bowie and Joy Division through a city that was “one massive band.” Includes a Q&A session with the film’s director, Mark Reeder.

WACKEN

26 September, 4:30PM Curzon Cinema Curzon Cinemas and Sensoria present a special screening of Norbert Heitker’s feature documentary Wacken in 3D, which goes behind the scenes of the biggest Metal festival on Earth.

OUTDOOR SCREENING: SPICE WORLD

Sensoria Festival and Semi26 September, 8:00PM Detached present multiSU Amphitheatre instrumentalist Jaakko Eino Kalevi, LEGO Dimensions looks like every a former tram driver from Helsinki child’s dreams come to life, with Spice up your Freshers’ Week who has been making quite an characters from The Simpsons, DC with this endearingly awful movie Comics, Back to the Future, Doctor impression on the international stage charting the rise of one of the UK’s these past 12 months.

Who and more all jumbled up into biggest pop groups. Part of the one giant plot. The game even comes Sensoria Festival. with tiny LEGO sets that you build yourself and put into the game. Our TIM PEAKS DINER money can’t leave our wallets fast 1 October, 7:30PM ALTERED STATES enough.

Picture House Social 27 September, 4:30PM Picture House Social Charlatans frontman Tim Burgess ROCK BAND 4 serves up some “damn fine” coffee Scientist Edward Jessup (William 6 October with a side order of curated Hurt) decides to combine his PS4, Xbox One entertainment. In conversation: Tim experiments in sensory deprivation Burgess & Paddy Considine with tanks with powerful hallucinogenic Everyone’s favourite pretend Dave Haslam, plus a live set from drugs in this psycho-thriller from instrument simulator returns for Considine’s band Riding the Low and Ken Russell. Part of the Sensoria the new console generation, with a DJ set from Burgess.

Festival new songs from the likes of Arctic Monkeys, the Who, Fleetwood THE WOMBATS Mac and Mark Ronson. You don’t 3 October, 7:30PM SHOWROOM SHORTS even have to fork out a load of Plug 29 September, 8:45PM money for the new peripherals, as The Showroom Cinema developer Harmonix has announced After the release of their 2014 full backwards compatibility with the album Glitterbug, the Liverpudlian The Showroom and the South old kit. group swap the bright lights of LA Yorkshire Filmmakers Network for the dingy stage of Plug in early have teamed up to create a October. free evening of short films in the cinema’s cafe. There’s also a raffle with a pair of free cinema tickets as a prize.