Issue Two (October 2016)

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AMERICAN HORROR STORY

Issue two Welcome to Issue Two of The Edge! It doesn’t seem like that long ago that we were putting together the first issue of the year, but here we are already finishing up on the second! With the arrival of this issue, Freshers’ is now firmly over and the first semester has truly kicked into gear. We’ve been very busy over the last few weeks, attending events like the Bunfight and the Freshers’ Fayre, and hosting our first writers’ meeting of the year with our sister publication, the Wessex Scene. We managed to entice over 250 freshers into joining The Edge over freshers’ week, and it’s been a pleasure talking to everyone who graced our stall. To the new, shiny ‘Edgelings’ that have joined us: welcome and thank you!

This issue, as I’m sure you will have noticed from our rather beautiful front cover, we’ve gone a bit Gaga...

Lady Gaga, to be exact. To link in with the long-awaited release of her fifth studio album Joanne, The Edge writers have come together to discuss the singer’s artistry and performances. As well as reviewing the first single from the album, ‘Perfect Illusion’ (p.18), one of our writers takes a look at how well various singers have taken to acting, following Gaga’s Golden Globe-winning performance as the Countess in American Horror Story: Hotel (p.9/10).

Speaking of AHS, we’ve also got some excellent horror content within this issue just in time for Halloween; from our coverage of this year’s FrightFest (p.19/20) to our ‘Author in Focus’ piece on the master of creepy literature himself, Stephen King (p. 26). We also review the first episode of American Horror Story: My Roanoke Nightmare (p. 25) and look back to when our very own Deputy Editor Ashleigh trekked through The Walking Dead Experience (p.33).

And just when you thought this issue couldn’t get any more jam-packed with interesting content, our writers have also added a few touches of magic to the issue in anticipation of Fantastic Beasts And Where To Find Them. As well as reading our critique of J.K. Rowling’s never-ending revelations about the post-Potter universe on page 11, you can also find out more about Newt Scamander himself, Eddie Redmayne, in our ‘Actor in Focus’ feature on page 21.

We’re only two issues in, but I can already feel that this is going to be a really exciting year for The Edge. With the team working hard every day to get our writers the very best opportunities and with some very exciting events on the horizon, it simply couldn’t be a better time to be part of Southampton’s leading entertainment magazine.

Anneka Honeyball Editor

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THE EDGE

Editor Anneka Honeyball editor@theedgesusu.co.uk Deputy Editor Ashleigh Millman deputy-editor@theedgesusu.co.uk records Editor Xavier Voigt-Hill records@theedgesusu.co.uk Features Editor Rehana Nurmahi features@theedgesusu.co.uk film Editor Hollie Geraghty film@theedgesusu.co.uk C u lt u r e e d i t o r James Barker culture@theedgesusu.co.uk live Editor Carly-May Kavanagh live@theedgesusu.co.uk news Editor Robert Pratley news@theedgesusu.co.uk head of design Liana Dent design@theedgesusu.co.uk Head of relations Navi Ahluwalia relations@theedgesusu.co.uk Head of publicity Becca Hellard publicity@theedgesusu.co.uk Head of events Octavia Woodward events@theedgesusu.co.uk online manager Jack Lewin manager@theedgesusu.co.uk editor in chief Cameron Meldrum vpdci@unionsouthampton.org With help from Sophie McEvoy, Conor Kavanagh, Rebecca James and Henna Patel

Contents editorial

01 Welcome to Issue Two 02 Contents

NEWS

03 Newsbox 04 Nostalgic News 05 Notes on News: Does a film need to be faithful to its source material in order to be successful?

Features

07 Singers-turned-actors: From the best to the worst 09 Horror movies: A question of age or sensitivity?

10 Please, authors, let the literature breath!

11 How to be a YA protagonist

Records

13 Lady Gaga - Perfect Illusion 14 Review: Craig David - Following My Intuition Review: Grouplove - Big Mess 15 Review: Pixies - Head Carrier Review: Banks - The Altar 16 Review: White Lies - Friends Review: Shawn Mendes - Illuminate 17 Singles: Two Door Cinema Club - ‘Bad Decisions’ Singles: Powell feat. Frankie - ‘Frankie’ Singles: Leonard Cohen - ‘You Want It . Darker’

film

19 Review: Cell 20 The Best of FrightFest 2016 21 Actor in Focus: Eddie Redmayne 22 Blu-Ray Review: Independence Day: . Resurgence Blu-Ray Review: X-Men: Apocalypse 23 One to Watch: Manchester by the Sea

culture

24 TV Reviews: American Horror Story (Season 6, Episode 1) TV Reviews: Fleabag 25 Author in Focus: Stephen King 26 Intro to Southampton’s Theatre Scene 27 First Look Review: FIFA 17

live

28 This Month in Local Live Acts 29 Artist in Focus: Lady Gaga 30 Gigs: The Good, Bad and Slightly Absurd 32 Throwback: The Walking Dead Experience 33 Listings

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EDDIE REDMAYNE

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FIFA 17

AMERICAN HORROR STORY

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THE EDGE COVER IMAGE BY INTERSCOPE RECORDS

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NEWS

THE NEWSBOX TOP TOP FIVE FIVE NEWS NEWS STORIES STORIES 1

The Great British Bake Off is moving from BBC One to Channel 4, causing both the presenters Mel and Sue, and judge Mary Berry, to quit.

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Game of Thrones became the most successful show in Emmys history, after winning yet more awards at this year’s ceremony.

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FIFA 17, Battlefield One, and PES 2017 have been released on all major games consoles.

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American Horror Story has been renewed for a seventh season.

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Gene Wilder, best known for his roles in See No Evil, Hear No Evil and Willy Wonka and The Chocolate Factory, died aged 81.

THE THE EDGE’S EDGE’S ENTERTAINMENT ENTERTAINMENT PICKS PICKS Editor:

Doctor Strange, directed by Scott Derrickson, Marvel Studios, 25/10/16

Records Editor:

Tove Lo, Lady Wood, 28/10/16 (via Polydor)

film editor:

My Scientology Movie directed by John Dower, via Altitude Film, 07/10/16

Culture editor:

Class, BBC Three Online, 22/10/16

THE THE KEATS KEATS OF OF TWEETS TWEETS

@Lin_Manuel

Good night.

Rest easy, knowing you contributed to someone else’s happiness today.

It’ll come back around, with interest.

THE THE EDGE EDGE IS IS EAGER EAGER FOR...

FOR...

Modern Life is Goodish, Series 4: The brainchild of the fantastic Dave Gorman, MLIG sees him deal with the inane, the extraordinary and the downright stupid that is so often displayed online and in the wider media.

The Red Hot Chili Peppers’ The Getaway Tour: With support from BabyMetal, the American funk-rock band are embarking on a mammoth world tour, which currently has 103 tour dates. The London O2 show on 5th December is what we’re most eager for… possibly because one of our committee members is going.

Live editor:

for all the latest entertainment news theedgesusu.co.uk/news theedgesusu.co.uk/news THE EDGE

Got a celeb to nominate for next issue?

Let us know

@theedgesusu

Mark Thomas: Red Shed Tour @ Nuffield Theatre, 22/10/16

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Although one could pick any number of this brilliant man’s tweets for this showcase, this time we take a more philosophical route from the creator of Hamilton, “Good night. Rest easy, knowing you contributed to someone else’s happiness today. It’ll come back around, with interest.”

In a time when so much can stress us out, it is good to remember you can make others happy, and in turn make yourself happier.

NEWS

nostalgic news Another roundup of things that happened this month in years gone by.

BATTLEFIELD 3 WAS RELEASED five YEARS AGO LUKE BUCKETT

Battlefield 3, the hard-hitting, genre defying, first-person-shooter, was released five years ago today. Arguably the genre has not been the same since.

The legacy of Battlefield 3 is the big team battles and gritty gameplay which had been introduced by previous games in the series. Battlefield 3, however, delivers the feeling of fighting in a real war aided by the destructive environment that causes buildings to crumble all around the player; adding to the chaos. It also managed to compete with the already established and critically acclaimed Call of Duty series, which had been extended by the release of Call of Duty: Modern Warfare 3 in the same year.

While the linear plot of the Single Player and Co-op modes failed to captivate players, the Multiplayer mode shone bright. The familiar Capture the Flag, Conquest and Team Deathmatch modes are present, but what sets Battlefield 3 apart is the Rush mode which never fails to raise your heart-rate with intense game-play and tactics. If Call of Duty monopolized the market before, Battlefield 3 certainly provided a worthy challenger to the crown - and possibly even took it.

the prestige was released 10 years ago SOPHIE TRENEAR

Christopher Nolan’s critically acclaimed but often overlooked mystery-thriller, The Prestige, was released 10 years ago on 20th October 2006.

Starring Hugh Jackman and Christian Bale as two rival magicians among an ensemble cast including Scarlett Johansson, Michael Caine and David Bowie, the film follows two magicians as they both grow increasingly obsessed with performing the best stage trick. With each magician trying to one-up the other, their attempts end with tragic results, which bring to light the cataclysmic unveiling of mistakes made and trust misplaced.

The question of how far one would go to dedicate oneself to art encircles the film, trailing out into veins of obsession, secrecy and sacrifice which all entangle together in the third act, as morals are tested and the line between right and wrong begins to blur. The Prestige grossed $109 million, and was nominated for Best Cinematography and Best Art Direction at the Academy Awards, remaining to this day a favourite amongst thriller fans.

michael jackson’s ‘invincible’ was released 15 years ago THEA HARTMAN

October 30th marks the 15th anniversary of Michael Jackson’s final studio album, Invincible - a 16-track comeback which resurged the King’s presence in charts all over the world, peaking at number one in eleven countries.

The album came out after a period of intense conflict for Jackson, who had been the target of scandals and harmful gossip, and intertwines abusive media criticism with the artist’s well-known inclination towards love. Invincible was met with mixed reviews, taking a slightly ‘edgy’ musical direction and combining aggressive, fast-paced tracks with sentimental ballads. However, the album showed the whole world that Jackson, who was glorious in the ’80s, was still perfectly capable of producing good music. Tracks such as ‘Whatever Happens’ (a wonderful collaboration with the stellar guitarist Carlos Santana), ‘You Rock My World’ (the main single which had a familiar sound) and ‘Speechless’ have remained with MJ’s fans as samples of his greatness and the star-studded contribution he brought to music.

evanescence released their self-titled album five years ago CAMERON RIDGWAY

US Rock band Evanescence released their self-titled third studio album five years ago on 7th October 2011.

With less classical influence than previous releases Fallen and The Open Door, Evanescence represented a move towards a heavier and more aggressive sound. Frontwoman Amy Lee described the record as, “better, stronger and more interesting” than their previous releases and cited Depeche Mode, Massive Attack and MGMT among the album’s influences.

The record became the group’s second to debut at number one in the Billboard 200, selling over 127,000 copies in its first week of general release. Critical reception was also generally positive, with reviewers complementing the album’s brash and confident sound. The first single, ‘What You Want’ charted at number one in the UK rock chart and the US Billboard Hot 100.

THE EDGE IMAGE BY ELECTRONIC ARTS

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NEWS

notes on news

does a film need to be faithful to its source material in order to be successful?

JAMES SLAYMAKER There’s a disconcerting trend in modern film criticism that leans towards nostalgia and cynicism; it’s expressive of a viewpoint that cinema as an art form peaked sometimes in the 40s/50s/60s (depending on who you ask), and since then has been steadily declining, resulting in the dire, degraded state of cinema circa 2016.

There are certainly elements to truth to this, but in this writer’s opinion, it is a vast over-simplification. For one, it ignores how a talented filmmaker can invest unoriginal material with their own deeply personal artistic and ideological vision. Many of the most accomplished films released over the past 10 years have been bigbudget sequels, reboots, and adaptations made within the studio system: Mann’s Miami Vice, Fincher’s Gone Girl, Eastwood’s American Sniper, Scorsese’s The Wolf of Wall Street, De Palma’s Passion, Zombie’s Halloween 2 and Van Sant’s Paranoid Park, among others. One thing that all these films have in common is that they all deviate heavily from their source material.

Whenever liberties are taken with source material, a fan backlash is to be expected. Zack Snyder’s exemplary Batman Vs Superman was heavily criticized for transforming Superman from a symbol of American virtue into a brooding, morally-conflicted antihero.

I know I’m in the minority when I say I consider Snyder a serious philosophical thinker, but I think the result ranks amongst the most accomplished superhero movies yet, and certainly the most fascinating treatment of the character I can recall.

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In both Batman Vs Superman and Man of Steel, Snyder paints a shockingly convincing, and emotionally potent, picture of the superhero as an abject outsider, who painfully bears the burden of his inability to integrate into mainstream society.

On the other end of the equation, there are films that have been held back from reaching their full potential due to being overly faithful to their source material, such as Ghost Rider, which promised so much, and delivered so little.

In this sense, film franchises work in a similar manner to TV series, as a particular “house style” is laid out by the studio, and directors are expected to stick to it to create a sense of visual consistency. They may have some freedom to express their personal styles within these confines, but their originality is circumscribed by the rules already established.

The results often end up being flat, lifeless movies.

This is a particular problem when it comes to cinematic adaptations of novels, which, due to length issues, are usually unable to capture the entire plot of a book, and hence have to use pure imagery and editing to convey information about theme and characterization. The best adaptations, in this writer’s opinion, search for a visual language to express externally the dense intangibles created through words.

Although I – as I hope I’ve expressed – I come down firmly on the side of removing a film from its source material and instead viewing it as an independent artwork that should be judged on its own terms, I understand that the issue is knotty. After all, fans of a particular artwork naturally come to feel a sense of ownership over the material, a feeling of emotional connection and investment that they feel b e t r a y e d when an adaptation offers an interpretation that differs from their own. That’s why I believe that each adaptation should be viewed as a work that offers its own original and creative re - i m ag i n i ng .

THE EDGE IMAGE BY DC ENTERTAINMENT

FEATURES

SINGERs-TURNED-ACtORS HOLLY HAMMOND People in the music industry have been trying their hand at acting for decades and, occasionally, a star is born whose success as an actor far outstrips their musical acclaim. This is far from the norm though. For most? Not so much. It just goes to show that all talent is not equal. In light of the recent acclaim of Lady Gaga in American Horror Story, this article details my favourite best, and worst, singers-turned-actors WILL SMITH Of all the singers-turned-actors, Will Smith is by far one of the most prolific and successful. Originally part of the musical duo DJ Jazzy Jeff & The Fresh Prince, Smith gained fame starring in the TV show The Fresh Prince of Bel-Air, which launched his acting career and has resulted in a lifetime of recognition; the show achieving an almost cultlike following. His acting has since been varied, but predominantly successful, including well-known films like Independence Day, Bad Boys, the Men in Black trilogy, The Pursuit of Happyness and, most recently, Suicide Squad. Smith isn’t just popular with audiences. Throughout his long acting career, he’s scored decent recognition in awards season with an Oscar nomination for his role in The Pursuit of Happyness and five Golden Globe nominations.

BEYONCÉ

It’s not necessarily surprising that when singers give acting a go, casting them as an aspiring or up-andcoming star generally works quite well. Beyoncé is one such acting success story. She made the move to acting with her first real appearance as Foxxy Cleopatra in Austin Powers in Goldmember, a success that has since only been repeated when her role in Dreamgirls wowed fans and critics alike, going so far as to receive a Golden Globe nod and several other nominations.

CHLOE BENNET An underrated but personal favourite, Chloe Bennet started her career as a singer in China under her birth name, Chloe Wang, where she released her awful but catchy debut single, ‘Uh Oh’ and gained national success.

However, since her musical debut, she’s gone on to act in TV shows like Nashville and Marvel’s Agents of S.H.I.E.L.D. to great success and is set to continue to star in Marvel’s Agents of S.H.I.E.L.D. as it’s renewed for the fourth season this Autumn, as Agent Skye/Daisy Johnson/Quake.

LADY GAGA Lady Gaga has made many cameos over the years in a variety of TV shows and films from The Simpsons to Muppets Most Wanted. Her acting breakthrough, however, didn’t really come until she achieved notoriety as The Countess in American Horror Story, a role for which she received a Golden Globe for Best Performance by an Actress in a Limited Series or Motion Picture Made for Television in 2016. That’s not to say it’s all been easy for Gaga as one of her earlier roles in Machete Kills did lead to a Razzie nomination. Her acting looks set to continue as it was recently confirmed that she will be appearing in the next season of American Horror Story which her Little Monsters will be looking forward to.

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THE EDGE IMAGE BY NBC

FEATURES

FROm THE BEST TO THE WORST BARBRA STREISAND

Barbra Streisand is one of the most talented and accomplished actresses of all time and one of only sixteen people to ‘EGOT’ (that is, be honoured with an Emmy, Grammy, Oscar and Tony award).

Her roles have been numerous, from The Way We Were to the more modern comedy franchise, Meet the Fockers, really showing the range of Streisand’s talent. It can’t be denied that, in the world of singers-turned-actors, her success is rather singular.

JUSTIN TIMBERLAKE

Originally a member of NSYNC* before going solo, Justin Timberlake has made a career of evolving as a performer. It isn’t unexpected that he made the move to acting then, especially given his humble beginnings there too (Anyone remember Model Behaviour?). His roles have been of mixed success but some stand out more memorably than others. Some of his acting credits, like Friends With Benefits, are more enjoyable to watch than others. Bad Teacher strikes me as one of his more memorable roles for all the wrong reasons…

MARK WAHLBERG

Marky Mark has definitely come a long way from his days singing ‘Good Vibrations’ with The Funky Bunch in 1996. Wahlberg first caught the public’s eyes in the mid-late 00s, and more recently furthered his status as a household name with his role in Ted. Since making the transition to acting, Wahlberg has received two Oscar nominations for his roles in The Fighter and The Departed. Although he has more recently turned to producing films rather than starring in them, it seems his success within the film industry is set to continue.

It just goes to show that the course of singers turning to acting does not always run smooth.

In fact, sometimes it goes so catastrophically wrong that they never return to the silver screen again. This trend in the music industry is so prevalent that there are dozens of memorable attempts that haven’t been mentioned, including the King of Rock and Roll himself: Elvis Presley, Usher, Kelly Clarkson, Taylor Swift and Rihanna.

MARIAH CAREY

Known for being a bit of a diva, Mariah Carey is a big name in music with a Grammy award to her name and the singer of one of the best Christmas songs of all-time but, her limited time acting was not the most successful period of her long career. Her film debut, Glitter, in which she played Billie Frank gave her the 2010 Razzie Award for Worst Actress. Her same performance also got her nominated for Worst Actress of the Decade and ‘Mariah Carey’s Cleavage’ received a nomvination for Worst Screen Couple in the same film. Carey wasn’t just a hit at the Razzies, The Stinker Bad Movie Awards really had it out for her, too. She was awarded with Worst Actress and the Musicians Who Shouldn’t Be Acting Award. It’s probably safe to say that the general public opinion is that she shouldn’t act again. Ever.

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FEATURES

Horror MovIes:

A Question of Age or Sensitivity?

LISA VEIBER

As Halloween approaches, everyone is searching for horror movies to get into the holiday mood.

However, young people excited to spend a movie night with their friends, may sometimes be exposed to content that is not necessarily appropriate for them. In fact some of the most terrifying films are watched by younger audiences. A lot of people will argue that those films should not get into the hands of underage viewers, but is it that simple? When should it be deemed appropriate to watch horror films?

Let’s look at the different kinds of horror movies. Some films could arguably be categorised as scary films for children due to the presence of spooky plot elements, such as Beetlejuice (1988) or Frankenweenie (2012).

Others might contain humour or love to soften the horror. For instance Sleepy Hollow (1999); where a headless man riding a horse is overshadowed by Johnny Depp’s romance with Christina Ricci, or Zombieland (2009) whose jokes rather than the zombies made it one of the best movies of its decade. But other films only concentrate on evoking one emotion- dread. This is the main version of horror that we see in our media.

Referring to that latter type of horror, in my opinion there is no ideal age to watch these films. Everyone has different sensibilities; even some adults cannot bear to see a drop of blood, or to think about ghosts, and when exposed to such they might be left with weeks of nightmares. Also, everyone is scared by different things. No one would think of watching Paranormal Activity (2007) if frightened by supernatural events.

This is also why age

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ratings are an incredibly sensitive subject as everyone will respond differently. Those ratings should therefore be taken as guidance rather than a golden rule.

Additionally, the degree of blood and cruelty as well as the likely presence of a child protagonist must be assessed when children are watching; the younger a child is, the more impressionable they tend to be.

The context in which the movie is watched matters a great deal too. Watching a terrifying film with someone you trust, who stays calm and unaffected, might lessen the impact of the images before you.

Although, experiencing the movie with a group of friends can also accentuate it. But, in spite of the fear and the distress one might experience during the viewing, are there any other psychological effects?

Of course, for the most sensitive, the anxiety does not stop at the end of the movie. Nightmares, sleepless nights, panic attacks and the like, are some of the effects that can be triggered by horror movies, and in rare occasions this distress lasts years after the first viewing.

People should be careful with horror movies and never force themselves to watch one because of social pressure. Some people are more sensitive than others, and as we do not all have the same taste, we do not have the same fears either.

Halloween is the time when you will most likely be confronted by that genre of film. But remember if The Exorcist (1973) isn’t your cup of tea, you can try Corpse Bride (2005). I’m sure you’ll love it.

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FEATURES

REBECCA JAMES It seems like not a week goes by without a new Harry Potter revelation coming from J.K. Rowling’s Twitter feed; these stories attempting to latch onto the ongoing interest in the world that she created.

The problem with this comes from the need that some authors have to maintain an intense control over the literary material that they have released.

Samuel Johnson once wrote ‘A writer only begins a book. A reader finishes it’. This is something that is central to the experience of both reading and writing. Nothing that exists in the public domain exists in a vacuum, a book doesn’t really have any cultural meaning or significance until someone has read it. The act of reading will always result in questions - you know that the creation of a world is complete when afterwards you endlessly ask, what happens next?

Every time Rowling feels the need to ‘correct’ an incorrect interpretation of her books, she continues the fallacy that there is only one way to read a book. In contributing to this narrative, authors suggest that the author is God; that they should have complete control over the material that they have written.

This simply isn’t the case.

When you write a book you must inevitably let it go at some point, and the date of publication should be this point. As hard as it might be to accept, just because you created something, it doesn’t give you a monopoly over interpretation. At the end of the day, if it isn’t present in the book, does it really exist?

The beauty of reading is that it allows a multiplicity of interpretations. No one is right, and no one is wrong, and they never should be, because we all look at literature for different things. Literature becomes richer for a variety of responses, because it incites conversation, which is surely the whole point of creation.

Otherwise why would anyone publish anything?

If a question or interpretation makes you feel so strongly then create: answer what has provoked you. If you really want the universe you created expanded, do it yourself, or else allow the readers to do it themselves with no interference. Relying on material external to the book to explain points that you left out undermines the authority of the text itself.

Why then do authors attempt to exert so much control? Let people imagine and use the world you created as they will. In an attempt to show people what is ‘right’ or ‘wrong’ in your creation, are you not just telling them how they should think and feel in response to art? In attempting to control every facet of the reader’s experience you tell them ‘this is my world - not our world. You may view from a safe distance, but you may not experience.’

You tell the reader that the only valid experience of your material is the one that you had, which undermines the whole point of reading anything.

As an author, you can only write the words on the page. After that, you have to let it breathe, and trust that if you’ve done your job well, the book itself will communicate everything you want a reader to know.

THE EDGE EDGE THE IMAGE IMAGEBY BYDREAMWORKS JACK THORNE PICTURES

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FEATURES

HOW TO BE A YA PROTAGONIST ASHLEIGH MILLMAN So, you’re just a normal kid. But one thing’s for sure; you know you don’t fit in. There’s this niggling feeling that you’re not good enough, that everyone around you is cooler, prettier, has more to offer; and of course this is exacerbated by that one oh-so-mean bully who won’t leave you alone. That dreamy love interest doesn’t even know you exist, no matter how much you flip your hair and stare longingly. You’re such a loser.

One day whilst moping and channelling your teenage angst into a specific craft (you’re a tortured artist after all), you notice a new kid has arrived in town. They’re mesmerising, beautiful, wearing something out-there and different – confident in every way that you are not. They smile at you. You hate it.

After suitable sexual tension has built up, you do something stupid and unlock a secret magical talent that you have no knowledge of – and this mystery, sexy, supporting character knows all about it. It might even be why they came in the first place. Apparently, they’re part of some secret organisation that specialises in misfits with special abilities – and guess what? Out of all the strange, weird teenagers out there, you are the most interesting.

They take you away to a place you could have only dreamed about, where everyone is beautiful and share all your interests whilst frolicking in care-free bliss. You’re accepted immediately into a great and varied friendship group that relies on each other to defend “the world as we know it”, but will still have to prove yourself to be of worth to them in ridiculous trials and life-threatening fights. Is it even interesting if no-one dies?

You doubt yourself most of the time and feel an incessant need to shout “but I’m just a normal kid!” on at least five separate occasions. Supporting character hates this and wants you to realise your potential – you’re gonna have to save them from inevitable doom at some point after all. Even if they are more knowledgeable, better trained, and higher rank than you are. They are impressed by your quick learning and you rise to their level at a speed no-one anticipates, but it’s because you’re more special than everyone else. Just so special. You’ll also make out a few times because you’re irresistible and didn’t even know it.

After single-handedly destroying any threats to your new-found friends, life will never be the same. Everything you ever wanted is now at your fingertips, and it was within you all along. The love interest was boring after all, and the bully gets their just-desserts. Everyone respects you now because you’re cool and interesting and better than them. People died along the way but there was never any blood, or too much gore, because keeping it PG means you can be packaged off to younger audiences that want to be just like you.

You’ll have at least three films where every cover is you looking worriedly into the distance – and they’ll slowly get worse until you hit TV-release bottom.

But it’s okay, after allYou are the chosen one.

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RECORDS

LADY GAGA: ‘perfect illusion’ single BRUNO RUSSELL Lady Gaga hasn’t released any true pop material since ARTPOP in 2013, instead focusing on exhibiting her vocal capabilities with a jazz album alongside Tony Bennett, and a heartfelt, Oscar-nominated song to raise money for sexual abuse victims. ‘Perfect Illusion’ is her rocky, mystical, simple, repetitive, and brilliant-yet-meaningless return for the radio, but it is just likely to leave you a little bit confused.

The rawness added by her voice cracking brings a convincing edgy vulnerability, however, the beat behind her – produced by Gaga, Mark Ronson, Tame Impala’s Kevin Parker, and BloodPop – feels little awkward and ragged at first, with its peculiar nature expresses Gaga’s mantra in a very different form than we’re accustomed to. As a teaser for the style of Joanne, which features Florence Welch, Father

John Misty, Giorgio Moroder, and Beck, ‘Perfect Illusion’ is a sign that her comeback will be enigmatic.

Well known for her lyrical capabilities, Gaga has previously produced some exceptional conceptual pieces with well-built and effective lyrics, making the emptiness created here by incessant repetition all the more frustrating. “It wasn’t love / It was a perfect illusion / Perfect illusion,” the words that make up almost the entire chorus, are heard so often that they’re devoid of definition by the end, and the titular metaphor itself becomes fairly vacuous with its image not enhanced at all from start to finish. She could have let loose at the end to really show off her vocal range beyond a key shift that ranks amongst the most startling in recent memory, but instead she is held back.

Out now via Interscope

‘perfect illusion’ VIDEO CARLY-MAY KAVANAGH Premiered during the season premiere of Fox’s Scream Queens, the video, directed by Andrea Gelardin and Ruth Hogben, shows Lady Gaga taking a much more low-key approach to her visuals. We see her driving across the desert in a Jeep, putting on a surprise show and, as it turns to evening, everything turning into a wild party - featuring Mark Ronson, Kevin Parker from Tame Impala, and BloodPop (the coproducers of the song). It’s strobey, rock-esque, and very unlike any previous Lady Gaga work. Would ‘Bad Romance’ Gaga have had Queens Of The Stone Age’s Josh Homme playing guitar on a song? Unlikely.

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It is nice to see her adopting a less-is-more style, but is it too simple? She has twelve separate videos with over 100,000,000 views on YouTube, and they didn’t get to that level by being straightforward. The ‘Bad Romance’ video was quirky and weird and strange, unlike anything else we’d experienced in pop. That’s what sprung Lady Gaga into widespread popularity – her videos were excessive but in the best possible way.

It’s difficult to see this plain side of her turning up in a meat dress or even just wearing vibrantly coloured wigs. As artists grow and mature in their styles a change of visuals is understandable, but I almost miss the madness and mayhem of her older videos.

But maybe that’s a good thing. Now she seems to be all about the music – it’s raw, strippedback, and gives you a chance to focus on the song rather than the overwhelming visuals of the past.

THE EDGE IMAGE BY INTERSCOPE RECORDS

RECORDS

album reviews

Los Angeles rock five-piece Grouplove doesn’t always get the credit it truly deserves. Their third LP does indeed show stark similarities to their previous releases, once again using shouty vocals and showing a greater reliance on powerful riffs. This everpresent styling is something that many might see as safe, but the band has found its own unique style and have stuck with it.

‘Welcome To Your Life’ well foreshadows the rest of the album.

Its title-lending phrase encapsulates what Big Mess is like to listen to, with the high-pitched female vocals reminiscent of a toned-down tUnE-yArDs. These lyrics show off Grouplove’s ability to intertwine their lyrics and melody into a story, made all the more prevalent by the rapid changes that the song features.

Each track on Big Mess is like a work of art, with the backing tracks matching the lyrics and titles so perfectly well. In ‘Heart Of Mine’ the instrumental effectively acts as a steady metronome for the other components, speeding up as the song progresses. Beginning with a scream and carrying a more rocky feel that abruptly alternates with the contrasting alternative style that has been ever present in Grouplove’s work, ‘Traumatized’ is a genuinely troubling highlight.

Taking their traditional formula further afield, the band breaks out the steel drums for ‘Good Morning,’ which begins with a bassy, synthy dance spell before that voice kicks in for the one track that made me question the band and whether they were staying true to themselves.

However, with lyrics like “Moving till I lose control,” are they implying that they are trying not to conform to other, more popular musical trends? As much as Big Mess plays it safe, where so many other great indie artists have crumbled, it is heartwarming to see a band stick to its roots.

Out now via Atlantic Records

craig david following my intuition XAVIER VOIGT-HILL

GROUPLOVE BIG MESS ALEX SMITH

My childhood recollections of Craig David are sparse – a duet with Sting here, a grating (even for a six-year-old) advert for Mattel’s Flavas dolls there, beanie hats, rubber masks, and such – and, given the first stint of his brief career rode on the tails of 2000’s smash Born To Do It, rather comprehensive. That he spends much of Following My Intuition, his first album of wholly original material since a greatest hits collection of 2008, rehashing what we have heard and thoroughly enjoyed before is unsurprising, however the blandness of the newest material and the lack of perceptible depth beyond the existing singles are at times overwhelming.

What do we have to thank for this sudden resurgence? It was his September 2015 performance on a BBC Radio 1Xtra show of ‘Fill Me In’ with the instrumental from ‘Where Are Ü Now,’ the mournful dolphin wail courtesy of Skrillex and Diplo that had previously that summer catapulted Justin Bieber towards vague critical reputability, that reminded us of his existence, and the studio time with Big Narstie that followed yielded ‘When The Bassline Drops’ two months later. In an instant, he booked a place in the zeitgeist; in the months that followed, he cemented it with charismatic DJ set-based festival performances bearing his imperious vocal acrobatics and garage-helmed knack for moulding a crowd.

That very mashup, a welcome live gimmick, is perhaps the most unique and irksome spot of the record. Titled ‘16’ and featuring that number twice rhymed with itself eight times, it interrupts the flow of radio-smothering collaborations (Sigala, Big Narstie, and Shy FX on the three that precede it) to mark a pivot towards meandering R&B that struggles to match either the cheeky paternity denial of ‘Couldn’t Be Mine’ or ‘Got It Good,’ a seductive, card-flashing cut from Kaytranada’s 99.9%. With the garage touch largely absent, it appears his hiatus has sent inclinations slightly awry.

Out now via Insanity Records THE EDGE

TOP IMAGE BY ATLANTIC RECORDS, BOTTOM IMAGE BY INSANITY RECORDS

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RECORDS There’s a lot to say about the influence of the 80s on modern culture.

Nostalgia’s in the text, context, and metatext of so much media: Stranger Things drips with it; Sing Street, set in that decade, emanates a deep love of music and experience of youth; the number of modern teens who continue to love John Hughes’ films, usually because they capture a sense of the extremes and angst of youth and relationships, speaks for itself.

Friends is no different to any other cultural molecule in this wave, with its songs steeped in fizzy, synthdriven melodies. The sparkly magic of the early textures and central melody of ‘Take It Out On Me’ and a wildly enthusiastic chorus help you forget it’s basically ‘Take On Me,’ meanwhile ‘Don’t Want To Feel It All’ brings us steel drums to recall ‘Club Tropicana.’ As much as White Lies channel those that came before, their musical arrangements have sufficient complexity and experimental branches outwards to be distinct.

Jack Lawrence-Brown’s drumming and McVeigh’s vocals lend control and direction, layered on top of one another, like the deliriously sweaty, and exhausted participants of an orgy.

This is not to say that the lyrics are a wash of blandness – sometimes all that’s needed to communicate meaning is a sensational riff. The cascading riffs behind F r i e n d s feel like like lying in bed with someone you love; like being alone with a peaceful and profound emptiness; like realising having your hair held back while you vomit into the toilet is what makes your friendship great. Friends shouldn’t have worked wonders on me, the sceptic of nostalgia, but feelings like that make me nostalgic for a past I’ve lived, and a way I saw the world.

Out now via BMG

I’m hugely impressed by Shawn Mendes, for at 18 years old he has already achieved vastly more than I ever will in my entire life. His second album Illuminate took me by surprise as it seems his first album was only about five minutes ago. Indeed, 2015’s Handwritten is barely out of nappies, especially on this side of the Atlantic, but somehow Mendes has been through enough heartbreak since to fill up another 41 minutes of lovelorn ballads.

good as ‘Stitches.’ Any initially groovy guitar riffs are enjoyable until subjected to death by repetition, as too are choruses.

Illuminate could benefit from some duets, especially with female artists, as Mendes’ voice alone is lost in the rabble of today’s pop vocalists.

However, someone needs to tell Mendes that in life, quality is better than quantity. Illuminate illuminates nothing profound, with each dull track merging into the next to form one giant heartbroken whine which gets old really quickly. It’s an age-old demand from music reviewers that album two must be a fresh and new take on its subject’s skillset with adequate consideration of what went well the first time around, yet Illuminate falls rather foul, being merely an under-par attempt at Handwritten 2.

‘Treat You Better,’ its single and only moment of interest, is nowhere near as

Maybe it’s the north American obsession with overplaying and rushing good things until they become bad things, but it’s a real struggle to find anything good to say about Illuminate. It needs far more polish, original content, and at least one or two positive glimmers amongst all that heartache. Take a few more years to think on what you’ve done before round three, Shawn – God knows you’ve got enough time for a career ahead of you.

Out now via Island Records

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white lies friends

GEORGE SEABROOK

shawn mendes illuminate JAMES BARKER

THE EDGE TOP IMAGE BY BMG RIGHTS MANAGEMENT, BOTTOM IMAGE BY ISLAND RECORDS

RECORDS

pixies head carrier

SOPHIE MCEVOY

Could Pixies ever recapture that classic era of Doolittle and Surfer Rosa? 1991’s Trompe Le Monde seemed to answer that question with a somewhat defiant no, however new accompaniment (with the absences of bassist Kim Deal and infamous producer Gil Norton, who drained every ounce of Pixies’ sound out their pores, Head Carrier is helmed

by Tom Dalgety, a producer with work with Royal Blood and Band Of Skulls already under his belt) has helped the band prevail with its latest venture, creating a record that seems as though it’s been plucked from the soundsphere of the late 80s.

The great thing about Head Carrier is that, although a majority of the songs can be compared to their previous discography, it is able to cohere around its own structure as its own entity. It screams Given the dire straits that the genre is currently in, I don’t normally go in for pop. Saturated as the market is with unanimously bland, anaemic trite, it’s not a stomping ground I find much nourishment in.

Yet, once in awhile an artist navigates the thorny pathway of creating intelligent, idiosyncratic pop without falling into a sidelined subgenre as a result of their individuality. BANKS is one such artist, expanding not only in scope of production but in her songwriting abilities too on The Altar.

banks the altar

HARLEY JAMES MITFORD

An anti-romantic narrative is developed over the course of this album’s gradual slew of singles, starting at the non-album release ‘Better,’ where we find a woman hurt by a cheating partner who is desperately looking within herself for a cause. ‘Gemini Feed’ actively

frontman Frank Black’s solo venture mixed with the best parts of the prior material of Pixies themselves. As ever, they carry a specific groove and theme through the record, including the obvious heavy, alternative vibe that they’re known for.

‘Head Carrier’ and ‘Um Chagga Lagga’ are clear landmarks in terms of what will garner airplay and listenability, but hidden hybrids of grunge and indie rock such as ‘Tenement Song’ and ‘Oona’ are what make this record so great. The band does what it does best, crafting a collection of songs that pander to the alternative rock palate. Even though their own song ‘Where Is My Mind’ is heavily emulated through the track ‘Bel Esprit,’ they still carry the record through the rough terrain of selfimposition to create a piece of music, however tame compared to their earlier stuff, that not only creates a sense of enticement for the listener, but also nostalgia for the fans.

Out now via Pixies Music turns the blame around onto the adulterer, chastising him for his misadventures whilst acknowledging a lingering of sexual attachment.

‘Lovesick’ can then be seen as a turning away from the shackles of her painful past love, and an almost predatory launching into her new conquest with full, unabashed gusto.

‘Mind Games’ throws us back into the emotional complexities of the former broken relationship, utilising snappy wordplay to express the contradictions inherent in her own psyche about it all. The rest of the album continues in such a way as to bring a number of perspectives to the same issue. Like a multi-narrative novel, we get different sides of her personality telling the same story. It’s a musically pleasing and emotionally fulfilling listen that will have you coming back again and again – like BANKS herself, unwilling to put the experience to rest after one go.

Out now via Harvest Records THE EDGE

TOP IMAGE BY PIXIES MUSIC, BOTTOM IMAGE BY HARVEST RECORDS

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SINGLE REVIEWS

RECORDS

two door cinema club bad decisions DAVID MITCHELL-BAKER

It’s a shame that ‘Bad Decisions’ features a neartotal departure from the rock aspect of Two Door Cinema Club’s music, arriving at some kind of Daft Punk-esque dance-pop sound with insufferably high vocals. Its accompanying instrumentation suffers from some serious overproduction, flaunting unrecognisable guitar sounds, simplistically bland drums that sound fresh from a MIDI keyboard, and

some boring, generic synths and keys thrown in for good measure. ‘Bad Decisions’ is neither dance music, nor is it indie rock, and the guitar solo over the bridge is completely out of place as well, which will throw you off the scent of just what this bizarre attempt at generic popular music is.

The chorus is perhaps the only saving grace of ‘Bad Decisions’ – although it’s far from amazing, it’s certainly better than whatever they’re attempting with the rest of the song. The whole package feels lazy and uninspiring, displaying a real step in the wrong direction from a once-promising young band gearing up for Gameshow, its third record, and a sold-out nationwide tour that stops off in Southampton.

Out now via Parlophone

leonard cohen you want it darker LIAM SAUNDERS

To mark his 82nd birthday, legendary singer-songwriter Leonard Cohen released the title track of his new album, You Want It Darker, and it certainly is darker than the majority of his previous material, giving the disturbing feel of swansong in Cohen’s starkness. Choral incantations of “Hineni,” a Hebrew word meaning “here I am,” are followed by Cohen stating, in his pitch-black pit of a voice, “I’m ready, my Lord.”

Either ‘Frankie’ is much cleverer and deeper than it seems or I’m merely left perpetually overthinking and being rather intimidated by the nothingness of it. Taken from Powell’s debut album Sport, the electroclash/disco combination broke me a little, and now I can see it fitting into that scene in a film when someone’s at a party and there’s a huge party montage of dancing and drinking before it SUDDENLY STOPS and cuts to the next morning’s hangover.

At the start, it feels like someone found a drum for the first time and decided to hit it a lot. Then we transition into this funky electronic rhythm that sounds like bees or that weird sound you can make with your cheeks. And then Jonnine Standish jumps in almost purring the lyrics, completely juxtaposing 17

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Instrumentally, the work done is minimal and the song sounds rock solid for it. A driving bassline is ushered along by a programmed rock beat, creating the only foundation required for the gravel-tongued maestro alongside Cantor Gideon Zelermyer and the Hashomayim Synagogue Choir.

The honesty is palpable as Cohen admits to “[struggling] with some demons / They were middle-class and tame.” Self-deprecation has long been a strong suit of his, yet in this confessional frame it carries an unprecedented weight, making for some properly stimulating listening.

Out now via Columbia Records

Powell feat. frankie Frankie CARLY-MAY KAVANAGH

the synth and angry bees as a rock beat and little electric guitar ditty come in.

It’s strange but Powell seems disturbingly on it and self-aware, making ‘Frankie’ a lovely bassy synthy electronic mess. While it really is an ugly-sounding song in parts with its sounds of snorting pigs, I’d be lying if I said I wasn’t interested to hear what comes next.

Out now via XL

FILM

FrightFest 2016 Review:

cell

HOLLIE GERAGHTY

With Stephen King horror adaptations such as Misery, The Shining and Carrie going down as some of the best thrillers in history, his latest feature film adaption Cell certainly had a lot to live up to. The plot is rather simple; one day, the world’s mobile phone users suddenly turn into murderous zombies who are controlled by a phone signal amongst apocalyptic madness. What’s not to love?

The acting is pretty appalling also, with usually talented actors unable to deliver the simplest of lines convincingly. What’s worse is that when something supposedly bad happens, the actors are totally unconvincing in their distress. In the same way, it is difficult to care about even one person in the film because there is nowhere near enough character development to evoke any sympathy from us.

Unfortunately, there was so much wrong with this film that it really did make it rather difficult to watch. With an explosive start, Cell did successfully jump straight into the action, and the opening was pretty good, as it looked to be a promising start.

Although the premise of the film itself is unrealistic (I hope), this is not what lessens the film’s quality.

It is the unconvincing way in which the whole film is executed, whereby it feels like even the actors themselves don’t believe the narrative they’re a part of. Some scenes feels as if they are taking us nowhere, and are therefore completely unecessary for the film. Whereas in the ones where things do happen, it’s totally unconvincing.

However, the problem with Cell is that it jumps leaps and bounds in the plot and character relationships, leaving nowhere near enough time to work on these things. Somehow, people know all too quickly exactly what is going on, and make survival friendships almost instantly. Clay Riddell (John Cusack) and Tom McCourt (Samuel L. Jackson) understandably pair up to survive the crazed zombies, yet their interaction is unnatural.

There’s none of the classic “I gotta do what I gotta do”, or “I would kill you if you got infected in an instant” talk. The two seem to be the best of friends despite only knowing each other for a short while. And although Clay’s primary concern is to find out whether his family are alive, he encourages his new found friends Tom and Alice (Isabelle Fuhrman) to go with him, despite having no plan past this.

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IMAGE BY BENAROYA PICTURES

One slightly redeeming quality is the performance of the zombies. They are given a fairly difficult task; their aim isn’t to simply act insane and hungry for flesh. They also have a motive and a uniform nature about them. The fact that they are controlled by a phone signal makes them unpredictable and not necessarily as volatile as the standard zombie. The use of mobile phone digital sounds is also deafening and actually quite scary.

Nevertheless, this alone is certainly not enough to save an ultimately hopeless film. There were some laughs and some scares, but mostly there were lots of awkward grimaces and bored yawns.

FILM

The Best Of:

FRIGHTFEST 2016 BEN ROBINS

Every year FrightFest offers up the best of the rest in genre heavy filmmaking, boasting everything from cheapo creature features to the latest in cutting-edge zombie-based action, and 2016 was no exception. Korean disaster flicks, claustrophobic single-location thrillers and Italian superhero epics: this year boasted one of the best line-ups in yonks. Here’s a few of the highlights:

The Chamber

Ben Parker’s low-rent debut finds a no-nonsense American black-ops team crammed into a tiny submarine, with none other than its sweet-natured Swedish captain for company for pretty much its entire run-time. No gaudy explosions or silly monster masks, just straight-up old-school tension, built around four loud, brash (and sometimes violent) personalities that couldn’t be more different if they tried.

What follows is a super clever, ultra edgy thriller that might not be quite as obviously crowd-pleasing as its fellow FrightFest cohorts, but easily emerges as one of the most polished efforts of the weekend.

The Love Witch

They Call Me Jeeg Robot

Already a runaway hit in its native Italy, sweeping up every award and box-office receipt in sight, Gabriele Mainetti’s weird and wonderful superhero drama hooks into a very arresting central concept: what if Clark Kent wasn’t an alien, but instead a porn-addicted petty thief?

Despite being pulled together with the smallest amount of financial backing possible (think of Iron Man’s budget, then think how much the cameraman got paid, then half it) They Call Me Jeeg Robot boasts Hollywood-level effects, awards-worthy performances and a fiercely dynamic and original sense of storytelling that rivals even the biggest giants in its genre.

Not exactly kid-friendly, but easily a whole-lot more involving and unusual than the standard superhero fare.

Train To Busan

Yet still the biggest crowd-pleasing delight of the weekend was the closing night premiere of Korean zombie epic Train to Busan, a different breed of outbreak movie that never once slows down.

The most talked about ticket of the festival was almost definitely Anna Biller’s 60s nostalgia trip though.

The aptly titled The Love Witch found vintage-style hottie Samantha Robinson turning up the charm as a travelling enchantress, ensnaring a series of men through some carefully designed romance potions.

The concept is simple: zombies on a high-speed train.

But it’s the way Sang-ho Yeon brings it all together that makes all the difference, using the undead not as antagonists but obstacles. This isn’t a Dawn of the Dead style shooter, it’s a disaster movie where the eclectic bunch of survivors are simply trying to escape.

Although set completely in modern day, Biller’s insanely detailed pulpy, technicolour style is really what shines through here, developing a light and funny twist on the occult mysteries of the 60s that really makes a star of its stand-out lead.

Funny, explosive and equal parts crushingly sad, Train to Busan is a total triumph of blockbuster filmmaking. Even if you’re not a zombie fan, it’s a must-see.

Classic horror fans take note, Biller is an exciting talent indeed.

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IMAGE BY ANNA BILLER

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actor in focus:

EDDIE REDMAYNE THEA HARTMAN

Winner of some of the most prestigious film awards within just two years, 34-year-old Eddie Redmayne is certainly one of the actors of the moment, being known and acclaimed for his challenging performances in The Theory of Everything (2014) and The Danish Girl (2015).

This November, we are set to see him embark on yet another challenge: he is portraying Newt Scamander, the main character of the latest film which takes place in the beloved wizarding world of Harry Potter, Fantastic Beasts and Where to Find Them. Before its release, it is only right that we delve into this charming actor’s career and life.

Born and raised in London, Eddie Redmayne was encouraged by his family to step into the acting universe, taking drama classes from an early age and appearing in various school theatre productions. Redmayne’s first professional performance came in 2002 with the part of Viola in Twelfth Night. The highlight of his theatre career was in 2009, when he starred in John Logan’s Red in London, and won the Oliver Award for Best Actor in a Supporting Role and the Tony Award for Best Performance by a Featured Actor in a Play after Red’s transfer to Broadway in 2010.

Eddie Redmayne appeared i n many films over the years such as The Good Shepherd (2006), The Other Boleyn Girl (2008) and Hick (2011), as well

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as well as in TV mini-series. He gained positive reviews on his performances in My Week with Marilyn (2011) as Colin Clark and in the musical Les Misérables as Marius Pontmercy, anticipating his future success.

His portrayal as scientist Stephen Hawking in The Theory of Everything brought him an Academy Award, a Golden Globe, a BAFTA Film Award and a SAG Award, giving audiences a wonderful insight into the existence of a living icon. Eddie was greatly committed to the part, having spoken to Hawking’s medics, ex-wife Jane and the scientist himself in order to convey his struggle with ALS (motor neurone disease) as authentically as possible.

The following year, Redmayne took up another provocative part which brought him nominations for the same significant awards: Einar Wegener, one of the first people to undergo sex-change surgery. The Danish Girl depicts Einar’s moving transformation into Lili Elbe, for which the actor did a lot of research, being aware of the weight of the part and its meaning to the LGBT community.

As a fan of J.K. Rowling and director David Yates, Eddie Redmayne is extremely excited about the expansion of the Potter universe, Fantastic Beasts and Where to Find Them, declaring his admiration for Rowling’s first screenplay and his fondness of Newt Scamander, a Hogwarts-expelled ‘magizoologist’ whose adventures in New York will take us on a new and magical journey. This powerful part is safe in Eddie’s hands and I am sure he will live up to the expectations of the eager fans.

FILM

Blu-Ray Review:

X-MEN: APOCALYPSE JAMES BARKER

Apocalypse is the third film in X-Men’s ‘reboot’ trilogy, which has replaced old names such as Ian McKellan and Patrick Stewart with fresh faces including Michael Fassbender and James McAvoy, to great success. First Class is a film that lives up to its name in terms of reputation; though Days of Future Past, an odd mix of the old and new X-Men, can feel crammed with rushed storytelling due to its huge cast. Apocalypse firmly leaves behind the original cast at last, and completes the young X-Men by introducing Game of Thrones’ Sophie Turner, Tye Sheridan, and Alexandra Shipp amongst others.

Some of the new cast (Turner as Jean Grey) are fresh, feisty and fun, while others (Shipp as Storm) aren’t given anywhere near enough screentime to blossom. Other cast members, such as Jennifer Lawrence as Raven, and Nicholas Hoult as Beast, are mostly forgotten in favour of promoting the new cast. The villain, En Sabah Nur (Star Wars’ Oscar Isaac) is laughably bad, and the plot has a heap of implausibilities, off-tone moments and general flaws. But take a step back from your film critic head, and I find Apocalypse enjoyable; Michael Fassbender particularly shines as Magneto in powerful scenes which see his family despicably murdered, and there’s one particular Evan Peters scene which is quite unlike anything I’ve seen in film before.

Blu-Ray Review:

INDEPENDENCE DAY: RESURGENCE SOPHIE MCEVOY

Independence Day was never an Oscar-worthy masterpiece. Well, in part, since it did actually win an Oscar for Best Visual Effects in 1996, but that’s beside the point. It was an over-the-top, blindingly patriotic but fun piece of a 90s summer blockbuster.

So it begs the thought as to why a majority of critics I’ve seen review its sequel, Independence Day: Resurgence, all seem to have the the common consensus: that Resurgence is lacking from what the first film thrived in - its corniness.

What exactly is this sequel missing from the original? Nothing much, other than a few unnecessary characters such as Dylan Dubrow-Hiller (Jessie Usher) and Dr. Catherine Marceaux (Charlotte Gainsbourg). The majority of the film is a carbon copy of the first; the only major problem being that Resurgence faces a lack of chemistry between its main characters. The first film had such a solid cast with the likes of Jeff Goldblum, Will Smith, Bill Pullman, Judd Hirsch and Mary Eileen McDonnell. Less than half of that cast return in Resurgence; the rest are either extremely bland or lacking any character development whatsoever, apart from Jake Morrison (Liam Hemsworth), Patricia Whitmore (Maika Monroe) and Samantha Blackwell (Joey King).

The problem is, Resurgence is just not as fun. Honestly, if it weren’t for Goldblum and the remnants of the original cast, Resurgence would be as bland as the majority of disaster films today. Independence Day was the catalyst for the apocalyptic, world destroying disaster flicks that followed. But each film slowly got stripped of the fun, the cheese, the unification of practical and special effects and the Goldblum, to reveal the post 9/11 society we live in now.

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IMAGES BY TSG ENTERTAINMENT

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ONE TO WATCH:

MANCHESTER BY THE SEA DAVID MITCHELL-BAKER With a great cast, a talented director and a simple yet effective story, Manchester by the Sea is undoubtedly a film to keep on your radar when it opens here in the UK on January 13th 2017.

Starring Casey Affleck, Michelle Williams and Kyle Chandler, Manchester by the Sea tells the story of a man (Affleck) who suddenly becomes the legal guardian for his nephew (Lucas Hedges) after the death of his brother (Kyle Chandler). Whilst director Kenneth Lonergan only has thus far two directorial credits to his name (You Can Count On Me and Margaret), he is perhaps better known as the screenwriter for both Analyze This and Gangs of New York, so we can almost definitely expect a stellar screenplay to accompany the already heartfelt and interesting story of the film. On top of this, Casey Affleck has previously received critical acclaim for his lead performances in The Assassination of Jesse James by the Coward Robert Ford and Gone Baby Gone, so a role such as this seems like one which he will be able to really sink his teeth into and provide us with another excellent lead performance.

to see why Manchester by the Sea is another success story in the long line of recent independent smash hits, many of which have received high acclaim and significant popularity after breaking out of their indie limitations. This is just another reason as to why you really must catch Manchester by the Sea in cinemas; the independent scene is growing in quality and fame year on year and with our money and support, it can continue to excel and earn the popularity and profits they so richly deserve.

Manchester by the Sea is also one to watch for the Academy Awards, and as its highly anticipated release approaches, it’s looking clearer with each passing week that this could be one of the great American films of recent years.

But are you really sold on the film so far? Well if not then it’s important to note that through its debut at the Sundance Film Festival and recent screenings at the Telluride Film Festival, the film has received unanimous critical acclaim, with many claiming it to be the best film of the year and an easy frontrunner for the Academy Awards. Praise thus far has focused on Lonergan’s direction, the lead performances and its emotive and heartstringtugging themes. And, all things considered, it’s easy

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CULTURE

TV Review:

AMERICAN HORROR STORY: ROANOKE TASH WILLAMSON

Season 6, Episode 1

American Horror Story: Roanoke has landed! Ambiguous and heart thumping, the episode raised more questions than it answered; exactly as a series opener should.

A couple of things did go bump in the night, but all these shifty figures are nothing more than dramatizations. “My Roanoke Nightmare” is the name of the docudrama capturing the happenings unfolding for the Miller couple, after they move to Roanoke Island – the former home of the Lost Colony.

The lead roles are taken by a quartet of talent; AHS-veterans Lily Rabe and Sarah Paulson as Shelby, and Cuba Gooding Jr. and Andre Holland as Matt. The former represent the ‘real’ people; the latter are re-enacting the events. Shelby’s character instantly caused suspicion and exaltation, with two of AHS’s most prized leading ladies returning, working both separately and together in a unique and interesting symbiotic relationship.

So far, there have only been mere glimpses of a bedraggled Kathy Bates, Denis O’Hare, and possibly Wes Bentley, but a large chunk of the characters, including Lady Gaga’s, are yet to be introduced. The docudrama aspect isn’t so much frightening as it is unnerving, adding the question of unreliable narrators.

Roanoke feels like a return to something rustic and raw after the luxury epic murder mystery surrounding Hotel.

Here’s hoping the docudrama does not become a tired gimmick, but a worthy pairing to the horror genre.

American Horror Story: Roanoke airs on FOX UK at 10pm on Fridays.

TV Review:

JAMES BARKER

I love black comedy - stuff that makes you shift in your seat uncomfortably while you chuckle. Fleabag, created by and starring Phoebe Waller-Bridge, takes this feeling and turns up to eleven, as you laugh riotously with tears of devastation pouring down your cheeks.

‘Fleabag’ (Waller-Bridge) is your oh-so-typical twenty-something anti-heroine, drifting through life pretending everything is fine when it really, really isn’t. She flitters between a serious relationship with a clingy boyfriend she can’t seem to shake (Hugh Skinner), and a casual fling with a man who’s only known as ‘Arsehole Guy’ (Ben Aldridge), named aptly, for his – ahem – particular sexual interest in Fleabag. She has a higher achieving but equally unhappy big sister (Sian Clifford), and her father (Bill Paterson) has married their villainous Godmother (Olivia Colman – yes, that one) following the death of their mother.

Just like in Miranda, Fleabag addresses the camera, uttering those brilliant witticisms on life that we all know to be true but keep to ourselves.

But where with Miranda, you are her best friend, in Fleabag you are her confidant, the person that the dark voice in her head is speaking to. As the comedy gets blacker and blacker, you want to scream back.

There’s a dark side to speaking the things everything thinks and doesn’t say, no matter how funny they are. At one point, a desperate Fleabag wails: “Either everyone feels like this a little bit and they’re just not talking about it, or I’m completely fucking alone. Which isn’t a fucking joke.” Fleabag is a story about loneliness, depression and grief, and you should consume every moment of it right now.

Fleabag’s six episode first series can be found on BBC iPlayer and Amazon Prime.

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TOP IMAGE BY FX, BOTTOM IMAGE BY BBC THREE

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AUTHOR IN FOCUS:

SOPHIE MCEVOY The month of all things spooky is upon us, and who better to murmur terrifying ghost stories to us on these chilling, Autumn nights than the king of horror himself – Stephen King. A name eponymous within the written world of horror, King has been terrifying readers across the world for more than four decades. There’s no doubt that he deserves the given title of ‘The Master of Horror’.

King has published 57 novels throughout his career, not to mention the 200+ short stories he has under his belt. A large chunk of these novels have become bestsellers, selling more than 350 million copies and earning approximately $40 million a year, according to Forbes. But why? What is it about King that has made him the master of not only horror, but also his craft?

I consider myself a writer, but not in the sense that I could sit down and write a novel. Not that I wouldn’t have the willpower to do so, but I could never get my imagination down on paper as well as King can. But he has still been a major inspiration for me since I can remember, mainly for his strong mindset when it comes to honing your craft. King’s formula of being a successful writer is always on my mind whenever my fingers touch the keyboard – “Read and write for six hours a day,” he says. “If you cannot find the time for that, you can’t expect to be a good writer.” With a set quote of 2000 words a day, King will not stop writing until that quota is met – a determination that I always follow when it comes to writing.

King is also one of the few writers that doesn’t take himself too seriously. For him, writing was the one thing he was made to do. “I was made to write stories and I love to write stories. That’s why I do it. I really can’t imagine doing anything else and I can’t imagine not doing what I do.” And thank God he can’t, as if it weren’t for King, so many films, television shows, and stories wouldn’t exist. From inspiration to adaptations, King is everywhere.

Carrie started the King-verse off in 1972, and since then King has written countless classic such as Salem’s Lot (1974), The Shining (1977), Firestarter (1980), Cujo (1981), The Running Man (1982), The Dark Tower series (starting in 1982), Pet Sematary (1983), It (1986), Misery (1987), Insomnia (1994), The Green Mile (1996), Under the Dome (2009), 11/22/63 (2011) and Doctor Sleep (2013).

Influenced by famous science-fiction and horror writers like H. P. Lovecraft, Robert Bloch and Jack Finney, King crafted his own unique universe through his novels, novellas and short stories. His success stems from not only his talent at terrifying readers, but his adamancy that the story should be the most significant part of the novel, rather than the author’s personality. And with his upcoming collaboration novel with his son Owen King, Sleeping Beauties, due for release in 2017, it seems like he’s got a lot more in him yet.

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STUDENT FRIENDLY

THEATRES NUFFIELD THEATRE

Located on our very own Highfield Campus, right by the Unilink Interchange, Nuffield Theatre is probably your most local theatre. It was built by the university in 1964, with support from the Nuffield Foundation, and in 1982 it became its own independent producing theatre.

The Nuffield Theatre is perfect for student life, not just because of its location, but for the range of shows it puts on. Upcoming shows include political-satirical comedian Mark Thomas, and several of their regular ‘Writers in Conversation’ shows, which are perfect for bookworms who want to meet their favourite authors! They also put on their own productions, often

CARLY-MAY KAVANAGH

family theatre, so there’s something to interest everyone. The prices are very affordable, ranging from £15-25 - incredibly cheap for theatre.

They’re also about to expand to a city centre venue, Studio 144, which is set to seat 447 people, complete with rehearsal/workshop spaces and a café. The Nuffield is a fantastic local venue for theatre, and I highly recommend going to see a show there!

Upcoming Shows: Henning Wehn: Westphalia Is Not An Option (30th Oct); Fantastic Mr Fox (22nd Nov-8th Jan); Seann Walsh: One for the Road (18th Dec).

mayflower theatre REHANA NURMAHI

A hub for so much great culture, Mayflower Theatre sits right at the heart of Southampton’s city centre, right next to the uni’s Mayflower Halls. Having recently celebrated its 30th birthday (coverage can be found on our website), the theatre is one of the biggest on the South coast, both in size and stature.

For those more inclined towards high culture, both touring ballets and operas regularly visit, with the Northern Ballet world premiere of The Little Mermaid soon to premiere there. Many of the nation’s most beloved musicals, including Mamma Mia!, Billy Elliot, and The Lion King, have had runs there. If musical theatre isn’t your thing, they also frequently

have plays visit, such as To Kill A Mockingbird and Shawshank Redemption. And if that is still not to your taste, catch names like Sarah Millican and Jimmy Carr at one of their comedy nights!

With so much to offer in terms of content, but also in the fact it is a truly beautiful venue, Southampton is blessed to have a theatre like the Mayflower.

Upcoming Shows: Kiss Me Kate (3rd-5th Nov); Wind in the Willows (10th20th Nov); Billy Elliot (7th Feb-4th Mar).

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CULTURE

FIRST LOOK: ROBERT PRATLEY Considering the amount of flack FIFA 16 received from the gaming community worldwide, it is of little surprise that EA appear, thankfully, to have upped their game for the latest instalment of the popular football-playing simulation franchise. The recent demo itself features the usual bugs, glitches and freezes - but that is where my criticism of this new instalment ends.

FIFA 17 looks to be the most promising EA football game for years. The new Frostbite engine, already successfully utilised in NBA 2k16 and Battlefield, helps the matches run much more smoothly, opposed to the previously clunky gameplay which troubled Ignite and Impact. The whole experience seems much more immersive and real, partly helped by EA’s increased licensing of official Premier League logos and matchday elements, but also in minor things - the graphics of the grass, the spirits of the spectators, the authentic match-day announcements.

All of these things culminate together to make an altogether more realistic mode.

But Frostbite’s real triumph is gameplay. AI stupidity, a trope which so often appeared in FIFA 16, is a lot less frequent. This not only helps you by ensuring that your team’s players are making appropriate runs, not conceding fouls and helping you keep possession more effectively, but also ensures that playing against the CPU is more of a challenge. Thankfully, we have moved away from the sideways passing mechanism that bored players to death last year, with teams now trying to intelligently and actively move up the pitch to create chances and score goals. The addition of new attacking mechanics now evens up player battles immensely - skilful moves

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and intelligent attacking is now richly rewarded.

FIFA 17’s biggest gamble into the unknown, however, is ‘The Journey’. This is a unique firstperson perspective story-mode, which has you actively make decisions to dictate and shape what path your player, Alex Hunter, takes. You can only play a very small portion of this mode in the demo, and unsurprisingly it’s very stacked in your favour to succeed. It seems unfair to harshly critique this mode yet having seen so little of it, but the main question that hangs over it is why the only playable character is Hunter.

NBA has already successfully implemented customised characters into their story-mode, and FIFA have already had Gameface and Be a Pro with mass customisation as well. EA is clearly using ‘The Journey as a trial to see its popularity, and perhaps using it as a template for a much bigger and better story-mode in FIFA 18.

Based on this evidence, FIFA 17 looks much better gameplay-wise than its predecessor, which rightly is accused of going backwards and regressing the series. Key new additions to Pro Clubs and Career Mode also look to be adding a greater depth for players to immerse themselves in, and ultimately give them a better experience. On this demo alone, FIFA’s future does look brighter.

FIFA 17 is out now for Playstation 3 & 4, Xbox 360 & One, and Microsoft Windows.

THE EDGE IMAGE BY EA SPORTS

LIVE

local live acts IN

OCTOBER AND NOVEMBER CARLY-MAY KAVANAGH

Looking for local gigs to go to during late October and November? Here are our top picks for the month, listing a number of great gigs to check out - at a range of prices, venues, and styles.

Who? The Courteeners Where? O2 Guildhall, Southampton When? Friday 11th November Why? They’re the band who should be more well-known than they are - “We’re not big, or famous but we’re connecting with just enough people for it to matter”. Their fanbase is small but loyal and passionate, they don’t get played on Radio 1, they’ve never been on Jools Holland - and they’re a delightful northern indie rock band coming to Southampton in mid-November.

Who? Teleman Where? Wedgewood Rooms, Portsmouth When? Monday 31st October Why? “I don’t know if other bands do this but in our rehearsal room we had a white board, and for each song we’d write the chords up on the white board, write the structure out.

We’ve got different colour pens and stuff. It’s very professional.” Their songs are incredibly well crafted, their hooks sublime, with everything impeccably made. They’re a little wacky - they chose core synth sounds to define the album’s aesthetic, they look at the moon through a telescope during recording breaks. The four piece are a fantastic live act, they enjoy what they do and that means they make music that people love.

IMAGES BY EA SPORTS

Who? Traams Where? The Joiners, Southampton When? Wednesday 2nd November Why? They formed in 2011, in response to the only options for a night out being ‘boring clubs and bars which only played boring music, we wanted to put on something where we could play the records we likes really loud and have fun’. They went down a treat at Talinn Music Week in Estonia, and are an incredibly exciting band, especially live.

Who? The Front Bottoms Where? The 1865, Southampton When? Tuesday 29th November Why? Indie rock pop punk babes with trumpets The Front Bottoms are back in Southampton (three times in two years?! They’re spoiling us). They formed in August 2007 and spent the next few years touring New Jersey, releasing a handmade five song tape,which featured three songs that ended up on their self-titled album – ‘Father’, ‘Swimming Pool’ and ‘The Beers’. In June 2015, they were signed to Fueled

By Ramen. Their third studio album Back On Top was released in September last year.

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You won’t need me to tell you that people are responsible for literally all bad things, and miserable evenings at concerts are certainly somewhere near the top of this list. For me, listening to music is often a solitary experience, in which I’m free to nod my head to the funky, funky beats without anybody around to judge me. Splashing out on a night in the band’s presence is to appreciate their art, not to be incessantly jostled by sharp elbows and deafened by tuneless imitators who believe they’ve paid for that privilege.

Certainly, when prices are at the upper end of that scale of absurdity it does feel like the audience deserves a few more than two drumsticks, and that’s if you can even get in at all. Any impulsive trip to a show these days is inevitably down a road lined by scruffy characters hawking the hottest tickets at the most offensive of markups.

With the threats of aggressive and unstable fellow revellers, underwhelming performances that dismantle joyful perceptions, and kids so excited and out-of-place that they drink their Pepsi Max too quickly and have to smuggle the pungent remains to the nearest bin, isn’t it just easier to grab a cup of tea and curl up with Spotify?

Words by Xavier Voigt-Hill

My best memories are being on the barrier, seeing my favourite bands do what they do best only mere metres away from me. There’s something so warming and heartracingly exciting about being surrounded by hundreds of people who love the band just above you as much as you do. There’s something so intoxicating about screaming words out that have been the soundtrack to so many important times, in unison with a thousand other people whilst your heroes scream them right back at you.

There’s something so sweet and giddying about being at the right place at the right time, hearing your favourite song live when you never expected to, like when I saw Fall Out Boy perform ‘Jet Pack Blues’, a song I’ve adored to the extreme since it was released and a song not many have heard of - a song they’d never played live. Words cannot describe how overwhelming that felt.

I’ve held hands with my heroes, I’ve made them laugh and I’ve been reassured again and again that they really care about what they do and how they do it and the people they do it for. And really, that’s all I ever want to know.

Words by Sophie Trenear

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For me, the best thing about going to a live gig simply has to be the atmosphere. There’s just something so exciting about seeing your your favourite band in the flesh, feeling the bass thud through your body, jumping along with fellow fans who won’t judge you for knowing all the words to every song - there’s just something so exciting about it all.

True, sometimes said fans can be extremely annoying and very into pushing people for ‘fun’, but hey ho, just move away, grab a drink if necessary and enjoy the music. It’s not every day you get to hear it live, rather than on Spotify, after all.

From experience, I have to say that more intimate standing gigs tend to have the best atmosphere. Maybe it’s because you’re that little bit closer to the stage, maybe it’s that people tend to really want to be there or the fact that the entire space becomes so richly filled with sound. It doesn’t have to be a rave type gig either - watching someone reduce a crowd to utter silence with just their voice and a guitar is chillingly beautiful in its own way. Either way, it’s the prospect of that atmosphere buzz which keeps me coming back.

Words by Olivia Krauze

One of the most genuinely satisfying things about live shows is the experience of hearing music in a unique setting. The vast majority of listeners are exposed to artists through headphones, laptop speakers, car stereos and record players. All of these have their own merits, but they lean towards placing convenience before quality.

At a live show - particularly, I have found, EDM and metal shows - music becomes more than just a tacked-on accessory to day-to-day life: it is, in and of itself, an artistic and sensory experience. You come to appreciate the complexity that music can entail by actually hearing it come into being on a stage; you pick up the subtle idiosyncrasies of each member of a group that, melded together, create a unique sound; you feel it in your legs and your chest as it pulsates through the ground.

I believe that music first and foremost constitutes a tangible and physical experience which can be fully discerned only by attending a live show.

Words by Oli Polhill

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SOPHIE MCEVOY Madonna, Michael Jackson, David Bowie, Prince. You don’t need to say anything other than these names to instantly recognize who they are and picture their entire image. One thing that these icons have in common - other than their legendary statuses - is that, combined, they are the creators of one of the most revolutionary artists of the 21st century, Lady Gaga.

Having grown up on David Bowie, Prince, Madonna, Pink Floyd, Black Sabbath, Iron Maiden, Queen and Michael Jackson, it’s not hard to pinpoint where Gaga found her passion. Gaga’s influences seem to be a point of contention amongst her critics however, comparing her performances and image to the iconic Madonna on a regular basis, insinuating that Gaga’s career relies solely on copying Madonna’s defining evocative and risque image. Gaga herself has been very open in regards to criticism towards her influences. “It’s not a secret that I have been inspired by tons of people,” she says. “David Bowie and Prince being the most paramount in terms of live performance.” In regards to Madonna, she has stated that “I don’t want to sound presumptuous, but I’ve made it my goal to revolutionise pop music. That last revolution was launched by Madonna 25 years ago.”

And revolutionize pop music she has, particularly in regards to performing live. In an era of lip-syncing and over-choreographed productions, Gaga has innovatively transformed the genre of ‘pop’ from the realm of the manufactured to genuine, raw emotion through a medium that has no genre; it’s just Gaga, uniquely suited to herself.

It’s hard to believe that Gaga has only really been on the scene since 2008, stemming from the release of her debut album The Fame. Since then, she has produced five studio albums, and embarked on four worldwide tours. Tours that show that Gaga isn’t just a singer; she’s a performer. Each of her tours focusing on everything from her immense singing abilities, extreme theatricality, her multiple, iconic costume changes and syncopated dance choreography to express the sheer dedication she has to her craft.

And Gaga knows it. “I am quite literally chest open, exposed, open-heart surgery every night on that stage, bleeding for my fans and my music,” she says. “It’s so funny when people say ‘It’s amazing to see how hard you work.’ We’re supposed to work hard! I have the world at my fingertips. I am not going to saunter around on stage doing pelvic thrusts and lip synching. That’s not at all why I am in this.”

Much like her influences, there will never be anyone that will match the artistry and uniqueness that is Gaga. She is the only one of her kind, and is undoubtedly going to influence countless musicians as Bowie and Prince did for her; especially in terms of the atmosphere of performing live.

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throwback:

the walking dead

apocalypse ASH MILLMAN

The event itself was unarguably amazing - eerie music and noises blared from speakers meaning you didn’t know what was coming from in front and from behind; and the Drakelow setting was everything you could have hoped for from a creepy horror experience. Zombies burst from hidden rooms and behind floorboards, crashed discarded poles and chains together in the dark, and did their very best to look as terrifying as possible. Although the actors couldn’t touch you - they would get as up close and personal as possible, with screaming bloody faces charging within inches of your own.

The event even had lost a survivor which you could converse with and choose to save or leave behind trapped behind a wall and terrified beyond belief.

We ended up picking him up on the way only for him to turn and attack us at the last minute nothing a well-place head shout couldn’t sort out!

But that’s where a lot of the good things ended.

For an immersive experience there were lots of moments where the tension was broken - such as seeing earlier groups ahead or behind you when passing through a section. The checkpoints for reloading weapons were manned by either boredlooking or out-ofcharacter

participants, which killed the creepy mood as the game went on. Most disappointingly, the event itself lasted all of twenty minutes - when we had queued over an hour and a half to get inside to begin with. The whole thing ended up feeling like a money-grabbing scheme rather than something created with fans in mind; especially when faced with £20 print charges for pictures at the end. It’s a brilliant idea and one that has been successful up and down the country; but was sadly not executed as well as it should have been.

I did really enjoy myself in there and would definitely do something similar again - but I wouldn’t do it with the same company. A lot more thought needs to go into timings and making a longer, more immersive experience; one that makes you feel like the wait was worth it. Half of the fun of the whole thing was the location itself, but that was nothing to do with Apocolypse’s input. With some more enthusiasm, heaps more content, and special attention paid to making all the technicalities play out properly, the event would be one bringing people back time and time again. It’s halfway there and could easily be something truly fantastic, but, as it stands, I came out with achey legs and a sense of “was that really it?”

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Film

LISTINGS 3rd - 5th november

The Specials @ O2 Guildhall Southampton

24th October - 27th November

Kiss Me Kate @ Mayflower

8th november

25th october

5th november

Ian Siegal Band @ Talking Heads

Tarzan @ Union Films

Dinosaur Detectives @ Nuffield

Jim Davidson @ O2 Guildhall Southampton

Valley of Love @ Harbour Lights

6th november

9th november

29th october

Michael Ball and Alfie Boe: Together @ Mayflower

Alcest @ Talking Heads NATHANIEL

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NIGHT

The Mummy @ Harbour Lights

7th november

30th october

David Essex: I’ll Be Missing You @ Mayflower

SWEATS @ O2 Guildhall Southampton

Ghostbusters @ Union Films

10th - 20th november

Andrew O’Neill is Trapped Down a Well @ Joiners

The Conjuring 2 @ Union Films

The Wind in the Willows @ Mayflower

10th november

The Omen @ Harbour Lights

12th november

Professor Brian Cox Live @ O2 Guildhall

1st november

Flights of Fancy

Southampton

BFG @ Union Films

22nd november - 8th january

Ice Nine Kills @ Joiners

2nd november

Fantastic Mr Fox @ Nuffield

11th november

Hail, Caesar! @ Union Films

22nd - 26th november

UK Subs @ Talking Heads

5th november

Million Dollar Quartet @ Mayflower

Courteeners + Clean Cut Kid @ O2 Southampton

The Invisible Man @ Harbour Lights

Live

6th november The Secret Life of Pets @ Union Films Jason Bourne @ Union Films 8th november The Purge: Election Year @ Union Films 9th november The Assassin @ Union Films 12th november Bride of Frankenstein @ Harbour Lights 13th november Bridget Jones’s Baby @ Union Films The Magnificent Seven @ Union Films Napoleon @ Harbour Lights 15th november Sausage Party @ Union Films 19th november The Wolf Man @ Harbour Lights 26th november Creature From the Black Lagoon @ Harbour Lights

theatre

Toreador @ Joiners 12th november

24th October - 27th November

Mark Chadwick @ Talking Heads

24th October

This Wild Life @ Joiners

Martha Ffion @ Joiners

13th november

25th October

Raveneye @ Talking Heads

Field Studies @ Joiners

Hooten Tennis Club @ Joiners

26th October

16th november

Willie and the Bandits @ Talking Heads

Planet Rock Roadstars @ Talking Heads

BILLY TALENT + Young Guns + Say Yes @ O2

17th november

Guildhall Southampton

Airbourne @ Pyramids Live

Jamie Lawson @ Portsmouth Guildhall

JPNSGRLS @ Joiners

Black Foxxes @ Joiners

18th november

27th October

Tenderlore @ Talking Heads

Paul Young and Friends @ Talking Heads

Tigercub @ Joiners

The Lovely Eggs @ Joiners

19th november

28th october

Atlantico @ Talking Heads

R2 @ Talking Heads

Verdi Requiem @ O2 Guildhall Southampton

29th October

The Catherine Tate Show @ Portsmouth Guildhall

Damien Dempsy @ Talking Heads

Boston Manor @ Joiners

Worry Dolls @ The Railway Inn

21st november

31st october

The Shires @ O2 Southampton

24th October - 27th November

SHVPES @ Joiners

23rd november

25th october

1st november

The Urban Voodoo Machine @ Joiners

Owen Jones - The Politics of Hope @ Nuffield

Island @ Joiners

24th november

26th - 29th october

The Doors Alive @ Joiners

Nick Harper and the Wilderness Kids @ Joiners

Giselle @ Mayflower

2nd november

25th november

27th october

Onslaught @ Talking Heads

John Ottway and the Big Band @ Talking Heads

Grapevine @ Nuffield

TRAAMS @ Joiners

Griff Rhys Jones: Jones & Smith @ Nuffield

Katie Melua @ O2 Guildhall Southampton

3rd november

Chase and Status @ Portsmouth Guildhall

28th - 29th october

Sworn Against @ Talking Heads

The Emperor’s New Clothes @ Nuffield

Honeyblood @ Joiners

4th november

26th november

30th october

This Feeling: White World @ Joiners

Henning Wehn: Westphalia Is Not An Option @

Dodgy @ Talking Heads

Jimmy Eat World @ O2 Guildhall Southampton

Nuffield

Mozart Requiem @ O2 Guildhall Southampton

This Feeling: White World @ Joiners

27th november

2nd - 5th november

6th november

Institute @ Nuffield

Jack Garratt @ O2 Guildhall Southampton

Jack Savoretti @ O2 Guildhall Southampton

Brian Fallon and the Crowes @ Pyramids Live

2nd november

The Little Unsaid @ The Railway Inn

Macbeth @ Mayflower

Jools Holland and His Rhythm and Blue Orchestra

7th november

@ Mayflower