Here, the opener, Salute nods at Krautrock. I See You swings with jazz and cabaret influences. Only on No Sound is there a slight return of the twang of Lane’s first outing.
The vocals are sometimes a bit of Martha Wainwright, and often a lot of Kate Bush. This isn’t a criticism by any means. If you have to sound like someone, it may as well be one of the greats.
I wouldn’t say Night Shade is deadly. But it is good for late nights. And it makes me wonder what Lane will have in mind for her third album.
One thing that sets this film apart from its contemporaries is its portrayal of the lovers’ obstacles; it is not overdramatised nor dwelt on. Although by the same token, the incredible friendship of Rosie (Lily Collins) and Alex (Sam Clafin) appears to be underdeveloped and not as unrelenting as the producers would have us believe.
The film flitters quickly between setbacks and milestones. However, despite some of the conventional restraints of the genre, the obligatory cheese is disarming in the hands of Collins and Clafin. The latter, who is reminiscent of a young Hugh Grant is cast perfectly opposite the bright-eyed Lily Collins.
Even though the characters are wanting in complexity, the film is charming and has its moments of authenticity. The two leads share a very believable chemistry. (SY)
Written by Sharon Ye]]>
“They all come from a different place,” says up-and-coming choreographer and dancer Cass Mortimer Eipper. “Everyone has a different approach in not only how they put their work together but what the catalyst for their work is and its inspiration.”
The initiative is made possible thanks to an extraordinary level of support from the Balnaves Foundation. They have committed $100,000 a year for this year and the next two years to support the future of contemporary dance in Australia by nurturing the next generation of young choreographic talents.
“I think everyone will take away a lot of food for thought,” says Eipper. “There is a lot of powerful imagery, strong messages and some incredible dancing.”
The talented quintet of choreographers and dancers will explore a rich diversity of ideas and reveal some exceptional and versatile contemporary dances. (CT)
Nov 5-8, Carriageworks, 245 Wilson St, Eveleigh, $35, sydneydancecompany.com/newbreed
Written by Ciaran Tobin]]>
I should have counted, but Wick apparently scores 84 deaths. It’s like one of those violent video games – and just as meaningless. In fact, Wick was added as a character to the videogame Payday 2. The Co-Directors, former stuntmen themselves, could be praised for the fluidity of the numerous fight sequences.
There’s talk of this being the first instalment of a franchise – if that’s the case, heaven help us. Keanu deserves better. (MMu)
Written by Michael Muir]]>
Flesh and the Machine, his seventh or eighth album depending on how you count them, is classic Lanois, bearing all the hallmarks of the spacey, ambient, somewhat electronic soundscape that once led Rolling Stone to declare him the “most important record producer to emerge in the Eighties”. This is a somewhat nebulous album but one that rewards with repeated listens, with new sonic textures revealing themselves in time. (PH)
Set in the near future, Earth is slowly dying as its resources are depleting. Cooper (Matthew McConaughey) embarks on an expedition to the stars in search of other habitable planets.
McConaughey delivers a remarkable performance as the father who decides to leave his children to save humanity and is supported by a high-calibre cast including Anne Hathaway, Michael Caine and Matt Damon.
Adversely, storytelling technics falter in the second half of the film which leads to confusion, further compounded by long and intricate references to quantum physics, worm holes, the theory of relativity and space time travel.
Ultimately, Interstellar is a visual spectacular in which audiences will believe they have been transported to the far reaches of the universe. (MM)
The band now resembles the more traditional rock-n-roll outfit with Milly Moon (vocals), Jake Winter (guitar), Gareth Scott (drums) and Phoebe Neilson (bass) making up the full cast. Listening to their tracks it is clear the likes of Led Zepplin, Janis Joplin, The Black Keys and Jack White have all been early influences on members of the band.
“We all bring a certain something to each song we write together,” says Winter. “For me personally it’s the classic rock artists that I grew up loving and the music that got stuck in my soul.”
The band has recently released their debut EP which they recorded in two halves in two different studios that presented some of its own challenges and benefits. The first two tracks were recorded last year with Michael Badger, of The Demon Parade, on production and mixing.
“This was basically our first real recording experience in a decent studio with really talented people so that was great.” continues Winter. The second half was then recorded at Birdland Studios in Prahran with ten-year veteran Rob Long. “Working with Rob was incredible because he knew the studio inside and out and exactly the sound we were going for. It was certainly interesting using two separate teams but I think they came out quite similar. All in all it was a really positive experience.”
Most importantly though as a band that has staked their reputation on the promise of legendary live shows they are now set to tour in support of the EP.
Winter described the bands mindset regarding live performances as the most important thing. “Recording in the studio is so fleeting whereas performing live is a more immediate and transcendent experience with so much buildup to the time on stage where you just have to give it everything you’ve got.”
Fans are sure to be pleased with the bands plans given the excitement level shown by Winter when asked how the band is feeling ahead of the tour. “We’re super excited. We tend to get a bit theatrical and jazz up the stage with psychedelic scarves, lamps and flora arrangements.”
Nov 8, Captain Cook Hotel, 1/162 Flinders St, Paddington, 9360 4327]]>
What possessed the very talented … Read more]]>
What possessed the very talented Toni Collette, Sam Neill and Pierce Brosnan to be involved in this film? That the audience can feel anything for Collette’s character speaks volumes about her acting ability but says nothing for the role she’s been given; ditto to the rest of the cast – whose motivations are unconvincing.
Anyone whose family has been touched by suicide knows it to be a tragic and highly sensitive topic, but this film’s treatment of suicide seems fatuous and superficial. So, not only is this an ordinary film, it could even be described as an irresponsible one.
Taking a semi-comic approach to a serious subject is a dangerous path and it hasn’t worked here. Perhaps the original book tells the story more appropriately. No doubt there are better films to see at the British Film Festival. (MMu)
BY MICHAEL MUIR
Limited release as part of the British Film Festival]]>
It’s many layered like a collage dipped in honey and slathered with oil. The dark soul residing in Different Shades of Blue calls out to the dark corners everywhere, revelling in past battles and scars that have all but healed.
Skating over old pains, this album freshly rips and heals with a combination of medicine and an almost unhealthy dose of guilty reminiscence. (SP)
Written by Sarah Pritchard]]>
Russall Beattie is the creator … Read more]]>
Russall Beattie is the creator of this production and other such successful burlesquifications as Star Wars Burlesque. After 10 years experience of directing classic burlesque, he says he came up with the idea out of boredom. “I was sick of the same music and performers, so I thought I’d combine stuff that I like,” Beattie says.
Moving from the Vanguard to the Seymour Centre, there is a lot more stage to work with this time around. The Dame of Thrones audience can expect a lot of blood, as well as the addition of characters like the Red Viper, the Mountain, and even a giant.
Dames of Thrones has been called a parody production, but it certainly seems as though the parody was created with the utmost respect. “I just want to honour the show and honour the love people have for it, “ he continues. “And I think my love for the characters translates to the show.”
Involved with burlesque from the age of 18, Russall says what he loves about the scene is how highbrow meets lowbrow, or the “energy of punk mixed with the refined.” This seems appropriate for the Game of Thrones homage, where piety and propriety meet bloodthirst and bodice-ripping.
Nov 7-8, Seymour Centre, City Road, Chippendale. $50-$90, 9351 7940 or seymourcentre.com]]>