Fuse issue 68 by Forge Press

Friday March 7 2014

short fuse. comments and rants on entertainment news.

editorial.

hen the news came about the ban on all-male sausagefest panel shows, it was like divine music rained from the skies. Finally, someone was addressing the fact that these circlejerk shows were failing the wealth of female comedians out there. Although there are many female comedians, they are being held up to a much higher standard than men. How novel. The question ‘are women funny?’ is as outdated as the bubonic plague and just about as pleasant, too. What do people expect to hear? “No, women are fundamentally incapable of making others laugh - in fact, they feed on the spirits of happy men, much like Dementors?” Honestly, surely these people actually know some women and you have to hope that on at least one occasion a woman has made them laugh. If not, I would suggest it’s nothing to do with women at all. Maybe they should try looking at their crippling misogyny instead. Some people might shout ‘it’s political correctness gone mad!’ as the new legislation comes to pass. And in some ways, I agree with them. Female comedians should be on these shows by their own merit and it’s shocking that the BBC had to legislate something that should be the most obvious thing in the world. Of course women are funny. Ellen DeGeneres is not a mass hallucination. Nor is Miranda Hart, Shappi Khorsandi and Mindy Kaling. These women are very funny; Frankie Boyle is not. Laura Stanley

f ever there was a moment whether the compulsion to laugh or cry is confused, this is certainly it. Heroes, an amazing perspective on superheroes which subsequently deteriorated quicker than M. Night Shyamalan’s career, is back once again on NBC for a 13 episode mini-series set to run in 2015 as Heroes: Reborn. Whether you were or were not a fan of Heroes, we all seem to be in agreement: Heroes being resurrected for one last hurrah is a risky move. They can either redeem a once beacon of televisual brilliance or further condemn it to the furthest, darkest recesses of our minds, yet the former is a more desirable, and perhaps, attainable goal. Yet, Heroes has something that many other series don’t have in order to kick start a

I’d vote for you, Bowie

E Why don’t we think women are funny?

successful revival: potential. With new writers and directors, (although with creator Tim Kring still in the wings as an Executive Producer) it seems somewhat safe to say, although rather tentatively, that Heroes’ greatness can be salvaged, although much work will need to be done. Heroes may have become a shambolic mess that even left the dreaded Sylar as a figure of ridicule, but perhaps a new start can give this fantastically interesting concept of evolutionary superpowers the redemption it so desperately deserves. Whether they attempt to cobble the old storylines into the new mini-series, or completely reject them in favour of a fresh start remains to be seen, but what can be guaranteed is 2015 is going to be an interesting year. Keiran Dean

veryone has an opinion on Scottish independence. Should they? shouldn’t they? Can they keep the pound? Can we keep Andy Murray and Kevin Bridges? We’re bombarded with the opinions of politicians and members of the public on the issue, so why is it such an issue when a celebrity dares show an interest in current affairs? One of the highlights of the BRITs was David Bowie’s acceptance speech, read on his behalf by model Kate Moss, which ended with: “Scotland… stay with us.” Controversial, surprising, and hilarious, this was a memorable speech ending topped only by Alex Turner dropping the microphone. Bowie, 67, who had just been

crowned Best British Male at the glitzy ceremony last week, sparked quite the debate over whether celebrities should use their popularity to influence public opinion on such delicate political topics. The plea was undoubtedly added for comedy value rather than in genuine hope of persuading the population of Scotland to vote “no” in next year’s referendum - it was hardly a structured political argument or heartfelt emotional appeal. Believe it or not, those in the spotlight are just as entitled to have a joke as the rest of us, and, shock horror, they are also allowed to have an opinion.

s I write this editorial, I have been presented with safety goggles courtesy of our activities officer (cheers Alice!) to protect us as ‘civillians’ in an Assassin war throughout the building. If I leave the room right now I may be pelted with nerf guns. So, I’m staying put. This past fortnight has been a blur as always and many of us are starting to get that “we won’t be in Sheffield much longer” panic onset. First and second years, you’re SO lucky. Fall in love with this city and be terrified of ever leaving. Maybe never leave. It also means we’ll be looking for a new team soon, so drop us a line if you’re interested in editing these glorious pages you see before you. We’re about to go and stuff our faces with sweets whilst we watch Frozen at Film Unit. Sob, imagine life without Film Unit. Enjoy, see you next fortnight! Amelia Heathman Kaz Scattergood

Keri Trigg

Our amazing cover was lovingly illustrated by Phillipa Spottiswoode. Fancy doing our next cover? Email fuse@forgetoday.com

r Film24 HouChallenge Making

We need some more Heroes

o you have dreams of being the next Spielberg? Are you a tortured artist, a-la Dawson? With this film making challenge, you have 24 hours in which to show the world, or the Students’ Union, your creative ability. Within small groups, you’ll write, shoot and edit a film from

Fri March 14 7pm-7pm Activities & Sports Zone, £4

scratch within a 24 hour timeframe with help and guidance from members of the societies committee. You won’t be required to stay awake for the full 24 hours but hey, late nights can be fun! All basic equipment is provided, no previous experience is necessary. Bring a bottle of water.

Friday March 7 2014

q&a. Platform Performance Festival Fuse writer Jo Gallacher got the opportunity to chat to Sarah Sharp, the chair of Platform Festival: the University of Sheffield’s very own minature Fringe Festival. If open mics, poetry readings and Shakespeare performances while you eat breakfast are your kind of thing, then read on to find out more.

a three-day extravaganza all around the Union. This year we have 50 acts performing, which is a record number. Anywhere and everywhere we can perform in the Union we use. The performances span from sword dancers to the Poetry Society. We encouraged students to submit their plays and then they could decide whether to just write them or get directors and actors in. It gives anyone an opportunity to put on what they like.

sure is on us to reach £4000 this year. We’ve already had a poetry and music night, as well as taking part in Sheffield RAG’s Spiderwalk. It’s really important that in the current climate students still give generously. It feels nice as a student society that our charitable giving is actually going up. Jo: What charity does Platform support?

Sarah: Students (and some external acts) apply to appear in the festival and then we sit and read through the applications. We don’t reject people; we try to fit in as many acts as possible.

Sarah: Cavendish Cancer Care, which is a local charity that provides additional services and therapy to patients and families such as counselling, relaxation techniques and bereavement support groups. It only gets enough government funding to open for three weeks and as all services are provided free of charge, we knew we had to help.

Jo: Who should we look out for this year?

Jo: With so much going on within the Union, what makes Platform Performance Festival different?

Sarah: Platform has changed quite a bit in the last few years. We’re now Platform Performance Events, and run events throughout the year, culminating them all into the Platform Performance Festival, which is a fundraiser. The change came about when we realised we could raise more money for charity by doing more. We started doing more fundraisers which turned into performance events themselves. As we grew as a committee, we developed a better relationship with other performance societies.

Sarah: Open Space Society has selected a number of bands with some open mic slots- it should be great fun. It’s happening on Saturday March 8 at the West End pub, with everyone welcome. Festival pass holders have priority but tickets can also be bought on the door for £3. There’s also ‘Shakespeare for Breakfast’ which takes place on the Saturday morning in Interval café. Twelfth Night is performed around customers while they eat their breakfast! It’s great, you get to eat your bacon and eggs while looking around and seeing people performing.

Sarah: Because it’s dead cheap! It’s like a mini Edinburgh Fringe festival going on anywhere and everywhere for three days whilst raising money for a great cause. What could be better than that?

Jo: You mentioned the upcoming Platform Festival, what can we expect?

Jo: So Platform is a fundraiser for charity, how much money has been raised over the years?

Sarah: The festival is coming up really soon (March 7-9) and is

Sarah: Basically the sum has gone up £1000 each year so the pres-

Jo: What exactly is Platform? Sarah: Because it is so new, Platform is only in its fourth year a lot of people do get confused about what we are. Platform is more of an events committee rather than a society itself. It works with other societies and collaborates with them to create events. Jo: Since its creation, how has Platform developed and changed?

Jo: What’s the application process like?

Jo: We’re convinced- where do we get our tickets? Sarah: You can get the tickets from the box office, a day pass is £6 and a weekend pass is £10. We hope we see loads of people there- it’s always great when you have a good crowd. Any extra information can be found on our Facebook (platformperformancefestival) and Twitter (@platformsheff) pages.

Tickets: £2.50

Available from the SU box office

Garth Marenghi’s Darkplace Marathon: Fri March 14 19:30

The Act of Killing: Sat March 15 19:30

The Hobbit: The Desolation of Smaug: Sun March 16 19:30

Friday March 7 2014

t’s been a wild month for Australian band Cloud Control. Currently on their UK tour, following their European tour, they’ve found themselves at one of Sheffield’s most popular watering holes: Bungalows & Bears. After winning several awards for their debut album Bliss Release, their second album Dream Cave, released in August last year, was highly anticipated. Dream Cave is a record as tightly knit as it is expansive, coupling solid riffs with overlapping vocals and acerbic lyrics (single ‘Dojo Rising’ sports a chorus of “I could beat myself down/ You don’t need to bother”). This latest album gains its more psychedelic, vocal-driven sound partly from having been recorded in a cave. As singer Jeremy explains: “we tried to make it as easy for ourselves as possible. We didn’t ship all our gear in and record stuff in there, it was mainly just vocals. You get the reverb, the echo, and you just mix that in in the studio.”

“We are naturally predisposed to putting nature into our work, in any way shape or form” Elements of the cave are apparent on tracks like the moody ‘Tombstone’, title track ‘Dream Cave’, and choral ‘Scar’, where vocals are used to create either an atmosphere of lethargy or jubilation. Although the choice of studio may seem organic, Dream Cave is a definite step towards a more electronic, distorted sound; “last time it was a much more relaxed process and this time we had a producer in the studio and an engineer. It was a bit more of a pressure thing,” says Ulrich, “they were a bit more active in getting the takes.” The whole process of writing and recording Dream Cave was remarkably quick; while the whole process took just under a year, most of the songs had been written in the first few months. As well as the lightning quick release, the album’s artwork is enough to raise a few eyebrows. “A lot of people have a lot of misconceptions about it, it’s massive”

says Ulrich, but its actual subject matter is more lysergic than you’d think. Created by Australian graphic designer Leif Podhajsky, who has created artwork for the likes of Tame Impala, the Horrors and Foals, the album cover is a collage of “waves and ducks, birds…the whole thing gets spirally and upside down. It’s pretty cool,” Jeremy explains. But are the overriding images of nature, mountains and wilderness present in their music and artwork a theme they acknowledge? Their opinion is mixed. “This album made us very aware of what we get asked all the time – ‘does being from the Blue Mountains affect our sound and vibe?’ and we’re like, ‘no! No it doesn’t.’ But then we called the album Dream Cave; we recorded it in a cave; it has a naturalistic cover...we can’t deny it any longer. It’s definitely steeped within us, in our subconcious. We are naturally predisposed to putting nature into our work, in any way shape or form”. The presence of nature is dominant in most of their videos: the recent video for single ‘Scar’ sees a man rolling around in the mountains, whilst ‘Dojo Rising’ was filmed against the expansive landscapes of Bolivia. Nature even creeps into a good old tour story, when, on the road with the Drums, a bird collided with their windscreen at 70 miles per hour. As Ulrich recalls in grisly detail: “this bird just disseminated itself, completely split open on the screen. We jumped out of the car and the sound guy who was driving at the time…I’ve never seen someone in shock so instantly. He chain smoked two cigarettes at once.” This avian anecdote leads the guys into several others. Jeremy continues: “we were in France on tour with Local Natives. Whenever we go to Europe, Heidi (vocals and keyboards) learns a phrase in the local language and tells the crowd – it’s a good way to break down barriers. Our sound guy was French, and she tried to say our sound guy Sebastian is “French, single and hot”. She got a weird response from the crowd. Sebastian was like, “Heidi! I know what you tried to say but you got it wrong – you said our sound guy is ‘French, single and horny!’” Ulrich goes on to recount another night on tour recently, this time in Manchester. “Someone nicked our guitar. He just wandered up to it and walked off, and we got him on CCTV. Next day, we get a tweet saying “hi guys, really sorry, I’m an arse, I took your guitar and would love to give it back”, and he posted it back from Manchester to London. We’re not sure how we feel about this guy.” Questionable fans aside, the band has toured

extensively with a number of great acts such as Arcade Fire, Weezer, Vampire Weekend as well as playing Leadmill last year with Local Natives. But do they have a favourite band to tour with? Ulrich reckons it’s “the guys who we spent most of our time with. Spending time with the Natives, Weezer and Supergrass was really good. We could’ve cracked Vampire Weekend, but they didn’t really say hello for the first few gigs. They’re all quiet and genial. But I guess those guys have been touring non-stop for the past four or five years; they wanna chill.”

“I know what you tried to say but you got it wrong – you said our sound guy is ‘French, single and horny!’” As for their new Australian tour, the band is trying out a different tactic; they’re making not only their acoustic tour free to attend, but their acoustic album free to download. “We just did the acoustic album because we’re good at it, and not all bands are,” Jeremy explains, “we’re good live singers. We’re just giving it away, free free free!” Onwards from here, Jeremy and Ulrich are looking forward to getting home to Australia, especially as Jeremy is expecting his second child imminently. “We go back like four or five times a year, but we’re always jetlagged,” sighs Jeremy, “my thing for gigs is to push through until nightime then eat sleeping tablets for three nights straight. You just do it. It’s your job.” While their health and sleeping patterns are questionable, there’s no doubt that Cloud Control have a pretty cool job and an even cooler future ahead of them. Read our live review of Cloud Control at Bungalows & Bears at forgetoday.com/music

Cloud Control

Music editor Nicky Crane speaks to the Australian band about nature, touring and recording

Words by Rachel Smith

Friday March 7 2014

The Let's Play Revolution

What makes watching other people play games so enjoyable, and where is it heading?

or those not in the know, Let’s Play videos often involve a player entertaining viewers with their playthrough of a video game, usually including a running commentary as they play. The majority of Let’s Plays are recordings of video game footage while the player (or players) talks about what is happening in-game in an educational, entertaining or reviewing manner. Some of the most popular Let’s Play gamers have found themselves becoming Internet celebrities, with more subscribers to their Youtube channels than the population of Belgium. Let’s Play has been around for years in the form of video walkthroughs, as purely instructional content. Normally in a walkthrough it is a specific level or challenge that is the focus of the video, requiring minimal interaction from the player other than advice on completing the level. In most cases, the viewer already owns the game and is simply watching the video for help, rather than for entertainment. But the majority of Let’s Play channels fall into the category of ‘entertainment’, where the player takes on a more social relationship with the viewer, serving as entertainment rather than an instructor. This style of Let’s Play channel tends to grow a strong following, as the fanbase become more akin to personal friends of the player rather than distant fans. As the Let’s Play community grows, the largest channels – names like PewDiePie, TobyGames, GameGrumps and Smosh may sound familiar – have gained cultlike status and the subsequent increase of traffic to Let’s Play content - and their monetised adverts makes being a successful Let’s Player a possible career.

All the while smaller, non-monetised channels continue to record Let’s Plays as an extension of their gaming hobby or just for the love of gaming. Popular Youtuber PewDiePie is the epitome of the celebrity Let’s Player, and demonstrates how an individual gamer can find themselves on a meteoric rise to internet fame after making many Let’s Plays of horror and indie games.

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Let’s Plays provide entertainment for millions of viewers around the world

”

His internet persona is very playful and silly, endearing himself to the viewer by joking around both in and out of game and not taking anything very seriously. At the time of writing, he has 24.08 million YouTube subscribers, making him the most subscribed YouTube channel of all time. This shows that Let’s Plays have come a long way from simple instruction videos teaching you how to get past the Ice Cave in Pokémon Gold; they have become a titular part of the gaming community. Where gaming has often been seen as an isolated sport, Let’s Plays have allowed for gamers to share their individual experiences with each other, and their popularity – with gamers and non-gamers alike – shows how liberating and exciting that prospect has become. PewDiePie’s

facecam allows people to get up close and personal with him as he screams at jumpscares and laughs hysterically at his repeated failures in Happy Wheels or talk straight to the camera when he thanks his fans sincerely for their support. However, as Let’s Plays gain momentum as a new way for gamers to interact with each other, the role of recorded video game reviews – where the gameplay is recorded in-game to provide a more in-depth experience of the game being reviewed – is something of a sticking point in the Let’s Play community, especially amongst many developers and publishers. The typical view is that Let’s Plays are primarily intended as entertainment, where the fair use policy of video game content is a grey area. Without obtaining a licence from the game publisher the defining line set down by YouTube – on whose platform the overwhelming majority of Let’s Players perform – is that the commentary must be of instructional or educational value. Due to this the Let’s Play community has experienced multiple ‘censorship’ actions by developers where the content control system in place on YouTube allows videos to be taken down or held unable to be monetised for long periods of time. Whether this is a legitimate reason is not up to Let’s Players but the fact remains that censorship laws - and the big name publishers that are pushing for them - are smothering one of gaming’s newest and important communities. Let’s Plays do more than help bedroom loners forge careers on the back of playing old SNES games, they provide an escape for millions of viewers around the world and offer an opportunity for gamers to talk about games as crudely as they like – something the likes of GameSpot or IGN have continually failed to do. Will White

Friday March 7 2014

The idiot’s guide to defeating a movie villain Contains spoilers for Batman, Harry Potter, Kung-Fu Panda... and Karate Kid

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We build robots, we don a cool outfit and we kick their butt

But prison isn’t always the best solution. Take Bronson, for example. Charlie Bronson is played by the ever wonderful Tom Hardy, despite being a hardened criminal he’s still portrayed as a protagonist. We feel sympathy for him when we probably shouldn’t. He enjoys being in prison. Loves it. When he’s free he’s a nobody, confused by simple life tasks and his own sexuality. But on the inside he’s a celebrity. Or so he thinks. Either way, give this big bugger a cell to mill around in and he’ll be out of

your hair for a while. Until he takes a prison guard hostage. But that’s just a bit of homo-erotic fun. At least this way he’ll be off your shoulders, stopping him from repeating crimes such as ‘armed robbery’ of £26.18 from a local Post Office. If the baddie in question is an adopted demigod, however, then a life behind bars is quite obviously just the ticket. Loki’s really done it this time, what with all his mischievous behaviour in the last Marvel movie where he wasn’t actually much of a threat. I know, I’ll put him in a cell similar to the one that rather large dark elf, Kurse, broke out after a mere few hours due to brute strength, unleashing absolute havoc. It may have held Loki for a little while, but ultimately all this cell does is allow him to stew in his own grief and plan his timely betrayal. The next thing to consider is, can the baddie simply be duped? Can I double cross this guy, allowing them to lead me to my destination, then chuck them into the fires of Mordor? Or will I have to be slightly more intuitive than that? Maybe I’ll paint my face and blend into the environment a little, like the world’s most subtle army marine, Arnold Schwarzenegger. I mean, Predator will never see you coming, let’s face it. Always carry a miniature dramatics cosmetics kit and some Elven rope in your adventuring satchel; they’ll be useful. Or, maybe the baddie isn’t really who we’ve thought all along. Take Professor Quirrell, for example. Turns out he was just being controlled by the Dark Lord. It’s cool guys, just suck the face of this nasty piece of work out from the back of his head and he’ll be totally nice again. Sorted. On a slightly more serious note, had you not read the DC comics, hands up who was completely hoodwinked by the Bane plot line in The Dark Knight Rises? Seriously folks, you’ve got to check and double check that you’re chasing after the right guy, else

you may make a fool of yourself. Well, as far as this praetorian monster is concerned, Batman just has to do his thing with the bat bike, or the bat belt, or whatever it is he does. As for Talia, she’s had a hard time, so why not let her die thinking her mission was a success? Everybody wins. Apart from Batman. He definitely dies. Sorry, Alfred.

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Films are made to reflect upon an exposed reality within our minds

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ovies have long been a way for people to relax into a false world of fantasy and make-believe where good guys beat up bad guys, love conquers all and very unlikely circumstances unfold. In a film, we’re constantly shown the ineffectuality of the law, and taught how if you want something done, you’ve got to do it yourself. If some evil guy waltzes into your life trying to steal your identity, or worse still, take over the world, we build robots, we don a cool outfit and we kick their butt, because rules of society and even physics cease to exist. Here are a few tips for when you inevitably end up fending off a real-life Scooby Doo villain. In films, we have stories. But in real life, what do you do with a criminal? Pat them on the wrists and lock ‘em up.

Is your villain human? What’s that? He’s a computer virus? Well, you could keep running away from him for the first two films, or you could go to the Machine City and get that charlatan deleted. Agent Smith, as a metaphor for internet security, stands as one of the ultimate antagonists. He’s invincible at first, then comes back stronger, then multiplies himself like the Trojan virus of your darkest nightmares. As non-humans, plugged into the Matrix at birth, it’s up to the few free humans to learn kung-fu and helicopter piloting programmes to free us. Grab The One, get him to do his Superman thing, and you’re all sorted, easy peasy. Does your villain have some inane superpower you just can’t seem to overcome? Just believe in yourself. The idea behind many a film’s storyline is likely one of self-understanding and discovery. If the protagonist is younger than 25, then they simply have to believe in themselves, using the concept of pens being mightier

than swords. But don’t take this literally and try to be clever: if you lob your pencil case at someone with telekinesis, you’re going to lose. Daniel LaRusso the Karate Kid only won that tournament because Mr Miyagi pushed him to develop his own self-worth; sometimes we need that special someone telling us to wipe on and wipe off. Similarly, the kung fu panda known as Po fell into a tight weight loss regime and ended up kicking Tai Lung’s butt with a move learnt through determination and friendship. Perhaps Bif, Chip and Kipper had a point here. When in doubt, as you quite often are meant to be when watching modern movies, the bad guy is probably wearing some sort of awesome/ridiculous outfit, or sporting some obscure facial feature. Things to look out for include a staff or cane, a cape, a dodgy moustache and even a big old scar on the cheek. Slimy Severus Snape was always going to be good, let’s face it, so don’t be fooled. But if there’s an army officer with a higher rank on his shoulder than the good guy, they’ll be power-hungry. If the spandex-clad lunatic was once teased by the protagonist in play school, that’s your guy. If there’s an evil alien involved, the writers are trying to tell you something about society. Quite what, you’ll probably never know, which is part of the fun. Films are made to reflect upon an exposed reality within our minds, which nobody’s buying outside of the cinema screen; but you can certainly pick up on some great life tips along the way. With these pointers in mind, I hope enjoy the rest of your relatively realistic lives, without fear of being defeated by your arch nemesis. They probably just need a cuddle.

Friday March 7 2014

Words: Will Ross Artwork: Annie Mullineux

FridayMarch March772014 2014 Friday

ith the centenary of World War I getting closer, there have been several events and projects started across the country. In particular, the Sheffield 1914: Lives and Headlines project – run by the University of Sheffield and the Sheffield Star – has just been launched here in Sheffield. The project aims to research the past and bring forgotten stories back into the lives of Sheffield residents. By using the archives and past newspaper articles, they hope to encourage the public to research their own history surrounding WWI. Their findings will feature in the Sheffield Star’s Retro section of the paper. Every fortnight weird and wonderful stories, such as that of Veteran and Druid Robert Sheffield, will feature for everyone to read and enjoy. After attending the project launch night, I began to feel curious about my own family history. The Sheffield 1914 project, as well as the wonderful enthusiasm of those involved, encouraged me to research my own family’s involvement with WWI. In doing so, I have found an incredible amount of information that gives an insight into what life was like for both my family and the community during the war. My great, great granddad, John Frederick Fisher, decided to join the army in early 1907, having just turned 18. Originally volunteering to the Middlesex Regiment, he quickly chose to move and serve for the West Yorkshire Regiment. In April of the same year he moved to York to complete his seven years of colours. Making a commitment to serve in the armed forces at such a

‘Lives A life John Fisher’s 1914 “Mons” Star medal

Friday March 7 2014

young age must have been an incredibly difficult thing to do. In January 1914, John completed his seven years of colour and was officially made a reserve of the West Yorkshire Regiment. However, on August 4 1914, WWI broke out and he was soon called to report to duty. The 1st battalion of the West Yorkshire Regiment was mobilised immediately the next day and sent to war. After some brief yet intense training, they were shipped from Southampton to St Nazaire, France. Upon arriving in France, the battalion moved east of Paris. With other battalions tiring on the Frontline, it was inevitable that the West Yorkshire Regiment would be asked to help hold the line. After a long six day march to Aisne, they joined the trenches in mid-September. A vicious attack was launched by the German General Von Heeringen against the British Troops on the morning of September 20. A mass of confusion erupted between the West Yorkshire Regiment and fellow Moroccan troops who were serving amongst them. Due to a miscommunication, the Moroccans began firing upon the West Yorkshire Regiment, injuring many. Shortly after this, the German’s began launching more devastating attacks. By the end of the day seven officers and 26 men had been lost, seven officers and 110 men had been wounded, and eight officers and 436 men had be taken as prisoners. It was during the catastrophic events of the First Battle of Aisne that my great, great granddad

was injured. During the attack, he had been shot through his right leg. The gunshot wound caused a fracture to both bones in his right leg, completely shattering them. The pain he will have felt must have been unbearable. As medicine was nowhere near as advanced as it is now, there would have been nothing to help prevent pain or avoid infections. Upon arrival back in England, he was transferred to Newcastle Infirmary and remained there receiving treatment until March 1915. After attempts to treat him failed, John Fisher was deemed to be “permanently disabled” and recommended for discharge. After a medical board agreed, stating that his capacity to earn a living had been halved, he was eventually discharged onto pension. Within his medical notes, it was recorded that John’s right leg was 1 ¾ inches shorter than his left. As a result of his injuries he was classed as having a “total disablement”, and he was even referred to as being an “invalid”. In early 1917 he was once again admitted to hospital and, after suffering from Neurosyphilis, died in June. In his treatment notes it was recorded that his gunshot wound was a likely secondary cause of death, triggering the dormant infection. John Frederick Fisher was posthumously awarded the British War Medal, the Victory Medal and most incredibly the 1914 Star or, as it is most commonly known, the “Mons” Star. He played a pivotal role in the early events of WWI, despite being injured within days of being on the ground. John was among the

British Expeditionary Force and he bravely entered into the unknown. I am incredibly proud to be a descendant of such a fantastic, brave individual. It was surprisingly easy to obtain all of this information about John’s involvement with the war. A simple search of a birth, marriages and deaths index, or of a particular regiment’s journey during the war can reveal so much. I wanted to be able to follow the life of John Fisher, and bring his story back to life for people to read and appreciate. Luckily, I was more than able to. The opportunity of retelling stories of the past is one that the Sheffield 1914 project both presents and encourages. It’s important that all of us remember the events of WWI and commemorate those who died or suffered as a result of it. It would be fantastic to see more people delve into their family history and find out what they can about WWI. During WWI many lives were lost and much was given up by families in this country. Their sacrifices should not be forgotten – lest we forget.

Joscelin Woodend

and Headlines’ story from World War I Joscelin’s great-great-grandmother Kathleen Fisher

Friday March 7 2014

Fuse. games Gunman Clive PC/3DS/iOS 8/10

t’s hard not to love platform games. Growing up, we had Mario, Sonic, Donkey Kong, Mega Man and all those other retro games, so it is hard not to get a pang of nostalgia when a game of this sort comes along, even if the game is a one man production. Gunman Clive, a standard sidescrolling platformer set in the Wild West, pits you in that all too familiar setup. Ms Johnson is captured by bandits and you, Gunman Clive, must battle bandits, wildlife and a fantastic array of bosses to rescue the damsel in distress. Sound too familiar? Well don’t worry, you can decide to flip the stereotype and play as Ms Johnson and save Clive instead.

Outlast PS4/PC 6/10

elcome to Outlast, and a night you’ll truly never forget. Someone at Mount Massive Asylum has neglected to turn on many of the lights. The allpervading darkness provides the perfect setting for your night-vision camcorder which highlights every table, bookcase and insane monstrosity of Mount Massive in hauntingly realistic shades of green and white. While presumably a nightmareish experience to be left stumbling in the gloom, the residents of Mount Massive kindly left out a near inexhaustible supply of camcorder batteries on every other counter and shelf. The night-shrouded world of Outlast soon develops an immediate and intense sense of unease with an opening that comes close to perfect. The sounds of the asylum – the creaking, untrustworthy

floorboards, the distant moaning of the inmates, and your own ragged breathing make Outlast’s romp-inthe-madhouse a truly unsettling experience. Fleeing from the inmates who start chasing you – aiming to maim, kill or eat you, primarily – is hugely gripping. Vaulting over desks and slamming doors between you feels smooth and very pleasing to pull off, as if it were actually you doing these adrenaline-fuelled feats of desperate survival. Sadly the excellent horror atmosphere of Mount Massive Asylum wears thin all too soon. After only a couple of hours Outlast starts to demand more fetch-and-carry work in an attempt to stretch out the experience, and the will to play the game realistically – sneaking and hiding to keep yourself safe – is soon replaced by a bored urgency to do whatever proves fastest to continue the story. It is through these frustrating horror game clichés that the immersion of Outlast comes crumbling down; progression is often faster by dashing straight past the wandering

nasties to find the single room with an air vent than it is to play the game in a realistic manner – whimpering and hiding under beds. The reason the game truly falls to pieces later on is the story. The patchy narrative is provided through discarded and randomly place medical documents and notes. At the start of the game these documents are frequent and accessible enough that the plot is followable if you collect each of these documents, but later on the narrative slows down to a halt and documents provide so little that collecting them ceases to be worth it. Also, the story quickly changes tack from ‘otherworldly but relate-able’ to ‘where did this come from?’, effectively destroying the excellent work done previously. If you’re looking for two weeks of nightmares you’ll have to go elsewhere, but if all you need is two hours of cheap screams then look no further than Outlast. Will White

Clearly having been influenced by Mega Man, Gunman Clive has a wide array of obstacles and enemies to overcome. It seems everything is an enemy in this game. Do you know what are counted as enemies in this game? Ducks. That’s right, ducks. Touch them and you lose life. This game is filled with ludicrous moments that’ll make you sit up and pay attention to a relatively small game, from duck enemies to a wide range of gun upgrades and the omnipresent jumping on disappearing/reappearing platforms. It’s almost painfully unforgiving as one slip up in a level sends you straight back to the beginning with all the weapon upgrades you have picked up along the way being lost as well. For those adept at gaming, this shouldn’t be a problem as the levels are quite short, but for those who are prone to dying, this will cause many rage quits. However, as all brilliant and addictive games do,

CULT CORNER Rock of Ages

Xbox 360/PS3/PC

isyphus, an immortal Greek Titan, has a job to do. For the rest of eternity he must push a giant boulder up a hill in Hades until a magical enchantment causes it to roll back down to the bottom again. Understandably enough, Sisyphus eventually decides this un-life isn’t for him and swiftly breaks out of Hades, taking his giant boulder and some Titan buddies with him. Rock of Ages is a hilariously chaotic mixture of Insane Obstacle Course and Tower Defence, alternating between guiding your boulder into the enemy gates to break them down, and building medieval weaponry to stop your rival boulder from breaking your own gates. It’s a genuine pleasure to watch your hastily erected dynamite finish just in time to blast your opponent completely off-course with white-knuckle timing. As you progress through the campaign by massively interrupting famous European historical events, you unlock more Tower Defence items to stymie your op-

it will always make you come back for more. Its familiar style, varied level types and simplistic art-style make you want to beat just one more level. For such a cheap game on Steam, it is a worthwhile purchase with so much replay value (try Duck Mode if you’re brave). You can be safely assured that Gunman Clive is a good way to cheer up those dissertation blues, or at least get you frustrated at something else. And to those who don’t have dissertations to do, play it anyway, it will be fun regardless. Not bad for a one man production. Kieran Dean

ponents efforts and more rock types to destroy the enemy gates which does an excellent job of keeping the gameplay of Rock of Ages fresh and delightfully experimental; will only using War Mammoths stop your opponent wrecking your gates more than wall after wall of dynamite? Rock of Ages also shines in the cutscenes between levels with both a unique art style and hugely funny direction. Famous characters and events are played out on screen in a 2D mumble-speech cinematic, with the famous opponents (normally accurate, although Plato and Aristotle probably never came back from the dead) highlighted in a massively dramatic way. It brilliantly furthers the light-hearted and joyfully silly theme. It quickly becomes apparent when playing Rock of Ages that it is a game wholeheartedly about the joy of play. Each level is short enough that progress is never too far away and you will never guess what the game is going to throw at you next. With a depth of silliness that will bring a smile to any face Rock of Ages is a pure joy to play and happily provides many hours of shameless fun. Will White

Friday March 7 2014

Fuse. arts The White Devil

University Drama Studio 8/10

Jacobean revenge tragedy by John Webster, The White Devil, is SuTCo’s second production for the semester. It’s a bold choice, and yet SuTCo have succeeded in putting on an engaging, cathartic piece of theatre. The action takes place in the traditional world centre of corruption, Rome. The married Duke Brachiano (Alfred Reynolds) is cheating on his wife Isabella (Helen Monks) with Vittoria (Alex McArdle). This marks her unassuming husband Camillo (Sam Allan) as a cuckold. The wronged husband and wife are both murdered and a vicious cycle of revenge is put into motion. This means lots of people dying, in lots of ways. The production continues the black-and-white set design seen in SuTCo’s previous production That Face, as well as the simple, understated lighting design. This approach succeeds again at evoking bleakness. With corruption being one of the major themes of the play, this visual presentation creates a feeling of disgust. This repulsion is also produced by the memorable performances on display.

Christopher Lambert is fantastic as Cardinal Monticelso. Supposedly a moral arbiter, Monticelso is a slimy old man who is emblematic of the societal sickness that infects all of the action. Lambert’s stooped physicality and quietly judgmental vocals are excellent, but his costume and make-up complete the character. Indeed, costume designers Jenny Parkinson and Elin Wilcox should be praised for their period costume design, which splashes dots of colour against the monochrome set. Monks as Isabella also impresses, further demonstrating the theme of evil being present in the seemingly innocent. Her white costume and initially demure performance are twisted into something sinister when she delivers a disturbingly gruesome speech about what she would do to Vittoria. Isabella’s old admirer Lodovico is portrayed well by Jack Salloway, who frequently skulks around the darkest recesses of the stage, unbeknownst to the other onstage characters. Lastly, it would be criminal not to mention the performance of Tom Brindley as Flamineo. He is the brother of Vittoria, and acts as a go-between for her and Brachiano. The architect of much of the misery in the play, Brindley’s sprightly performance makes

Flamineo a twisted version of Puck from A Midsummer Night’s Dream. Webster’s unsettling view of humanity leaps to life in this show, thanks to Thalia Caddy’s direction and the dedication of the cast and crew. SuTCo has nailed another dark play this semester; it will be interesting to see how their next production of Merchant of Venice will come across onstage. Joe Brennan

Perceptions Bank Street Arts 8/10

ank Street Arts is a small gallery that lies in the depths of Sheffield city centre. Its most recent exhibition, Perceptions, consisted of eleven lens-based artists who produced collections of thought-provoking and emotive photographs. The main aim of Perceptions was to challenge how we view the everyday, and it tried to bring attention to the overlooked; presenting the often ignored in new and exciting ways. Examining subjects such as contemporary landscape, abandoned structures, and body image, the exhibition asked its audience to explore the images with the innocence and excitement of a child, who sees the world with new eyes. One particularly effective collection by Carly Phipps showed a sequence of 30 photos in a row, which were all taken by a child and got more and more blurred as the sequence progressed. This was representative of the change in the

BOOK CORNER Doctor Sleep Stephen King 2/10

love Stephen King. I was as excited and intrigued as any fan when I heard he was writing a sequel to his brilliant best seller, The Shining. I went to the book shop and bought it the day it came out. Unfortunately, I was sorely dissapointed.

Doctor Sleep, published in October 2013, follows the story of Danny Torrance as he battles with his ability to shine, meets new friends and helps stop an evil cult from inflicting misery upon the world. King is the master of conjuring exciting plot lines brimming with tension, but he falls far short as the story within Doctor Sleep unravels. It was a mediocre plot. And I am saddened to add that it was the best thing about the book. The characters, language and grammatical

pace of life as we get older; adults become more rushed and ignorant of the world around them, whilst children are better at observing and noticing details of beauty. The gallery itself was perfect for displaying such photos due to its light and spacey atmosphere, which invited the viewer to retreat into their own imaginations. It is located in an old Victorian house, which is fairly unusual, and made the exhibition feel more intimate. Each room was set out according to different themes, with nostalgia and memory being most prominent. The artists posed the question of whether photos do in fact capture memories; people in today’s society seem obsessed with taking photos to ensure they remember the moment, but do photos actually block the physical memory, are they in fact frozen illustrations set in the past? The haziness of the photographs showed the fragility of memories changing over time. Using the artistic means of both photography and video, the idea of beauty was also explored by Rachel Sketchley.

errors were close to unbearable at points. Towards the end, when I had stopped hoping it would turn in to a work of brilliance, I counted myself cringing every three pages. Danny Torrance, now all grown up and dealing with his own alcohol problems inherited from his father in The Shining, is a dull protagonist, his relationship with 13-year-old Abra Stone uninteresting and longwinded. King’s portrayal of Abra seemed forced: he consistently threw in modern technological ref-

She challenged our perceptions of what is beautiful and ugly by presenting close up photographs of the body, and various skin disorders or surgery scars. The population has become fixated on the idea of appearance, which has only been fuelled by mass and social media. Through these close up, textured photos of Sketchley’s, everyday people, no matter what their bodies have experienced, are portrayed as beautiful and individual. Perceptions was a highly interesting exhibition, which challenged ideas of everyday matters in contemporary society, and made the audience rethink the way they perceive life around them.

erences to do with her Blackberry phone, the frequency of which appeared as a disturbing attempt to be ‘hip’. I think I heard the collective sigh of readers around the world when King used the metaphor “He was dead. As dead as Amy Winehouse.” Need I say more? Rosie Whitcombe

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DOT COM

Friday March 7 2014

Fuse. music St vincent St Vincent 8/10

ccording to Annie Clark, aka St Vincent, it was the Talking Heads frontman (and her collaborator on 2012’s Love This Giant) David Byrne, that taught her “fearlessness”. Indeed, his name is thrown about regularly upon mention of the 31-year-old American, and in her self titled, fourth solo album, the influence of Byrne is obvious - both musically, and in terms of fear-

less trailblazing. ‘Rattlesnake’ establishes a self-consciously cool and typically outlandish tone; a tight electro number with a killer vocal hook. The album’s first single ‘Birth in Reverse’ offers an scintillating chorus that superbly contrasts with a sharp, unbalanced melody and imitating guitar riffs. If one aspect of Clark’s sound on St Vincent were to immediately resonate with us, it would be her vocals. In songs such as ‘Every Tear Disappears’ and the so obviously Byrne- inspired ‘Digital Witness’, Clark’s

BECK

MORNING PHASE 9/10

eck is a true explorer of sound. His ability to move between genres has taken him to the farthest reaches of musical possibility. On Morning Phase, he immerses himself in gentle soundscapes inflected with acoustic instrumentation, creating yet another immersive and rewarding work of music. Intro ‘Cycle’ opens with soft tides of strings, encapsulating the album’s binding themes of positivity and melancholy in a simple 40-second coda, before giving way to the trickling acoustics of ‘Morning’ - a song like a rising sun. “Can we start over again?” Beck asks, putting forth the feeling of renewal and maturity that is constant across the album. As a sequel to the seminal 2002 album Sea Change, Morning Phase takes the melancholy themes of its predecessor and pushes them forward with gentle positivity.

kevin drew Darlings 8/10

arlings, the latest offering from Broken Social Scene frontman Kevin Drew is, in two words, quite something. Drew manages to entrance on each of the 11 tracks by blending beautiful synths and terrificly meandering guitar riffs. Through his masterful use of a variety of sounds, Drew delivers a great range of tracks, from the cuttingly cool, through the tongue-incheek, right up to the intensely peaceful and personal. The record opens with ‘Body Butter’, in which Drew sets down his agenda, opening with a gentle strumming backed by ethereal synths. The almost-wailing female backing vocals here give a quick reminder that the quirkiness that made Broken Social Scene’s magnum opus, You Forgot it in People, so great has certainly not been lost. Furthermore, it shows that, as cool as Drew can be, he’s still capable of reigning it all in and not tak-

X UPCOMING:

vocals are effortlessly strong and self-aware in their saccharine qualities, with the ability to stand up against the heavy synth sounds. Yet in the beautifully open ‘I Prefer Your Love’, we hear a romantic fragility reminiscent of Lykke Li’s vocal vulnerability in 2011’s Wounded Rhymes. It is this song that lyrically sets her apart; she has the ability to make us both flinch and laugh. One minute she is stating with searing, bruising honesty that “all the good in me/is because of you”, The subtle acoustic flavours Beck employs appear throughout Morning Phase, giving musical as well as thematic continuity, binding it into a full piece of work - a tangible journey through his state of mind. This is undeniably a Beck who has lived for 12 years more than the one who made Sea Change. Also present are hints of a country influence. Beck walks a thin line as he courts the genre, but his use of instrumentation, like harmonicas and slide guitars, is subtle and atmospheric rather than tacky. His musical dexterity allows him to fuse folk and country with all the emotional tenderness of the former and none of the heavy-handed drawl of the latter. With ‘Waking Light’, Beck indulges his love of electronic soundscapes on an ethereal, conclusive sunset of a song which unites his attitudes, old and new, rounding out Morning Phase’s themes of hope and melancholy. All of this results in one of the most satisfying and complete albums of the year so far. Rhys Handley

and the next she is telling us with ironic, childlike stupor that she prefers “your love to Jesus”. It would be safe to say that St Vincent is an undoubtedly stylish and wonderfully slick foray into beautifully crafted and visionary, yet catchy, pop music and deceptively sweet vocals. Oh, and with enough trademark weirdness to ensure it stands out from her female contemporaries. Rachel Bell

WHAT’S ON YOUR PLAYLIST?

Judith Miller, Geography Favourite band: The 1975 Favourite track right now: Pitbull ft. Ke$ha - ‘Timber’

Sam Newton, French and Spanish Favourite band: In This Moment Favourite track right now: Bastille ‘Pompeii’

ing himself too seriously (a very important trait in the realm of indie). From here, Drew whisks us through 10 more demonstrations of his mastery over both indie rock and neat little bleep-bloops, and how adept he is at combining the two. This includes ‘Good Sex’, the humble receiver of Pitchfork’s Best New Track, and ‘Bullshit Ballad’, where Drew perhaps flies too close to the old “we’re cool because we’re not mainstream” motif. This features pretty heavily in Broken Social Scene stuff, but such infractions are few and far between on Darlings, so all is forgiven. If there is one bad thing to mention about Darlings, it’s that very few songs actually stand out, despite each being a cracking listen. It may be the unfortunate case that Darlings is a great album that simply won’t stand the test of time. That being said, in Darlings Drew has provided what could easily be one of the top indie rock albums of the year. Definitely check it out. Theo Cole

REAL ESTATE: ATLAS / METRONOMY: LOVE LETTERS / CHARLOTTE CHURCH: FOUR / TYCHO: AWAKE

Friday March 7 2013

Fuse. music

Newton faulkner

Monday February 17 Bridgewater Hall, Manchester

ridgewater Hall is everything that the name promises: an elegant concert hall, which usually houses its own orchestra. Tonight is a little bit different, as Newton Faulkner, with support from Sam Brookes, come to play. When the support act took to the stage, it was with hesitant steps. You couldn’t blame him; with his one guitar he looked like quite a humble act in comparison to the massive venue. Brookes’ vocals soon proved any unimpressed spectators wrong. The pure falsetto of the first, hymn-like, number had the crowd listening in awe. By his last number, he was comfortable enough with the crowd to start a sing-along. A reserved audience quickly readjusted and joined him in the chorus of his smooth ballad. As Newton Faulkner starts his set, the support has already set the mood for the evening. The crowd is comfortable, appreciative, and in some cases, quite drunk. Faulkner, as chilled as ever, acknowledges the drunken stupors with a nod, before going into an upbeat number, where he showed the diversity of his talents. Whilst singing, he simultaneously works the bass drum with his left foot and plays what seems to be some sort of piano with his right foot, all

Drenge

Saturday March 1 Plug

sold out gig, a local band who’ve hit the big time and a young crowd tanked up on cheap cider and you know you’re in for a night and experience that you can’t quite shake off- even after a few showers. Since releasing their debut album in August 2013, Drenge have had one of the best six months any new band could have wished for, after supporting Arctic Monkeys on their most recent tour, named as NME’s ‘Best New Band’ of 2014 and now embarking on their first international tour. The duo consists of the two Loveless brothers, originating from Sheffield, playing a set list filled with tunes from their critically acclaimed debut album. Purely from the reaction to the support band, Traams, the tone was set for the night ahead, one of blood, sweat and tears. As expected from a band of Drenge’s ilk, we are treated to an onslaught of endless crowd pleasers including ‘Bloodsports’, ‘I Want to Break You in Half’ and ‘Backwaters’, barely pausing to breathe with each song melding into the next. It really was a relentless affair, with neither band nor crowd willing to falter first. After an hour long set full of grunge fuelled anthems, we are treated to the per-

when playing his guitar. Not only does he take on the responsibilities of an entire band on his own, he also alternates between two different microphones with different songs. One, he says, is his “clean mic”, and the other (a 50s rough-looking thing) was his “dirty mic”. Faulkner repeatedly proves himself as way more of an entertainer than what was perhaps expected from someone who had never seen him live. This meant there are not many flaws in the set. Highlights inevitably became the hits from his first album, Hand Built By Robots, bringing on a standing ovation. Nonetheless, Faulkner makes it clear to his audience he is way more than just that one song. Angeliqua Dieye

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Newton Faulkner - Katherine Hodgson

fect closer with whimsical sing-a-long ‘Fuckabout’, a song so melancholy I even saw a few lighters coming out. The younger of the two siblings l e a ve s t h e stage to get a better view of his brother’s passionate closing chorus by leaping into a revering crowd, it brings a fitting end to a powerful performance. Producing one excellent album means you still have much to prove before being accepted as a great band but with a live set and presence like this, they’re certainly on the right path.

Casual Sex - Katherine Hodgson

casual sex

Wednesday February 26 The Harley

Murray Jones

T Drenge - Katherine Hodgson

he Harley provides a great setting for the unshy, yet not quite raucous four-piece Casual Sex, who have been compared to fellow Glaswegians Franz Ferdinand and Orange Juice. Clad all in black, the dim room is a perfect conduit for the energetic, sometimes moody, growling noise they make. Having a very ‘cool’ mood set from the two supports: the almost too trendy Glistening Pelt, who are dangerously close to a couple of guys just messing about with synthesisers, and the great quirky

sound of the young indiepop outfit Febueder. Casual Sex provide a great atmosphere with smashing guitars, a moody grumble from the bass, and a great presence from the vocals, overall delivering a superb energy to the room. Playing to a somewhat undeservedly small crowd of around 30, Casual Sex show no signs of relenting during a set that rushes by, their clear enthusiasm exemplified by near-manic smiles and constant joviality between the members. If there’s something bad to be said about their performance, it’s that it can seem rehearsed at times. That isn’t to say, however, Casual Sex

are merely running through the motions – it’s obvious they (and the crowd) are having a great time. Despite this, there is a sense that this is a carbon copy of previous shows, verging on the “look at us, we’ve got some choreographed quirky moves”. All in all, however, Casual Sex and support Febueder (a band worth looking out for) put on a great gig with a great, genuine stage presence, certainly worth catching if possible. Theo Cole

UPCOMING: HAIM : O2 ACADEMY MARCH 11 / THE FEELING : LEADMILL MARCH 12 / THE MEN : HARLEY MARCH 13

Friday March 7 2014

Fuse. screen Non-stop

Dir: Jaume Collet-Serra 7/10

here’s a College Humour video that shows what would happen in famous films if the characters had mobile phones. The overwhelming impression is that a lot of conflict could have been avoided and the stories would be a lot less eventful. NonStop, however, theorises that electronic communication has the potential to cause conflict, confusion and drama. Our hero is Bill, played by the badass Liam Neeson. He’s an air marshal on a flight to London when an anonymous passenger texts him on a private network. They demand a hundred and fifty million dollars, otherwise someone on the plane will die every twenty minutes. Bill must find this person and solve the mystery, but this turns out to be far more difficult than you might expect. This is a great setup for a thriller and the film makes excellent use of it in the second act. As Bill tries to get to the bottom of the mystery,

CULT CORNER

The Thing

Dir: John Carpenter

ohn Carpenter’s 1982 science fiction movie manoeuvres between moments of high tension and extreme gross-out horror, to create an unforgettable viewing experience. In an American Antarctic research station during the most unforgiving of winter storms, a team are isolated from the outside world. Peace at the station is disturbed when, in the opening of the film, two apparently mad Norwegians in a helicopter pursue a dog towards the camp, and crash right on their doorstep. The team take in the dog (which survives), but in time they discover that all is not as it seems, and a shape-shifting alien life form infiltrates the station. In an atmos-

the passengers get more agitated and so he must diplomatically deal with the mob. Meanwhile, people on the ground think that Bill has hijacked the plane, which spreads to the press. The film is admirable for showing how the information network that we inhabit every day feeds us misinformation and clouds the truth, rather than clarifying it. There’s a wonderful section half way through, where the audience begins to doubt if Bill is the hero, or actually the villain. There’s very little in the way of action, and the few fight scenes are poorly shot in the cramped quarters of a plane. This doesn’t matter though, because the film remains engaging through suspense generated by the anonymity of the antagonist. Neeson’s character is an aging alcoholic, a very predictable archetype. It’s a role he can play in his sleep, but plot is more central than character development in the film, so it doesn’t hurt too much. The film’s true weak spot is in its final sequence. The reveal and motivation of the villain is limp, and the suspense gives way to bland,

phere of intense paranoia, with the promise of violence always one second away, all-American hero R.J. MacReady (Kurt Russell) must try to keep his wits about him and discern which of his fellow men are really human, and which are really infected by the ‘Thing’. Although initially receiving mixed reviews, and being criticised for its unabashed, extravagant scenes of gore, The Thing has gained new followings since its first release and proved its endurance as a cult science fiction classic. The film engages with fears and themes explored in many science fiction classics such as Ridley Scott’s iconic films Alien (1979) and Blade Runner (1982). All these films have unsettled the ways in which we perceive humanity and violated the supposedly impermeable biology of the human body; however, The Thing’s surreal special effects set it

uninspired action. There’s a muddled message about national security and some obligatory post-9/11 commentary that is superfluous beyond belief. The film would have done a lot better if it had elaborated on the electronic communication angle. Stylistically, Non-Stop is quite beige, given the limited options of filming inside a plane. There’s a lot of blue and grey colouring, and the CGI sequences look quite dated by today’s standards. However, as with the other flaws, it doesn’t greatly impact on the overall quality of the film. The main advantage is the writing, which delivers us a thriller, but overall, Non-Stop is a rather disposable film. You’ll forget about it soon after seeing it, but it will offer a great ride while it’s playing. If it wasn’t set on a plane, it would actually make a great in-flight film. Joe Brennan

SMALL SCREEN

True Detective: episode one Creator: Nic Pizzolatto 9/10

BO’s True Detective is the story of two Louisiana detectives, Marty Hart (Woody Harrelson) and Rust Cohle (Matthew McConaughey) who are brought together to solve a horrific ritual killing. It draws on Joseph Conrad’s Heart of Darkness, both in its narrative makeup and its depiction of two men, delving deep into the darkness of the human psyche and a depraved, hellish criminal underworld at great psychological cost to themselves. The show encompasses two simultaneously running narratives, as Hart and Cohle, both now retired and estranged from each other after an unspecified falling out, are interviewed about a case from seventeen years previously, depicted through flashbacks. It’s taken its toll on them; Hart is now divorced, bald, and self-

apart from the slickness of other futuristic, science fiction visions. When the Thing takes control of its victims it does so explosively; a head separates from its body and grows spider’s legs. The special effects are grotesquely stylised yet strangely realistic due to the use of prosthetics, stop-motion animation and puppetry. The film lingers in memory, as it viscerally unsettles and breaks through the boundaries of the human body, yet the excessive nature of gore gives it an undeniable humour and bestows a strange charisma to the picture. Moments of tension combined with sharp jump-scares, cheesy dialogue, and a ‘kill it with fire’ attitude all make The Thing a science fiction classic that charms while it shocks. Alice Gibson

medicating, while Cohle is burnt out and disheveled, unable to get through the interview without making a ‘beer run’. The narrative of the show is a brilliant slow-burn, whilst the interplay between Hart and the nihilistic Cohle is antagonistic without falling into buddy-cop clichés. True Detective isn’t really about a serial killer, but about our two movie star co-leads, who both deliver astounding performances as two very different men, becoming tainted and encompassed by the darkness in their professional lives. Harrelson’s Hart is hot-headed and hypocritical; an unfulfilled family man with a dark side, while McConaughey’s Cole is a brilliant and against-type portrayal of a man with a troubled past who lives by the creed that the world needs bad men to keep other bad men from the door. The series of events set in motion by the first episode proves once again that HBO know exactly how to hit the right note when it comes to drama and grit. Chris Smith

Friday March 7 2014

The book thief Dir: Brian Percival 7/10

ased on the acclaimed novel by Markus Zusak, director Brian Percival brings the poignant tale of childhood innocence to the big screen. The story, narrated by Death (Roger Allam), follows Liesel Meminger (Sophie Nélisse) as she is sent to live with Hans (Geoffrey Rush) and Rosa (Emily Watson) Hubermann just before the outbreak of World War II. Once there, Liesel befriends next door neighbour Rudy (Nico Liersch), who becomes her adoring shadow, following her everywhere and constantly requesting a kiss. As war comes to Germany, Liesel helps hide Max (Ben Schnetzer), a Jewish refugee, in the family basement, and begins to steal books as she learns to read. For the most part, the story is adapted closely and accurately from the book, but there are certain sections that intimate fans of the novel will notice have been changed. Not to drop any mam-

Stranger by the lake Dir: Alain Guiraudie 8/10

et entirely on a lake where men go to swim, sunbathe, and find other men, French film Stranger by the Lake is a quietly terrifying and highly erotic thriller. The film follows Franck (Pierre Deladonchamps), an attractive young man who comes to the lake regularly. He is constantly disappointed as he tries to navigate the awkward sexual politics of cruising, often finding that the men he likes are already taken. When his attempts to get some action backfire, he chats with chubby Henri, an odd man who seemingly has little interest in sex and just comes to sit by the lake. The two form a chaste relationship, until a wedge comes between them in the form of Michel (Christophe Paou). He is, as Henri himself points out, “weird”. In a big way.

Only Lovers Left Alive Dir: Jim Jarmusch 8/10

lthough the last Twilight film was two years ago, the sparkly vampire persona isn’t quite dead yet. Following that series of films it has become a little tricky to make vampires cool again; however, Only Lovers Left Alive has finally given us a modern vampire flick with a bit of gravitas. Adam (Tom Hiddleston) is a reclusive musician who despises the modern world and lives in a rundown area of Detroit, while his wife, Eve (Tilda Swinton), is living in Tangier. Sensing his depression, she leaves so she can be with him in and the two enjoy an idyllic reunion. Everything is blissful until Eve’s sister, Ava (Mia Wasikowska), turns up unannounced and causes a lot of unnecessary trouble. Aside from the fact that Adam and Eve are by far the coolest couple in Detroit, these vampires are surprisingly down to earth. They have a great little system in place which ensures that they have a regular blood supply so there is no need for constant bloodshed. Adam is as hipster as you can

freezing river after Liesel’s lost book, the audience are suspended in time for a few seconds, wondering if his desire to prove his friendship will cost him more than just

moth spoilers, but a very poignant scene between Rudi and Liesel plays out differently to the book, and it changes the fundamental dynamic of their relationship. The score is artfully arranged by John Williams, who is virtually a god in the world of soundtrack creation, and it caters to sentiment of the film seamlessly. It is this sentiment that the film hinges on, using several powerfully emotive sequences each as a springboard for character development. In particular, w h e n R u d i jumps in the The narrative progresses at a leisurely pace, which ratchets up the tension to an unbearable level, especially when Franck and Michel hook up. Michel’s sinister nature makes the more

get; he’s had to watch centuries of culture become mainstream. Ava is his polar opposite – she hasn’t grown up, she’s exuberant, happy to mingle alongside humans, and sneaks hip flasks full of blood into gigs. Take away the dietary differences and these vampires aren’t so different from us really. Adam and Eve have been married for many years but their reunion places them firmly back in the honeymoon period. They spend all their time lounging around, never fully dressed, doing nothing but enjoy the pleasure of each other’s company. Sure, humans may have a honeymoon period too but if anything about Adam and Eve screams ‘supernatural’ it’s the chemistry between them; it’s way too enchanting to be human. Hiddleston gets the ‘suicidally romantic scoundrel’ persona down to a tee and Swinton oozes total sophistication and grandeur – together they’re explosive. They’re all each other has to live for, so their relationship is intense, but also wonderfully sincere and gentle. The film is appropriately gothic and hypnotic, but solely due to aesthetics rather than plot. Writer and director Jim Jarmusch goes out of his way to emphasise the monotony of these characters’ lives;

intimate scenes between him and Franck especially uncomfortable to watch. Whereas the sex scenes in Blue is the Warmest Colour convey the ecstasy of being in a new relationship, the scenes in Stranger portray sex for its own sake, with no emotional attachment. This is one of the themes of the film, as Franck seeks something more from Michel, who is seemingly incapable of strong emotions. Paou delivers an incredible performance. It remains difficult throughout the film to pin down what makes him so unnerving. He resembles an amalgamation of Hollywood leading men, like John Hamm and George Clooney, but his eerie blue eyes and creepy moustache as a result not a great deal happens, but the beautiful visuals keep you hooked. Everything is slow and sensual, the camera’s always moving, the shots of the Detroit scenery are dark and striking; but the most arresting image is in the physical contrast between Adam and Eve. Visually it’s close to perfect. The only real issue is excessive name dropping. Of course Eve is pals with Christopher Marlowe (John Hurt) and Adam used to knock about with Byron, and is also conveniently responsible for Schoenberg’s adagio. However, this can be easily overlooked. Only Lovers Left Alive is poetic, surprisingly funny, and obliterates all of today’s vampire fanfiction thanks to its mesmerising and on-screen couple. Laura Heffernan

the submerged hardback. Slow in pace, the plot dawdles at times, and will likely leave some audience members frustrated by the lack of sequential drama scenes. In places, the script, too, suffers from an absence of the creativity that Zusak’s novel heralds; this is down to Michael Petroni’s missing out on some of the finer intricacies of the book’s narrative in his adapted screenplay. The casting, however, is spot on. From the first moment Geoffrey Rush appears on screen, calling Liesel “Your majesty”, no-one else can match up to his version of Hans. As a character actor, he gives the part the twinkly-eyed, lovable grandfather it was always meant to have. Nélisse, too, shows talent beyond her 13 years, expressing variety and sensitivity through her doe-eyed innocence, and Emily Watson is formidable as Liesel’s short-tempered, adoptive mother, snappily calling her “Saumensch” (a female pig) at every opportunity. The Book Thief has been criticised for displaying an overly-romantised, don’t help matters. It’s not just his appearance that unnerves though. The quiet geniality in his voice feels like a thin veneer of respectability that hides a terrifying darkness. The lakeside setting of the film is idyllic at first, but as the plot gets progressively darker, it becomes utterly menacing. The film never leaves this environment, gradually building up a sense of supreme isolation. This is intensified through extremely repetitive shots. For instance, each new day is signalled by an identical long shot of the car park in the morning. It adds to the mounting unease that

15 Hollywood-tinted version of WWII and, while this is partly true, those expecting the equivalent of Saving Private Ryan, have likely misunderstood the film’s main endeavour. The novel explores the transience of life through the childhood of the protagonist and focuses far more on her growth as a character in a war setting, than the horrors of the war itself. Although director Brian Percival doesn’t make full use of Death as a narrator, he certainly knows how to use location to its maximum potential. Filmed in Berlin and Görlitz, the outdoor, nature-saturated, wideshots produce stunningly expansive snowy fields and summer lakes that are impressive on the eyes. The Book Thief is a solid adaptation, give or take a little wayward directorial creative licence, and if you can see past its minor flaws you’ll find an emotionally-captivating piece of cinema, with wholeheartedly committed performances from all the cast. Kate Lovatt

reaches its climax in the devastating final moments of the film. The languid pace and scenes of an explicit nature make Stranger by the Lake an acquired taste. Character motivations are also highly questionable, which will frustrate many in the audience, but overall, the film is a highly engaging thriller. It can make you so uncomfortable, you’ll fool yourself into thinking you’re watching a Michael Haneke film. Joe Brennan

DOT COM

FORGE’S DESERT ISLAND Every fortnight, we ask a couple of our editors to pick their Fuseesque desert island necessities. This issue we ask our music editors which items they couldn’t survive without.

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