Archive for the ‘ Reviewlution ’ Category

Celtic Knights

What happens when 90% of the World’s Superheroes have been killed or have gone into hiding?

You scrape together all the Z-List Heroes that you can get your hands on and hope that they can

save the World from the greatest threat there has ever been… The Welsh!

This is the premise for Celtic Knights, the Irish superhero comic from the writer of The Society

for the Remarkable Suicide. Celtic Knights is an all ages comic, so anyone from the age of 10 can go into Dublin City Comics or Forbidden Planet Dublin throw down their €3 and buy a copy.

The only Heroes that are left on the planet are Irish, every single hero in Celtic Knights is Irish

(some of them adopted as Irish as they are from a Galaxy far far away).

The Broker, the evil mastermind weapons dealer is behind the chaos, and he has his heart set on some prime real estate as his new headquarters… namely Ireland. If no Heroes can be found to stop him, The Broker and his minions will take over The Emerald Isle.

Full of action and comedy Celtic Knights is an ongoing comic series that leaves you on the edge of your seat waiting for the next issue. Issue 1 and 2 is now on sale and issue 3 is coming soon, and introduces a new character, but you’ll have to wait for that!

Stephen Coffey

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Top 5 Movies You’ve Never Seen

We’ve all seen them, those DVDs sat on the shelf in Xtra Vision that you’ve never heard of, or the oddball yarn you come across when you’re channel surfing late at night (or even early in the morning!) But we have a tendency to ignore these movies through lack of recognition and unfortunately this can lead to missing out on some real gems. Below is the Irish News Review Top 5 Movies You’ve Never Seen:

5 – Orange County
Ok so this one isn’t entirely under the radar. With a cast that includes John Lithgow, Jack Black and Colin “Son of Tom” Hanks, but it has unfairly disappeared without a trace after an underwhelming release. OC however stands as one of the finest coming of age comedies since John Hughes nailed the genre in the eighties.

4 – 52 Pick Up
First things first, if anyone watches this on my recommendation, it hasn’t aged well! Made in the eighties, it let’s you know this fact all the time! That aside though it’s a gem, Roy Scheider is excellent as the LA rich kid being blackmailed into coughing up cash for his wife’s safe return, who decides to take the situation into his own hands. A classic.

3 – Eden Lake
Like Orange County, Eden Lake wasn’t exactly under the radar but were it not for Michael Fassbender’s meteoric rise it would’ve been much smaller. Fassbender and Kelly Reilly star as a young couple who’s romantic day by the lake gets turned upside down by a group of psychotic Chavs. Not one for the squeamish but solid proof that for psychological horror, nobody does it better than British filmmakers.

2 – Right At Your Door
Released when the TV show 24 was at its peak, and made by the same production crew, Right At Your Door is for taut thrillers what Star Wars is for sci fi. A dirty bomb has detonated in downtown LA and residents are told to seal themselves on their houses. Brad does so extremely efficiently but when his wife Lexi makes her way back to the house he is left with the worst possible moral dillema. For one of the finest twist endings ever seen this sits proudly at second place.

1 – I Went Down
Believe it or not, there was once a time when Irish cinema looked like it would be able to consistently stand up to its American and European contemporaries. The finest example of this is this gem which is more than admirably held together by Conor McPherson’s razor sharp writing. Brendan Gleeson and Peter McDonald star as two debtors sent on assignment to Cork, and from there the greatest Irish movie,and arguably best ever road movie, made unfolds. Thankfully it has finally hit DVD, watch it and love it!

So hit up YouTube and check out the trailers and you won’t be stuck for something to watch next movie night!

Tomorrowland 2012 – Romero,Guetta,Fatboy Slim & More Take Over Belgium

Rather than force anyone to wait until the end of this review in order to hear a verdict that will be obvious throughout the summary, I feel it’s better to lay my opinion on Tomorrowland out up front. It was epic. And that really is only the beginning of how to describe it. Epic covers everything though, the sheer scale of the event, the organisation, the acts and even the food! Anyone who has attended any Irish festival, as both myself and my girlfriend Sarah have several times, will just be amazed at the scale of the event. On the second day of proceedings we did two or three laps of the layout itself and were exhausted by it, it really is just never ending. The event comprises of 15 stages, encompassing over 400 acts and runs for three days. Comparisons with any other festival are pointless, not just in our collective opinion but also in that of the visitors from around the world we met whilst there. There simply is nothing like it. Upon entry to the gig you are greeted with what can only be described as Wonderland come to life. Staff members abound dressed in regal and fantasy outfits, props such as massive toadstools and water spurting flowers abound. Before you even come close to a stage the entire set up and representation of the recreation area in Boom is magical. What’s more is you then notice how relaxed the entire place is. There’s security alright, but they’re casually strolling around the venue, not much work around for them to do. Keep in mind that mere weeks before this we had been in attendance at the now infamous Swedish House Mafia concert in Phoenix Park and whilst I was personally adamant that the poor organisation played a major part in what transpired, there is also the case to be answered that everyone in attendance at Tomorrowland, that we saw anyway, was mostly interested in having a good time, nothing more.

First act up on our itinerary was John Digweed on the Carl Cox & Friends stage. Though Digweed himself was slightly disappointing (his set was a little too laid back for a middle of the day slot where some tempo was needed), the stage itself was incredible. Most who have seen videos or images from the gig will firstly note the stage with the sun face including moving eyes and video screens surrounding it, this is the stage in question. It transpired to be one of the coolest spots of the weekend, allowing us to grab some food and a drink, and just check out whoever may be playing at that time. Through the course of the weekend we caught Digweed, Ferry Corsten, Paul Van Dyk and more at this spot and for sound and comfort it was best by far. If I had only one gripe to mention it’s that not enough people ventured this direction during the day which led to unfortunately sparse crowds for the djs performing.

The next stage to pique our interest was the Q-Dance stage. This time around we were treated to Noisecontrollers and it was fun for a fleeting visit, although after a while it started to feel like being back in a teenage disco and we decided it was time to scarper. Still though, another great sign of how much variety is on offer at Tomorrowland.

On we went then to the Samsung Galaxy Secret Forest which was a gazebo placed out on a floating pier and seemed aimed towards anyone who wanted to chill out on the water, have a drink and take in the sun. It was a nice spot for retreat in the sweltering sun of the Friday let me tell you, as Belgium was reaching highs of thirty degrees on the first day of the festival!

Next stop was the main stage where we arrived in time to hear Thomas Gold finish off his set, a nice surprise it has to be said. Main stage it would be for the rest of the night, not including a few detours every so often to check out some other acts, and we were treated to Alleso, Fatboy Slim (who put in the set of the weekend it has to be said, showing all of his many years’ experience with large scale audiences) and Avicii, although the latter  it has to be said did not in any way live up to the hype his recent chart success created, with his set lacking cohesion in the transitions and he generally seemed out of his depth. All in all though as first days went it was a good one, and thankfully the weather was only to get cooler as the weekend went on.

Saturday we kicked things off back on the Carl Cox stage, which was now the Paul Van Dyk & Friends stage, starting our day with Ferry Corsten. He gave a solid set, throwing out the seemingly unwritten rule that the day time sets had to be laid back and chilled, as did Kyau & Albert before him. Both churned out up tempo hard hitting sets that set a good mood for the rest of the day. Hitting the main stage a bit earlier than the previous day then we took in Chuckie and Martin Solveig. Chuckie gave a solid showing, throwing out all the right lines to the masses in front of him, a sight to behold from the hilltop. Solveig capitalised on his set from the previous year with a powerful showing, although it has to be said he did wain slightly mid set, losing the crowd momentarily. Rain intervened and found us moving on so we wandered a bit only to return to main stage for Skrillex. Though we both agreed it wasn’t a set entirely to our tastes, there was no denying that the light show and involvement from the crowd made for an incredible sight around the packed main stage. What we didn’t do was hang around for Swedish House Mafia however, taking their appearance in Phoenix Park as enough for now. Instead we headed over to another of the many off the beaten track stages, Cocoon Heroes to see Sven Vath. It was Sarah’s call as I wasn’t familiar with him, but a call I’m glad she made as once again, the diversity of the event kicked in and from one minute experiencing the hyperactive adrenaline fuelled Skrillex set, we were then chilling out to a vastly different showing. Set under a large big top with a bitchin light show to couple it, Vath was another one of the nice surprises for myself and capped off night two well.

It’s at this point I should mention one issue with Tomorrowland and a word of warning for anyone planning to attend in future years. Unless changes are made soon, transport to and from the venue is a nightmare! Heading in the first two days, we had to endure more than an hour each time on a bus with zero air conditioning in sweltering heat. It is fair enough that Belgium wasn’t prepared for a freak heat wave, but that there wasn’t even open able windows on the buses was unbearable. Travelling back to Antwerp then the buses were very limited and though we tried to leave ahead of the crowd each night, the lack of buses meant we always ended up lost in the swarms trying to board. A small complaint, but an important one after having spent entire days, mostly on our feet, in attendance.

On then to the final night and we were main stage bound for the day. We started off with Nicky Romero, who is now firmly slotting in to my playlists for the time being, followed by Yves V who gave a serious set, mostly prompted by him having to squeeze it into an hour, with no time for lulls. Being a local boy helped too! Afrojack next then and he served as a fantastic warm up for the main event to come, Mr. David Guetta himself. Though it would be somewhat accurate to say that Guetta suffered from slight Avicci syndrome – more hype than proof – it can’t be denied that he drew the biggest crowd to the main stage we saw all weekend, the lower levels literally turning into a mash of people. His massive intro, which then dropped into Titanium, got a massive response and when he appeared on stage, headband camera included, he received a massive reception and it was clear why he is one of the top djs around at the moment. Unfortunately, just as he began to churn out some of his recent cross-over hits such as “Sweat”, the heavens opened. Not wanting to be fair weather fans we survived it as long as we could, but when you’re dressed for a summer festival, there’s only so much can be suffered! We decided it was time to head on, though at our own pace as we took in one or two more acts on the way out, then headed  once again for the rarest of buses. An early end; but a good one to what had been three incredible days of music.

All in all it has to be said that Tomorrowland has to be experienced to be believed. Even with all the waffle above, I couldn’t come anyway close to what we experienced in there. The entire thing is designed to leave you breathless and that’s exactly what it did. Any Irish revellers still lamenting the lack of Oxygen definitely need to look into making the trip to Belgium, though we would suggest camping or staying in Brussels which we found out all too late is actually twice as close to Boom as Antwerp. You live and learn!

Follow the link below for some pictures from the madness!

https://plus.google.com/u/0/photos/106848950507152436450/albums/5771772082283030497

Film review: Grabbers

With the arrival of uptight Garda Lisa Nolan (Ruth Bradley) on the Erin Islands Garda Ciarán O’Shea’s (Richard Coyle) life is turned upside down, and not just because of the hip-flask in his pocket.  But the real problems begin when several dead, mutilated pilot whales are washed up on shore and no one knows why, except possibly fisherman Paddy (Lalor Roddy) who is keeping an alien in his bathtub.

Soon it becomes clear that the aptly named Grabbers are after the islander’s blood. Oddly enough the only thing that seems to slow the evil invaders down is alcohol. So with a storm on the horizon the only protection for the locals is a pub lock-in and getting hammered. And yes, then a battle between our drunken Garda and the Grabbers ensues.

Not only does the unique storyline of Grabbers balance perfectly between humour and horror, but the characters are brilliantly cast and the dialogues are quick, funny and very Irish.  Coyle is very endearing as the drunken Guard O’Shea and his comic timing is perfect. Bradly is lovable and quirky especially when she becomes outrageously drunk.

The supporting cast are brilliant too, Roddy shines as fisherman Paddy, David Pearse is wonderful as the local GP and Bronagh Gallagher is excellent as the Landlords wife Una. Sadly talented Russell Tovel, as the marine biologist Dr Adam Smith, is more annoying than funny, even if he does have some very good scenes and one-liners. .

Unlike many horror films the monster isn’t a letdown when it is finally revealed, as it is a truly nasty looking beast with some awful teeth.  So even if Grabbers is a funny, entertaining film there are plenty of seat jumping scares, too.

Not only has director Jon Wright managed to create a beautifully shot film, with long sweeping aerial shots and some picturesque scenes, he has created a welcome comeback of the 80s horror movies.

With its well-written script, superb actors and unique charm Grabbers is a definite one to watch this summer.

Film review: Brave

Disney is back and this time around the Princess is Scottish and animated by Pixar. This not so typical fairytale is set in the Scottish Highlands and the heroine is the feisty redheaded and hot-tempered Merida (Kelly MacDonald).

Forced by her mother, Queen Elinor (Emma Thompson), to learn everything a princess needs to know and how to act in a courtly manner, Merida sneaks out whenever she can to ride her horse and shoot her bow and arrow, with her flaming red hair always free flowing and wild.  King Fergus (Billy Thompson) loves his daughters’ wild nature but bows to his wife’s will and understands the importance of tradition.

But when Merida discovers that she is to be married off to one of the neighbouring clans to preserve the peace and fulfil a promise made long ago she breaks with tradition and enrages everyone in the process.  Not getting her way Merida runs away in true teenager style and finds a way to change the course of her life, with disastrous consequences.  Of course in true Walt Disney tradition there is always a way for those who believe.

This beautifully coloured and painted animation shows the true talent behind Pixar and although this is their first venture into the world of fairytales and also their first true female lead it is much more a Pixar than a Disney film.

This truly beautifully painted story about nonconformity, real relationships, emancipation and taking life into your own hands is another wonderful Pixar film and everyone in the family will enjoy the trip to the movies.

The Voice UK – Not about the Price Tag?!

Not about the Price Tag? Whatever the reason, it looks like Jessie J and Sir Tom Jones will not be returning The Voice.

According to sources it is thought that the reason Jessie J isn’t returning as a judge on the next series of The Voice is due to a clash with her UK tour dates and the filming of the second season of the BBC show. The singer had previously received criticism for her alleged diva like behaviour on the BBC set, her refusal to do publicity for the show, and her admission on Graham Norton’s chat show that she hadn’t even bothered to watch the show back.

Meanwhile, the Welsh wonder, Sir Tom Jones, the winner of the first series with his contestant Leanne Mitchell has apparently also been advised not to return for the second season by his own management team. I for one can’t see why the man needed the gig anyhow!

Twitter crazed Will.i.am however, does look set to return, as does The Script front man Danny O’Donoghue, to the judging panel, but if rumours are to be believed there could be two new faces joining the judging panel. The BBC are also keen to make changes to the £22 million show in a bid to boost ratings in the upcoming season after they plummeted in week 10 of last year’s season.

£22 million for the creation of a show supposedly just aimed at finding ‘The Voice’ of the UK….a show based on true talent, devoid of any gimmicks (apparently). Hmm, why then the need for the massive £22million price tag?! Possibly a ploy to get Jessie J and Sir Tom back again?!Only time will tell… well that or a tweet from Will.i.am!

The Dark Knight Rises……..and Soars!

In 1997 Batman was dead. With Joel Schumacher at the helm, George Clooney under the cowl and Arnie as the villain the franchise was brought to a premature end with Batman and Robin. Such was the silliness and childishness in the way that the series was handled, it was seen as a franchise killer, and talk of another Batman movie was considered outlandish. Enter Christopher Nolan.

His take on Batman in Batman Begins was the complete opposite of Batman and Robin. Grounded, serious and well……..good. Better than good, great. He successfully rebooted the franchise and the word reboot become the common buzzword of Hollywood studios. So good was Batman Begins it was thought impossible that it could be topped. But Warner Brothers insisted and Nolan tried. And succeeded. Such was the brilliance of The Dark Knight, a dark, brooding, crime thriller at its core that showed Hollywood and the film world in general that a “comic book” movie could achieve widespread acclaim both critically and commercially. The only question that remains is could Christopher Nolan be able to achieve a trifecta, three films Batman Begins, The Dark Knight and The Dark Knight Rises, each one better than the last. The answer is almost.

That is not too say that The Dark Knight Rises is not a brilliant film in its own right, it is. Its epic in scale and length contains excellent performances and has an emotional complexity rarely seen in a “blockbuster”. It is however, not as good as The Dark Knight, but the difference is minimal, inches. Where the Dark Knight Rises succeeds is in its ability to finish off a three part story and that is why the trifecta has been completed.

Set eight years after the events of The Dark Knight, Gotham City has been cleaned up, and crime has become a non-issue. Enter the masked vigilante Bane, who unleashes is plan on Gotham’s citizens and forces Batman to come out of retirement. That is the basis of the plot, as much as should be revealed beforehand. Unsurprisingly it is much more complex once character motivations enter into it. But to avoid spoilers that’s all that will be revealed.

What can be discussed is the performances, which are excellent across the board. Christian Bale gives his best performance of the trilogy in this edition as Bruce Wayne/Batman. His Bruce is a broken man, a recluse who wants nothing to do with the world that surrounds, so caught up in his misery that his return in the cape and cowl is a thrilling moment. He is the emotional core of the film that would not work without his presence.

In support of Bale are the regular trio Michael Caine, Morgan Freeman and Gary Oldman, all excellent, all relevant. Caine in particular, who gets some of the most emotional scenes in the film and nails them perfectly. The newcomers also do well. Anne Hathaway was an unconventional choice for Catwoman (never called that in the film), but upon seeing the film was an excellent choice. She nails the toughness and sexiness in a complex role that could look silly in another actress’ hands. Tom Hardy, meanwhile is unrecognisable as Bane, but is a hugely physical presence and more than a match for Batman. His voice, while unorthodox and at times hard to hear (but not as often as you would think’s) is just the right side of menacing. Joseph Gordon Levitt is a fine addition to the cast as optimistic beat cop John Blake and Marion Cotillard does well with her scenes as Miranda Tate.

The action is also excellent. Nolan’s too good and to clever to let it overshadow the plot but rather to aid it. The set pieces pack a punch and work well because they tie into the story. Despite its excellent qualities, there are a few miss-steps, the score being the main flaw. While Hans Zimmer is an excellent and Oscar winning composer, there are times when the music gets so loud that it becomes a struggle to understand dialogue. The second act drags a little but not long enough for it do any real damage.

These small problems aside, Christopher Nolan and his team have created a fantastic, epic, action film that will require numerous viewings to take it all in. The Dark Knight trilogy taken together both individually and as a whole is the pinnacle of what comic book movies can do. The only problem now, is how the hell can they top it when they decide to do the inevitable reboot?

No Plugs Pulled – Bruce & The E Street Band Rock Dublin

Night One

Two nights, seven hours (thereabouts) and sixty five songs. Nobody can ever doubt Springsteen provides value for money. What’s more is that, for nut jobs like me who did both nights, he played a total of 49 different tracks across the two nights, with the first half hour of the second not resembling the first in any way whatsoever. This guy is the consummate entertainer.

I’ve been going to Springsteen gigs since the Magic tour in 2008. Since that one show four years ago I’ve found myself following it up the next year with an appearance at both gigs including queuing from 11am for night two. Then I capped the year off with a trip to New Jersey for the final ever gig in the old Giants Stadium. It’s a fairly routine thing to say about an artist one greatly admires, but I completely mean it when I say that these two stops in Dublin this year eclipsed all four of the previous shows I had been at. Unless he kicked their dog and kissed their mother, there is no possible way anyone in attendance either night could not have marvelled at the show unfolding before them.

Things kicked off with a bang Tuesday when The Boss, in the wake of his abrupt finish at Hyde Park, appeared on stage and proceeded to finish off his rendition of Twist & Shout that he was “rudely interrupted” during at the previous show. That set the cheeky tone of the night and what followed was a good light hearted show, full of high spirits and cheer.  The set played out as expected with new tracks like We Take Care Of Our Own and Death To My Hometown going down fantastically well, which surprised me more than anyone given that I find the new album so-so but as per usual, the live interpretations always make a big difference. Then came some special tracks of the night, notably a way out of left field performance of I’m A Rocker and an absolutely chilling double of My Hometown and The River. The references to a desperate economic situation in the latter resonate incredibly strongly these days and there is an amazing unity in the crowd whilst it is being performed.

As this was the first show post “curfew-gate” there had been multiple references to running the show over time all night, and the pinnacle of these nods came at the encore when Bruce was interrupted by a corporate suit and a London bobby! The two acts landed on stage to flip the switch on the dummy power box The Boss had on stage and after a mock tussle between Little Steve, Bruce, the bobby and the suit, it was decided the power would stay on and Bruce confirmed this by tearing up the curfew notice and tossing it in the air. More music to be played it seemed, including the ultimate surprise; Bruce grabbed a request sign late in the game and there it was, Rosalita! No better track to begin the wrap up on what had been a crazy night, a song that is, as my gig buddy Peter described it “organised chaos”. It brought the house down, followed by Tenth Avenue Freeze Out with its touching tribute to the Big Man Clemons, another rendition of Twist & Shout and the always ecstatic American Land. A great night, made only better by the thought of doing it all over again the next day.

Night Two

Four hours sleep may not have been ideal, but it was a start. Back up at the RDS Simmonscourt Car Park at 8am to check in again for roll call, we manage to do six hundred places better on the night before and stood 429 and 430 in the queue. One slight issue stood in the way on the Wednesday show and that was that the weather didn’t look like it was going to be as favourable as the day before. The rain did its best to dampen the mood in the queue all the way up until the band took the stage when it shockingly cleared up just in time for the show to kick off! It is tradition with Bruce that he acknowledges how many people do every night on a stopover and this was clearly evident in the opening track of the night. There hasn’t been a consistent opener on this tour, its bounced between Badlands, We Take Care Of Our Own and No Surrender. What it has never been however, is a fantastic solo rendition of This Hard Land. It was surreal, having already been later than the Tuesday coming on stage, the show didn’t immediately kick off with a bang, instead with a personal moment between Bruce and the crowd. It wasn’t to last long though, as the band came on stage and then launched full force into No Surrender. As mentioned above already, it was an age before a single track from the Tuesday show surfaced. Amongst the new additions was a stirring rendition of Adam Raised A Cain, a welcome She’s The One given the absence of Born To Run tracks the previous night and an absolutely blisteringly hot Because The Night where, as usual, Nils Lofgren absolutely stole the stage from the seventeen others around him. The solo performance at the piano of The Promise too was amazing, evidence of his power as an artist that he could hold attentions of the majority for the duration. But the moment of the gig, possibly of the entire two days, was the spontaneous inclusion of Backstreets. It’s a track I simply never thought I would hear live and after the show, I could see why it’s worth playing it so sparingly. It felt like a privilege to hear, an earned reward. I couldn’t tell who was singing it with more power, The Boss or the crowd. It summed up the quality of the two gigs immensely. The gig wrapped up much the same with the exceptions including the new single Rocky Ground which echoes the woes and hard times many find themselves suffering today touchingly. A swap of Seven Nights To Rock in place of Twist & Shout was welcome as the latter does eventually lose its charm somewhat.

Over both nights Springsteen was relentless with his energy. He ensured the die-hard fans were satisfied with the diversity of the sets, whilst also making sure that the general attendees were sated with the likes of the Waiting On A Sunny Day and the sing-along sessions he makes through inviting kids from the crowd to sing a chorus, particularly the now famous young girl from the Tuesday who now has an incredible memory to keep with her of the time she not only sang with, but conducted the E Street Band! Bruce’s joking around on the Wednesday over Jake Clemons’ (an incredible stand in for his uncle too it has to be said) unfortunate injury where he seemingly sneezed on the Tuesday and threw his back out was fantastic entertainment also and by the time he was jamming on the piano with Professor Bittan using his head, it was clear that the euphoria had completely taken over and he was now completely immersed, lost to the “house party”. Even without his two comrades, Danny Federici and Clarence Clemons, Springsteen only carries on through the music, it heals, it helps and it revolutionises. It is what he does better than no other artist, sell his work as convincingly now as he did when he first wrote and make the newer material sound as if its been around forever. He is the king, he is the ultimate; he is The Boss

Florence & Snow Patrol Close Out Phoenix Park

It was a mixed weekend in Phoenix Park for this mini festival MCD threw together. Mixed in publicity, music and reception. But all in all it was three days of fantastic music for every shape and size, and though it was marred by the mindless and senseless acts of a minority, for those like myself who actually had some interest in the music it was a great weekend.

The final day of the Park Fest was a double headliner of Florence + The Machine and Snow Patrol, plus Temper Trap and a late addition in Bressie. First off the mark I have to say I was pleasantly surprised at how good a show Temper Trap could put on. They have a great energy on stage coupled with good upbeat tracks and it was a pity that they couldn’t grab the attention of more of the crowd. Their big hit of course, Sweet Disposition, closed their set and injected a good dose of spirit into the muddied and wet crowd.

Ah yes, the mud. Before elaborating any further on the main acts, the condition of the park has to be addressed unfortunately. MCD have many calling for their heads after what seems to have been a total lack of foresight when organising these gigs. Most  of these calls are in relation to the acts of violence that occurred on the Saturday, but the sheer conditions people were forced to inhabit for 6+ hours were absolutely third world. There was speculation after the destruction from the Swedish House Mafia gig that the ground would be lined more adequately but unfortunately all that remained was the bare sparce dressing of the ground with plastic boarding which had sunk by about the midway point. The rest of the uncovered areas were horrendous and based on the odour, none too hygienic. Mud baths these were not. Nobody expects and outdoor gig to be clean and polished, least of all me, but this was worse than even  any Oxygen festival I have attended where it would rain non stop for days at a time. There was simply no effort made by the organisers and no amount of money received by the OPW could be worth the damage the Park has now suffered.

On then to the star turn of the night that was Florence + The Machine. Florence Welch is musical Marmite to many, a lot of people turning away at her outgoing, loving outbursts for her fans when performing live and her slightly wacky persona. Personally, I’ve never had much opinion either way but I have to say that on the day that was in it, given the madness that had come before, it did feel good to be back in that same spot hearing messages of all kinds of lollipops and happiness come from the stage. It’s a weird one, I’m fully confident that I may have found her stage play annoying under different circumstances but on the day, it was great and set a great mood in the crowd. Highlights of her set were the massive reaction from the crowd to the single note drone intro of “Shake It Off” and the closer “No Light, No Light” bringing a massive close to the set, but the Ceremonials-heavy setlist didn’t leave room for her cover of “You’ve Got The Love” which was a personal loss for myself as I had hoped to hear it. No biggie though, still a fantastic performer and a great first half to the show.

Then came an act that, to be honest, I had much higher expectations of. I had not seen Snow Patrol since 2004 at Oxegen and the following summer supporting U2. At that point they were still breaking through and they played with a genuine sincerity at showing how much they appreciated where they were. What worried me was whether or not they still had that too them. While its true though that Gary Lightbody has maybe got a little Bono-esque in his stage persona and the band’s reliability on power ballads wears a little thin, they still do commit themselves to putting on a great live show. The opener of “Eyes Open” was perfectly chosen, being an ideal “we mean business” type of track. Moving on then they treated us to a fantastic, as always, rendition of “Run” and a beautifully subtle version of “Set The Fire To The Third Bar” featuring Maria Doyle Kennedy, a big surprise given how many like myself would have simply assumed Florence Welch was the obvious choice for the track. The highlight of the night though, and contender for highlight of the weekend, was the anthemic “Chasing Cars”. It was a no brainer assumption this would bring the house down, but I could have never imagined how powerful this track becomes live. With just a few seconds of the guitar intro, the entire crowd launched into the verse and Lightbody was no longer needed. It wasn’t until the final chorus that I can remember actually hearing him sing it, and even that was just barely above the crowd. It was a fantastic moment and capped of the weekend fantastically, so much so that the remainder of their set fell slightly flat if I’m being honest. They couldn’t do better than themselves, not a bad complaint I suppose.

Killer Joe Review

Killer Joe (18)

Friedkin’s modern re-telling of the Faustian tale

(Matthew McConaughey, Emile Hirsch, Thomas Haden Church, Juno Temple)

 

“How old are you?”, “12”, “So am I…”.

It was at precisely that moment in William Friedkin’s new film, Killer Joe, I knew things could only spiral out of control. Chris (Emile Hirsch) shows up in the middle of the night at his fathers trailer park home and he has a problem. He owes some people money. He suspects his mother, who has kicked him out of the house, of robbing him and concocts a plan to have her murdered in order that her life assurance policy can be collected and the family can live happily ever after. Sounds like a straightforward enough plan, you would think

Enter Detective Joe Cooper, played by Matthew McConaughey. A local detective decked out in dark leathers, a 10 gallon hat and aviator glasses, he is a hired assassin. He is unimpressed by the offer that Chris and his father Ansel (Thomas Haden Church) have laid out for him. Money up front or no deal. But by this stage the audience has guessed that Joe has taken a liking to young Dottie (JunoTemple), the sister and daughter of the boys. He’s willing to make a deal; his retainer until the money comes his way will be Dottie. The moral turning point in the film occurs when the boys agree. And they let Joe, a murderous but sharply intelligent psychopath into their home. They engage in a Faustian pact.

Joe effectively moves in, and you get the sense that he is there to test the family, to see how far he can stretch them into degradation until they break. It turns out they can be stretched to the point of snapping. It is following the murder of the mother that the film springs into life and spirals towards a violent end. And what ensues is a web of double-crossings, lies, violence and downright stupidity.

The defining relationship of the film is the one most unlikely, between Joe and young Dottie. They are the two characters that you are inevitably drawn towards and their on-screen interaction is notable. They study each other, one in all respects the Devil, and the other the picture of purity and innocence. It is a fascinating glance at the subject of underage love and the corruption of youth. Friedkin attempts to illustrate Dottie as the exceptional moral youth, the Gretchen, corrupted by the people around her; her drug dealer loud mouth brother, her idiotic indifferent father, and the psychopathic murdering figure of Joe.

The film is undoubtedly sewn with the needle of the Coen Brothers. The humor is dark and ironic. The character of Joe is reminiscent of the famous Anton in No Country For Old Men. The setting is the south and the characters are for the most part imbecilic. The southern drawl is the trademark. But the most defining similarity is the manner in which Friedkin brings it all to a close. Every decision made during the film inevitably leads the characters towards the last scene. And this is the trademark of the Coen Brothers.

It is McConaughey’s best performance in many years and he should stick to similar roles. As for the support acts, JunoTemple is radiant and gives an exceptional performance. For the performances and on-screen relationship of Joe and Dottie I would merit a viewing but Friedkin somewhat over-cooks the violence for me. You suspect that the graphic scenes of violence and underage sex are just for show and shock-factor.

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