Category Archives: Review
High Hopes
Director Mike Leigh is renowned for his bittersweet films; some of which include large-scale productions such as Topsy Turvy, the adorable Happy-Go-Lucky, and the recently released Another Year. His strongest film though, in my view, is High Hopes. I‘d rented out the DVD, thinking naively that it was a fairly recent release (say, from the last decade). So whilst enjoying the film I was warily critical of the retro set design, streetscapes and historical relativity. My critical perspective reached a climax when the Lloyd‘s Building appeared in frame; as I‘d thought the building was a recent construction. It was only at the conclusion of the film, though, that I realised it was actually made in 1988. I felt ashamed of myself and overly critical of what was an excellent film in earnest.
High Hopes follows a couple (Cyril & Shirley) living in London‘s Kings Cross. We watch fondly as they grapple with societal changes and the gentrification of London‘s inner and traditionally working-class neighbourhoods. Cyril is something of a jaded, conjectural Socialist while his mellow partner Shirley is fielding maternal impulses. Amidst the relaxed turmoil of Thatcherite UK, these characters prove endearing and ultimately hilarious when we follow them through circumstances surrounding Cyril‘s manic family. A lovely, heart-felt drama that also explores the predicament of Socialism in contemporary Capitalist society.
Machine EP Launch
Tomorrow night, the Grace Darling in Collingwood presents this highly-anticipated EP by lords of rocking, psychedelic sounds; the band we know as Machine. And if you‘ve yet to hear their tunes; check out this sneak-peek from the forthcoming EP:
In what can only be described as a virulent assault on the aural senses of your ears, Machine toil and tumble through a cavacade of sonic excess that will put a smile on your face and a dent in your appreciation of music. Simply put; if you haven’t seen them already, then get your arse down to Smith Street and witness this event for yourself. The show begins at 9pm, with excellent support from The Process.
Death Valley Mustangs EP Launch
Next Saturday, the 3rd of September heralds the launch of the much-anticipated, brand new EP by the Death Valley Mustangs.
Titled “Tijuana Bible” this release marks the advent of a more refined sound from The Mustangs: their music has consolidated into a purely rock sound,which is distinctly their own. This latest incarnation also features a refined range of vocal talent, and a musical confidence unheard in their earlier EP. The Death Valley Mustangs play at Pony -doors open 8.30pm until late, with support acts Bugdust, Rayon Moon, and Dan Kirk. $9.
INFX is also offering the chance to WIN A SIGNED COPY of the EP in advance of the launch!
SIMPLY EMAIL infx@email.com a few words that are persuasive enough to merit the prize.
The Salt of Life (Gianni Di Gregorio)
Gianni Di Gregorio‘s film is one of the more thoughtful and comically entertaining films due for release this year. Di Gregorio (Writer/Director of 2008‘s acclaimed Gomorrah) both directs and plays the leading role in this wistful comedy; markedly titled Gianni e le Donne (Gianni & The Women) in his native Italian. Gianni (the leading character, and not to be confused with the Actor/Director himself) has recently reached a turning point in his life: the onset of ‘old age‘. Having been made redundant from work, he finds himself mindful of not only his aging face & body; but of his relevance to the world-at-large.
The film is endearing to the plight of this ageing Italiano and charming in it‘s climactic (yet restrained) final scenes. Its looks at the romanticism and sexuality of Gianni as he ponders his lacklustre marriage and his attention to (and from) young women. At once an humourous, heartfelt and honest observation of the aging man -The Salt Of Life is wonderfully shot with subtle stylisation. The film won‘t stir up any media-pack accolades but it‘s surely a fine production; with a brilliant cast.
The Salt Of Life opens this week at Cinema Nova.
1 x 2 DEATH SET
Opening Tuesday evening; drop by First Site gallery, out front of RMIT, to sample the acute meanderings of this wondrous new show, by up-and-coming Media Artist impresario Spencer Lai.
The Death Set is driven by a sublime foray into the real and the unreal. “Two spaces and two realities“. Given your own particular perspective; delve into your appreciation of the actual and contrived. Upon inspection of the works on show, Monsieur Lai invites you to revel in an “immersive exploration of death, dread, reality and fiction“. Expect hyper-realism buffeted by theatrical visuals, and the low-res exploits of the internet fiefdom.
1 x 2 Death Set: RMIT First Site Gallery: June 7 – June 18
Ricky (François Ozon)
François Ozon is one of the most proiminent, leading contemporary French film-makers. He has produced and directed a mighty body of work including such cinematic greats as 8 Women, Swimming Pool, and (arguably) Potiche. However, his most profound film in recent times is Ricky.
Although this film is quite abstract in its character analysis of its human subjects, I have attempted to detail the scenario in which this tale is set. Our female lead and provocateur, Katie (Alexandra Lamy), works in a factory where she is exposed to the inhalation of corosive and highly dangerous chemicals. A single mother juggling work and the needs of her young daughter, she falls in love with Paco (Sergi López) and also becomes bedridden with illness, about the same time. Concurrently, she discovers that she is pregnant. Upon taking sick leave from work, Katie‘s mental state deteriorates to the point where her reality is vexed and convoluted, upon going into labour. Paco then takes custody of her daughter, in an attempt to provide her an upbringing in a calmer environment. He then finds himself amid a storm of delirious and accusatory behaviour from Katie. She then decides to give Ricky up for adoption. This film is a poignant drama that is swathed in a fantastic depiction of Ricky; a film that raises many questions to ponder (does Ricky exist? Is Paco an imagined version of her Ex-husband?): See it for yourself and draw your own conclusions!
Society Of Beggars
The band sweeps onto stage in a most striking manner; bassist Zack Wright towering over the crowd and indeed, the entire ensemble imposing in their stature.
And then the music is released. Fundamentally a ‘rock‘ band, the ebbs and flows of this music stretch as far between as The Pogues, Greek wedding music, and contemporary rock. Society Of Beggars is the most enjoyable band I have seen in a very long time, and it is brilliant to hear a sound that gives Australia its own Gogol Bordello; albeit one that frontman Yianni Michalopoulos presents most markedly humble and authentic.
The Beggars are touring profusely at moment, on the back of their albumn release ‘Exit Soul‘, produced by Oren Gerassi at Air Particle Ensemble. The albumn is released FREE, and as their website announces: ‘Exit Soul‘ is entirely “free to enjoy, remix, cover or spread it around“ And really, you can‘t get much more bad arse than that! So get downloading, and come support one of their many gigs.
‘Click‘ the image above to claim your Free Copy of ‘Exit Soul‘.
Also, check their History page for upcoming shows.
Of Gods and Men
Des hommes et des dieux provides a rare insight into philosophical ideas surrounding the theological-humanist realm. The film‘s religious and political posturing is set amid an ex-French colony‘s Islamic militant uprising. It is a study of conviction, dedication, and loyalties -to church, state, and self. Sweeping shots and cinematography that invokes a sense of foreboding frames a backdrop of Algerian Mediterrenean splendour that is mired by murder, subjugation and threats of violence.
Xavier Beauvois has sculpted a film that relates the hope of humanity with its insecurities and compromises, and one can‘t help but feel the presence (or influence) of Camus in the work. At times the film loses pace and relevance to its central narrative. However, this perhaps provides reflection on its monastic surroundings and religious themes. The film is utterly compelling; it is graceful and thoughtful in both composition and execution. Crucially, the audience is invited to delve beneath the somewhat melancholic and theological surface; wherein lies a rich bounty of questions about ourselves and our humanity and compulsions.
Of Gods and Men won the Grand Jury prize at Cannes and opens on May 26th.
The Process
A dreary mode of New Wave courts 80s Australian Rock with a lashing of Contemporary Pop.
Thus describes but one facet of The Process: an inspiring local talent that takes refuge in its curious sound. Sashaying between permeating chords, percolating drum beats, and aching vocals we are taken on a sonorous journey that feels uncomfortably detached; while lusciously immersive, all at once. “Ephemeral” vocalist and current guitarist Saxon Jorgensen so describes their sound. I must agree; but contrarily, this transitory and oblivious sound structure will confound in its complexity and absolution of musical mores. Personally, I feel that this is demonstrated amicably in tracks All Eyes, The Void and Before The Storm.
Following on from successful gigs at popular band halls including Roxanne Parlour & The Evelyn, The Process next week appear at the utterly remarkable Montsalvat. Amidst the French Provincial splendour, The Process will indeed grace and garble their way across the stage at this notorious estate -arguably the home of modern Australian art, and host to the Rolling Stones in 1973. But enough blather! Listen for yourself:
The Process @ Montsalvat, Eltham: Saturday May 14th from 7pm.
montsalvat.com.au
Grandpa Shea
Here we have a visual artistry studio of a contemporary uniqueness that would most likely be lost on your grandparents; although the website might also remind you of old-fashioned items reminiscent of back in the day. While Shea himself has not yet opted for parenthood; let alone becoming a grandfather, his works do brood over you with an inclination of the wise and weathered. He describes himself as a “frail pencil wielding artist, hermit and narrow-minded fuddy duddy“ which is demonstrated by his socially macabre thematic inclinations, amidst the quirk of his website.
The art is composed of black-and-white charcoal, graphite pencil and ink: illustrative works. He uses innovative printing techniques in adhering to his environmental conscience, sourcing “100% post-consumer recycled stock and vegetable based inks“. The subjects of most pieces are cariacatures of the everyman and of personality or identity; people posing as victims of circumstance, situation. Particularly striking are those that puncture a hole in the sense of the banal and most compelling in this is his Gradation of a Woman and Education pieces.
Grandpa Shea continues to refine his styles with the aid of his quirky imaginations (or realisations?). The studio resides online at Grandpastudios.com and on facebook.com/grandpashea -definitely worth perusing!
The Pearl
This is a novella of the first order, by acclaimed 20th Century author John Steinbeck.
Although quite concise; this piece of literature manages to engage in a parable of political observation that belies the modern social gestation in the United States (it was published in 1947). However, you are not at once drawn to its extra-narrative influence. The story takes precedence in the way in which The Pearl is recieved.
Set on the coast of the Gulf of Mexico, in a sleepy fishing town the story depicts local American Indians living in relative squalour to their European expatriate masters. Henceforth, the moral tale is wound from our protagonist‘s discovery of a mighty pearl of such amazing beauty that it “rose to an aching chord that caught the throat, saying this is safety, this is warmth, this is the Whole” and the events that unfold around him and the power of wealth over man -to empower him or perhaps to destroy him? And herein lies the political framework for your consideration. This literature is certainly as profound as it is ambiguous; an inspiring novel to comfort those of any political persuasion or, indeed anyone with an eye for a good read.
Carl Scrase
Carl “Synchronicity“ Scrase is a Melbourne born-and-bred artist; an exile of the leafy suburban bourgeoise set. From this somewhat culturally tethered outlook, Scrase resolved to “change the world“ through art. Immediately following his graduation from the VCA Fine Arts (Painting) programme, Scrase hit the ground running with an impressive display of works. As an exhibitor in the Next Wave Festival, he was accordingly represented in the esteemed Melbourne Art Fair. Subsequently, Scrase has maintained his artistic integrity with shows at local ARIs (Artist Run Initiatives) including TCB Waratah Place, and as part of the Platform Artists Group in the Degraves Subway. He says that some of his greatest influences come from “psychologists, philosophers and writers; Carl Jung, Haruki Murakami, Tom Robbins” and I believe you may well be able to detect shades of Half Asleep in Frogs Pajamas in some of his works.
As stated, Scrase endeavours to change the world and has established a framework in doing so; using a three-pronged approach that encompasses (documented) personal introspection, his pronounced tactility in objets d‘art, and in seeking to determine the nature of societal reflex and the possibility of such an endeavour. Although I define these 3 directions in my own words; his Artistic Statement can be found on the carlscrase.com website. I must also comment that within these endeavours it is clear in my mind, that Scrase has achieved such a pronouncement in the tactility of his art. This was most recently seen in his 14-metre tall The Generative Power of Opposites; an inflated “2-finger salute“ that was featured at the Splendour In The Grass festival and then re-mounted during February at the Perth Cultural Centre.
But of course you must see his art to make of it what you will, yourself. Carl “Synchronicity“ Scrase (or) his Wemakeus Collective will no doubt be exhibiting at a gallery near you.
Psychological landscape of a man flying off the planet.
Photo Collage on Wood, 2010
Carl Scrase is represented by John Buckley Gallery in Richmond.
Talking Heads
While I sit back and enjoy the intricacies of Cut Copy‘s new release Zonoscope, my thoughts drift back to the rise of new wave and the scene whence contemporary pop music takes many of its cues from. In my daze, I find I have scrolled through the iTunes to Talking Heads and that my pointer finger is twitching upon the cursor. Halfway through Zonoscope‘s Take Me Over and amidst shades of Men At Work, I find I have fallen back 2 decades to one of my favourite tracks…
David Byrne formed the band in the mid-1970s with fellow musicians Chris Frantz and Tina Weymouth, and (later) Jerry Harrison. Initially formed as The Artistics by the 3 young design students in Rhode Island, the trio moved to New York, where their sound became the most notorious embodiment of new wave: blending funk, rock‘n‘roll, and punk into an avant-garde fusion that contained international music structures and musical experimentation. The new band name was applied as a satirical appraisal of rhetoric in the media. Their first studio album was produced by Tony Bongiovi released in 1977 on Sire Records; tentatively titled Talking Heads: 77. Bongiovi did not produce any subsequent albums (although he produced a re-release of single Psycho Killer in 1984 with Gary Goetzman). The next 3 releases emerged under the stewardship of Brian Eno; recording taking place between New York and The Bahamas. Eno thus worked tirelessly with the band to complete their seminal works Remain in Light and Speaking in Tongues. The band had initially played independent venues around SoHo before gaining frequent gigs at CBGB‘s after an initial opening for the Ramones in 1975. In their 1979 single Life During Wartime they lampooned said club, while confronting the notion of a bohemian New York in the face of rising poverty and societal isolation.
The band is renowned for not just its influence in music and upon many, many musicians of the past 35 years; but also in the breadth of its album art. Talking Heads have consistently released artworks that were created by notable artists of the period; and also by unknown artists in an eclectic range of styles. A casual glance as titles such as the Psycho Killer and This Must be The Place singles, Little Creatures, Fear Of Music and Sand In The Vaseline albums all provide a fascinating snapshot of the artwork typical of the period (or genre).
The highlight of their career in many respects was in their 1985 release of Road to Nowhere. This is the track that has me spurning the band‘s moderate contemporary.
Talking Heads broke up by 1991. David Byrne has sinced toured sporadically: such as Melbourne in 2009.
In A Better World (Susanne Bier)
Susanne Bier is a prominent Danish film maker and one of the finest screen directors in the contemporary film world. Her 2002 film Open Hearts (Elsker Dig For Evigt) is recognised internationally as one of the most acclaimed productions borne out of Lar Von Trier’s Dogme manifesto. Her 2004 film, Brothers (Brødre) did not appeal so much -but still it over shadows the abominable hollywood remake starring heart-throb sensations Jake Gyllenhaal, Natalie Portman and Tobey Maguire.
However, Bier orchestrated a brilliant return to form in her 2006 searing family meltdown After The Wedding (Efter Brylluppet); certainly her best after Open Hearts. Important to note is that both of these films featured the amazing Mads Mikkelsen.
That said, Bier‘s latest offering fails to out-shine even Brothers. Although it is easily a great piece of cinema, In A Better World (Haeven) was an utter disappointment, somewhat due to the fact that her film-making in such high regard. The characters were under-developed and at times their personalities vague and inconsistent. The empathy clearly sought for the characters failed to emote. It lacked the somewhat subdued elements of (although brash) realism; in the face of so much hyper-realism amid the genre. Add to this a repetitive score and casual shots in poor lighting (a feeble nod to Dogme?), and you‘re barely content. Come the closing shot and I was glad to be alone in the cinema as I was shouting aloud at the recklessness of such a cheesy and unbelieveable closing scene.
Secret Wars: Scale vs. Pierre Lloga
Last night brought the noise in the Melbourne Series 2 Semi-Final for Secret Wars.
Pierre Lloga this time went head-to-head with his sometime contemporary nemesis and the Round 1 champion, Scale. Despite the fact that the two share a notional bond with one another; Scale held no fear in depicting Pierre as pathetically imprisoned within his hand-written, pencil-pushing cell: A caricature buffeting itself with cat icons; typical of Lloga‘s work. In the meantime though, Lloga invoked a graveyard-inspired defiance to see to it that Scale in turn was illustrated as the last of the graffer; as encrouched upon by Pierre himself, with the aid of a chainsaw!
In all earnestness: This battle has exhibited the best of art I have witnessed in the series so far.
So without further adieu, please do visit a video of the late evening:
http://secretwars.com.au/melbourne
The Room
Written by, starring, and directed by Tommy Wiseau 2003‘s The Room has been credited as the worst film ever made and must surely have been shot a decade before it dribbled out of post production. However, it is not just potentially the worst film; but also one of the best…
Burdened with over-stated, stuttering dialogue and shot on both film and video (for no apparent technical reason), the stocking-over-the-camera style is complemented by a sound mix from Family Ties and the Moods compact disc series.
This film is an early 90s symphony: the set design is straight from E-Street or Home And Away. It‘s the chef-d’oeuvre of innuendo and a soft porn spectacular, with only a Fabio or David Hasselhoff missing from the coveted sex scenes. Our sultry heroine-superstar-film maker is literally swamped in a thematic ménage-à-troi of promiscuity, social despondence and amorality. This all wedged firmly amid an endless epitome of 90s music video!
Watch for the ‘blowjob‘ scene and the infamous drug dealer scene: “Ahhh!”. With lines like “I remember going to LA, the BBQ chicken was nice, that was cool“, “Hi, Doggy” and “You look great babyface, yeahhh” combined with the trend-setting “XYZ” (examine your zipper) you will be swimming in aboslute quote delirium.
Wiseau is one sick fuck.
Relish this bizarre and self-effacing moral tale: Cinema Nova screens the film every Saturday night.
The 12 month anniversary is tomorrow night, Saturday February 5th at 11.35pm to celebrate screening the film for a year!
Public Enemy
Just over a week ago, some friends and I witnessed Public Enemy live (again). Although this concert was a long way from the grand expanse of The Forum in Kentish Town, North London, the gig was rabble-rousingly intimate at The Corner hotel in Richmond.
This time round the militia were pumping their tour of 1990‘s Fear Of A Black Planet. Although they gave the show a lot of effort and their skills were there to thrill -it was all too clear in my mind that these guys had long since fallen asleep at the wheel. Or, to be sympathetic: are now well past their prime.
However, they fronted up for over 2 hours and gave us all a thrilling set. Apart from catching Flava Flav lip-syncing every now and then; everything else was overwhelmingly enjoyable -the fresh set list complete with crowd participation, political spiels, guests (including members of 2 Live Crew) and a tight freestyle battle between Chuck D and Flav that pretty much clinched the value of the $90 ticket, or therebouts. All-in-all, it was a brilliant show for the die-hard fans and certainly no staggering disappointment for the rest of us. And then there were the ageing Aussie homeboys: but that’s another story entirely.
-TW
