Reviews
Kieron Tyler
Neil Young: Live at the Cellar DoorCrosby, Stills, Nash & Young had fallen apart in summer 1970 and Neil Young was left to promote After the Gold Rush, his third solo album from August that year. He hit the road on his own after "Only Love Can Break Your Heart" had nudged the singles’s chart. As 1971 unfolded, the tour would be billed Journey Through the Past – he was playing recent songs alongside material from his earlier albums, including those made with The Buffalo Springfield.Live at the Cellar Door catches Young in Washington D.C during a series of dates over 30 November to 2 Read more ...
graham.rickson
When you're young, you think that liking Elgar is a habit you'll grow into later in life, like buying a set of golf clubs or following The Archers in detail. As I shuffle into middle age, I find that I'm beginning to love this music more and more. I've given up making excuses to younger, hipper friends. Richard Farnes' intense account of Elgar's disconcerting Second Symphony was a great performance, one in which intense dynamism served to accentuate the score's lingering, fin de siècle nostalgia.Elgar's own recordings are strikingly fast; Farnes (pictured below by Clive Barda) was a pretty Read more ...
philip radcliffe
It was ironic, yet seasonal, that the BBC Philharmonic’s conductor-composer H K Gruber, who is said to be a descendant of the man who wrote “Silent Night” (Franz Xaver Gruber), should take centre stage with a rip-roaring, roof-raising percussion work that guaranteed exactly the opposite effect. At the same time Chief Conductor Juanjo Mena went back to his roots to bring us a riot of dance music – flamenco, waltz, Latin American, Malambo, Charleston and even a cowboy ballet.Mena started with the Spanish influence in the form of Joaquĭn Turina’s Ritmos, a fantasia coreográfica originally Read more ...
Kieron Tyler
Lest anyone think that the measured performances in Borgen, The Bridge and The Killing or the personal cinema of, say, Susanne Bier, Pernille Fischer Christensen, Lars von Trier or Thomas Vinterberg define Danish drama, along comes the British release of Klown, a film which – despite a few local touches – plays to the familiar: the uncomfortable comedy of The Office and Curb Your Enthusiasm, and the gross-out, road-trip fare of The Hangover.Like the first The Hangover film, Klown hinges on an arrested-development male presented with a scenario where he ought to commit to his girlfriend. He Read more ...
graham.rickson
Britten: Saint Nicolas, Hymn to St Cecilia, Rejoice in the Lamb Andrew Kennedy (tenor), Choir of Kings College Cambridge, Britten Sinfonia/Stephen Cleobury (Kings College)After beginning work on the cantata Saint Nicolas in 1947, Britten confessed in a letter that “it'll be difficult to write, because that mixture of subtlety and simplicity is most extending, but very interesting...” In the event, the two extremes were managed magnificently, and listening to this superb new recording makes one appreciate just how successful Britten was in mixing accessibility with compositional rigour. Read more ...
Nick Hasted
Tarantino calls Big Bad Wolves “the best film of the year”. With its Reservoir Dogs-style scenes of mutilation that are never quite as awful as you fear, a thick streak of brutal black comedy, and a twisting plot in a confined setting, Israeli writer-directors Aharon Keshales and Navot Papushado could almost have designed their second feature to appeal to Quentin. There are elements of torture-porn horror, bad fairy tales and a satirical crime story from this film freak duo. But Big Bad Wolves’ strong Israeli context and character provide a flavour of its own.It’s good to see a genre film Read more ...
Adam Sweeting
The cumulative effect of the BBC's Cold War season hasn't been to remind us that truth is stranger than fiction so much as to demonstrate how they swirled together into a miasma of delusion and uncertainty. We've seen Reds under the bed and spies in the ointment and revisited once again notorious episodes of the highest treason.In BBC Two's Cold War, Hot Jets, we were shown not only how Britain suicidally sold its cutting-edge jet engine technology to the Russians, but how the crews of the RAF's nuclear-equipped V-bombers were trained to fly their final, cataclysmic missions beyond the Iron Read more ...
aleks.sierz
Vampire romance is a genre which has a mysterious tendency. Every time it migrates from one art form (say novel) to another (say film) it loses some of its darkness and acquires a strange sweetness. So it was with Let the Right One In, a 2004 novel by Swedish penman John Ajvide Lindqvist, which was made into a slightly less dark tale in its first Swedish film version (2008) and then into an even sweeter American film adaptation as Let Me In (2010). But if vampire romance lives by killing off its own dark soul, how will this stage incarnation fare?This is a dazzling and dramatically theatrical Read more ...
Stuart Houghton
This might be the best smartphone first-person shooter (FPS) yet. It's a tricky genre to get right on a touchscreen. Above all the usual FPS considerations of 3D frame rate, varied levels and enemy AI, you need a well thought out control scheme that responds to the touch. Neon Shadow nails the latter and doesn't do too badly on the others.Plot-wise, Neon Shadow is a dud. Something about a rogue AI on a space station. Or something. You are a Dude who must go and shoot it in the face. Standard.It doesn't matter, of course. The plot is just there to justify the attacking hordes of security Read more ...
Kieron Tyler
It took two minutes for Jonathan Wilson to launch into the first of the evening’s extended guitar solos. “Love Strong” began like much of his two-hours-ten-minutes on stage. The song opened with him singing a verse and then flying off to guitar heaven. His playing is classic, evoking but not mimicking John Cipollina, Jerry Garcia, Stephen Stills and Neil Young. But it raises a conundrum: is Wilson about the songs or the craft? The former are fabulous, melodic and memorable. The latter fluid and phenomenal. Judging by the in-song applause as solos subsided, much of the audience had decided it Read more ...
Jasper Rees
Allen Ginsberg was once approached by two young acolytes eager to discuss literature. The bearded eminence of the Beats was the soul of generosity, giving up no small allowance of time to share his vast knowledge and experience. How they must have basked in the glow as a great poet treated them as equals. At a certain point, having put in sufficient effort, Ginsberg deemed it a good moment to change the subject. “So,” he said, “either of you guys suck cock?”It’s the making of this adventurer which is considered in Kill Your Darlings, and he’s played by the ever questing Daniel Radcliffe. Read more ...
David Nice
Read Erich Kästner’s 1928 novel about young Emil Tischbein and the Berlin boys he enlists to catch a thief, and you’ll come away feeling warm if slightly incredulous at the strong moral compass of all the kids and most of the adults. Gerhard Lamprecht’s early (1931) “talkie”, with a screenplay by Billy Wilder, has darker undertones, much admired by the obsessive 19-year-old Benjamin Britten. Carl Miller’s adaptation for Bijan Sheibani’s racy new National Theatre production sees it from a slightly different angle, scrupulously mindful of Weimar Berlin, but last night I had the feeling that not Read more ...