Like one of the best (and slowest) archaeological digs ever, it seems that the creative genius that brought us Wallace & Gromit, Chicken Run and the absolute wonderment that is Shaun the Sheep has been unearthed once again.
There might be a picture of a kid’s clown on the poster for truly excellent ‘Bingo: The King of the Mornings’ (2017), but this definitely isn’t one for all the family to sit round watching after Christmas dinner
On a scrap of paper ‘Brakes’ (2016) by first time director Mercedes Grower (who also wrote it) is a brilliant idea, and to the greater extent it really works. As the description goes, it’s an improv-based dark comedy set in London.
As is much and repeatedly written, we are indeed living in awful times being led on a merry dance of self serving insanity by those who we believe are in charge. Yet said leaders clearly haven’t a clue about anything but their pension preservation. But hey! At least there is some stunning television series and movies to distract us from the chaos that seems to permeate everything.
Baker has taken the winning ingredients of ‘Tangerine’ and tenderly marinated his next serving, the wonderful ‘The Florida Project’ (2017) with all the truths, integrity, honesty and non judgmental presentation of a world that’s seemingly hidden, yet right in front of us for those that can see.
Despite all the splendid sunshine, the equivalent of a sonic German solar eclipse happened when Lea Porcelain released their debut album ‘Hymns To The Night’
Anyone who has paid attention to the deplorable state of affairs that is currently being exposed throughout so called Tinsel-Town at the present moment will hopefully have also noticed the fantastic, if extremely difficult, uncomfortable, selfless and personal emotively exposing tales of women who have been treated disgracefully by peers and those who wave power like a phallic carrot.
Deneuve plays Séverine, the highly preened and presentable bourgeois trophy wife. Married to the movie star handsome surgeon Pierre (Jean Sorel), they look like the ultimate couple on the surface, but that really is a veneer.
The opening riff on Lower Slaughter’s debut album brazenly and beautifully starts like the classic notes to a seriously cool moment in a Tarantino Grindhouse movie…..
Swapping John Boorman’s ‘Deliverance’ (1972) canoe for a 60s gas guzzling road boat and steering us into Red Neck Hell City, Kathryn Bigelow has skilfully captured what is in one context an extremely violent (is there any other kind in that Nation’s history) period of social unrest due to profound and endemic racism, that is both potent and tragically prescient being what transpires on screen could be a live stream from many parts of ‘modern’ America today
Sliding in as smooth as a pumped, pimped and tricked out American muscle drifting car, we have the latest frivolous and joyous delight that is Steven Soderbergh’s ‘Logan Lucky’ (2017).
Strutting straight into the room, or in this case a disused warehouse, like the love child of Zoolander and John Wick’s 1970s free lovin’, even freer shootin’ moustached and side burned dad, we have incredible polyester sights and bullet sounds of Ben Wheatley’s latest cinematic dark comedy gem ‘Free Fire’ (2016).
The fifth album from Arcade Fire opens with a brief plaintiff, maudlin, dejected repetitive lyrics that could possibly represent the ever so familiar repetitive humdrum and daily grind, the not so halcyon days of modern living.
Such is the extent of the enigma of director David Lynch’s work that it may seem slightly disrespectful to try and even explain it, or indeed the man himself.