Stanley Kubrick must have thought he struck gold with the release of this film because everything about Full Metal Jacket is superb. It focuses on the marines as they go from training camp to the war in Vietnam. This film is packed with memorable performances and fantastic dialogue that has been recited countless times amongst friends, on television shows or other films as some sort of a tribute. In fact a line of dialogue even features in a famous Nelly Furtado song, but whether she's actually watched this film or not is another question.
Full Metal Jacket has a unique structure that is executed brilliantly with the story split into two parts. The first part is about the training camp and the progression the recruits make under the intense regime carried out by Sergeant Hartman. The film is introduced to the main character, Private Joker who becomes squad leader after a confrontation with Hartman that proves he has the guts to stand up for himself. His role of squad leader also involves assisting the most incompetent recruit, Private Pyle.
Private Pyle becomes the centre of attention for the majority of this section of the film as Hartman constantly ridicules him for his slow grasp of the easiest tasks. When Hartman finds a doughnut in Private Pyle's locker, he punishes the rest of the platoon for every mistake after, which results in the whole squad brutally making Pyle regret this. After that, Pyle goes on a downward spiral of insanity and motivates him to become one of the more advanced recruits, which doesn't stop his worrying mentality. By the end of training, they all graduate, but Pyle has unfinished business and in a dramatic and one of the most breathtaking film scenes ever, he guns down Hartman and himself with Joker witnessing it all and shaking him to his very core.
The film then turns to the Vietnam war where Joker is a war journalist for 'Stars and Stripes' as they follow recruits to report on the war itself. They encounter the Vietnamese public, most notably a prostitute where the film's most recoginised dialogue comes from. Joker also meets up with Private Cowboy, who features in the training camp. Joker and his photographer, Rafterman join Cowboy and his fellow recruits and get a bigger insight into the action. This takes them into South Hue where a Sniper slaughters the majority of this small crew, including Cowboy. They eventually find the culprit, a Vietnamese woman stranded in a torn building, completely frenzied and Rafterman brings her down. Joker then kills her to relieve her from her pain despite the damage she inflicted on his friends. The recruits then carry on through the war with the main unit and the film closes with them chanting in honour of Mickey Mouse.
Clearly this film has entertainment that only stops at the end credits, but what makes this film great is the sensational performance for the role of Hartman, (R. Lee Ermey) delivering some comical outbursts with his recruits amongst even more amusing marching chants and the equally impressive performance for the role of Private Pyle, (Vincent D'Onofrio) who everyone can feel sympathy for and can worry about with his increase in anger that explodes in extraordinary fashion. However these performances should not overshadow the role of Private Joker, (Matthew Modine) which provides a subtle contrast in humour and shock much like the overall feel for the film itself.
However one criticism I do find with this is the transition between the training camp and the war, which seems too quick when many films would provide some breathing space after a dramtic climax, like the one at the training camp. However that is one slight error in a film that is remarkable for it's story, characters and the theme and proves why Stanley Kubrick is so highly regarded as a top director. Nobody else could devise this film with a better contrast of emotion which makes Full Metal Jacket exciting from start to finish.
Sunday, 15 November 2009
Sunday, 8 November 2009
Album Review 2 - (What's The Story?) Morning Glory by Oasis
What makes a lot of bands fade away from a promising start is that they produce a debut album that is so good that they find it immensely tough to come up with a follow-up album that emulates their initial success. It certainly must have felt like a difficult task for Oasis after releasing Definitely Maybe, arguably one of the finest debut albums to grace the world of music. However their second album makes it seem like there was no doubt that Oasis were going to be up there amongst the greatest British bands of all time. Most of the credit going to Noel Gallagher for crafting some fantastic songs to make this album equally as impressive as their first.
It doesn't start as such a memorable album with the mundane 'Hello' but it gets going with the catchy 'Roll With It' which is the first on the album to demonstrate Noel Gallagher's ingenious lyrics. This is followed by the classic 'Wonderwall' which is so unique in comparison to the rest of the tracks that makes it stand out as the one the general public will always remember Oasis for and rightly so. 'Don't Look Back In Anger' is once again another memorable Oasis song that is perhaps the most guaranteed to be sung at karaoke, though personally I don't think even the best of those performers could even touch the superb vocals of Noel Gallagher, which almost "outsheeeiiiinnnneess" his younger brother Liam with the brilliant voice he executes for the previous song.
This album then goes into a slight meltdown with some disappointing tracks, starting off with 'Hey Now' and the less said about that the better. However during this weak part of the album, the first of two untitled tracks, leads into the highlight of the album, 'Some Might Say' which despite hitting the top of the U.K charts in 1995, is still not remembered like 'Wonderwall' but is devised with more fine lyrics accompanied by sweet and subtle guitar sounds from Noel Gallagher, bringing back the moments which lit up Definitely Maybe. The slight meltdown returns with 'Cast No Shadow' which sadly is more reminiscent of a barbershop quartet and the disappointment continues with 'She's Electric' though it does have some catchy and comical lyrics to make it somewhat radio-friendly.
The album finishes off in style with Oasis showing more touches of Definitely Maybe with 'Morning Glory' which is a treat for any guitar fans and this goes into the second untitled track that slides fittingly into 'Champagne Supernova' which has class written all over it in terms of structure, lyrics and instrumental backing. This last song is easily worth every one of those seven and a half minutes and makes you wish it wasn't the end of a beautifully constructed album.
This album stands out as one of the great album's of the 1990's, which Oasis should cherish as it just about overshadowed the headlines the band were making outside of music at the time. The classic singles released from this album also provided an unforgettable MTV Unplugged performance from Oasis again to overshadow more headlines involving Liam Gallagher's boycott of the show.
(What's The Story?) Morning Glory is a really fine piece of work that has more tracks of high quality than the majority of greatest hits albums from other bands. With exception to a select few British bands from the 1990's, it will take some time before the U.K hears another follow-up album from a band that will be regarded as high as Oasis.
It doesn't start as such a memorable album with the mundane 'Hello' but it gets going with the catchy 'Roll With It' which is the first on the album to demonstrate Noel Gallagher's ingenious lyrics. This is followed by the classic 'Wonderwall' which is so unique in comparison to the rest of the tracks that makes it stand out as the one the general public will always remember Oasis for and rightly so. 'Don't Look Back In Anger' is once again another memorable Oasis song that is perhaps the most guaranteed to be sung at karaoke, though personally I don't think even the best of those performers could even touch the superb vocals of Noel Gallagher, which almost "outsheeeiiiinnnneess" his younger brother Liam with the brilliant voice he executes for the previous song.
This album then goes into a slight meltdown with some disappointing tracks, starting off with 'Hey Now' and the less said about that the better. However during this weak part of the album, the first of two untitled tracks, leads into the highlight of the album, 'Some Might Say' which despite hitting the top of the U.K charts in 1995, is still not remembered like 'Wonderwall' but is devised with more fine lyrics accompanied by sweet and subtle guitar sounds from Noel Gallagher, bringing back the moments which lit up Definitely Maybe. The slight meltdown returns with 'Cast No Shadow' which sadly is more reminiscent of a barbershop quartet and the disappointment continues with 'She's Electric' though it does have some catchy and comical lyrics to make it somewhat radio-friendly.
The album finishes off in style with Oasis showing more touches of Definitely Maybe with 'Morning Glory' which is a treat for any guitar fans and this goes into the second untitled track that slides fittingly into 'Champagne Supernova' which has class written all over it in terms of structure, lyrics and instrumental backing. This last song is easily worth every one of those seven and a half minutes and makes you wish it wasn't the end of a beautifully constructed album.
This album stands out as one of the great album's of the 1990's, which Oasis should cherish as it just about overshadowed the headlines the band were making outside of music at the time. The classic singles released from this album also provided an unforgettable MTV Unplugged performance from Oasis again to overshadow more headlines involving Liam Gallagher's boycott of the show.
(What's The Story?) Morning Glory is a really fine piece of work that has more tracks of high quality than the majority of greatest hits albums from other bands. With exception to a select few British bands from the 1990's, it will take some time before the U.K hears another follow-up album from a band that will be regarded as high as Oasis.
Sunday, 25 October 2009
Big Match Review 2 - Liverpool V Manchester United
Liverpool 2-0 Manchester United
Torres 64 (Sent off: Vidic 90)
Ngog 90
(Sent off:
Mascherano 90
This match was by no means a classic, but pleasing for Liverpool fans to see a much needed contrast in form, especially with a superb second half display, which was rewarded with a victory that should give the team a major boost to get back into the title race.
The first half was pretty tame with each keeper rarely troubled. Liverpool started as the most threatening and came closest to breaking the deadlock early on when a free-kick from Aurelio was saved brilliantly by Van der Sar, who then reacted well to block the follow-up from Kuyt. Manchester United lifted their game a little midway through the first half and could have been ahead after a fine build up in the midfield was finished with a great cross from Valencia, but Rooney couldn't get enough power with his header to trouble Reina. Liverpool had a similar chance to score ten minutes before the break with Aurelio timing his run perfectly to meet Benayoun's cross, but again headed straight at the keeper. The most eventful moment at the end of a dull half was the United players crowding the referee after the half time whistle was blown, most likely out of boredom.
The second half showed little signs of the entertainment improving until just after the hour when Yossi Benayoun passed a sublime through-ball for Fernando Torres, who had no trouble easing past Ferdinand to strike the ball past Van der Sar for the opening goal.
Despite being a goal down, it still took the United players a while to show any desire to push forward for the equaliser, but the arrival of Nani and Michael Owen added more urgency to their attack in the final quarter of an hour. Owen was eager to silence the home crowd of the team where he became the star he once was and showed glimpses of re-producing his former Liverpool form, most notably when setting up Valencia who was unlucky not to score as he hit the ball against the cross-bar.
With less than five minutes to go before stoppage time, Owen was the victim of controversy when Carragher brought him down outside the box, much like when Vidic brought down Gerrard at Old Trafford last season and was subsequently sent off. However Carragher was lucky to escape with a booking, though a sending off would have spoiled a superb defensive display alongside Agger who was also impressive at the back.
As the game went into stoppage time, Liverpool and Manchester United went to finish the game 10 a-side as Vidic and Mascherano did what they do best against their big city rivals and got themselves sent off. Vidic for bringing down Kuyt during a Liverpool counter-attack and Mascherano for a needless lunge into Van der Sar, trying to chase a stray, long ball. After that, there was still time for one more goal as Liverpool broke free with the United defence waving their white flags for surrender as Lucas passed to substitute David Ngog to score with an easy finish.
Man of the Match: Yossi Benayoun, who looked threatening from the start with some great dribbling and fine passing to provide the best chances, especially when setting up Torres for the first goal. Difficult to pick out a player for Manchester United after a disappointing all-round performance, but Ryan Giggs had perhaps the most encouraging display with accurate passing and crossing that was as consistent as Vidic departing from this fixture for an early bath.
Torres 64 (Sent off: Vidic 90)
Ngog 90
(Sent off:
Mascherano 90
This match was by no means a classic, but pleasing for Liverpool fans to see a much needed contrast in form, especially with a superb second half display, which was rewarded with a victory that should give the team a major boost to get back into the title race.
The first half was pretty tame with each keeper rarely troubled. Liverpool started as the most threatening and came closest to breaking the deadlock early on when a free-kick from Aurelio was saved brilliantly by Van der Sar, who then reacted well to block the follow-up from Kuyt. Manchester United lifted their game a little midway through the first half and could have been ahead after a fine build up in the midfield was finished with a great cross from Valencia, but Rooney couldn't get enough power with his header to trouble Reina. Liverpool had a similar chance to score ten minutes before the break with Aurelio timing his run perfectly to meet Benayoun's cross, but again headed straight at the keeper. The most eventful moment at the end of a dull half was the United players crowding the referee after the half time whistle was blown, most likely out of boredom.
The second half showed little signs of the entertainment improving until just after the hour when Yossi Benayoun passed a sublime through-ball for Fernando Torres, who had no trouble easing past Ferdinand to strike the ball past Van der Sar for the opening goal.
Despite being a goal down, it still took the United players a while to show any desire to push forward for the equaliser, but the arrival of Nani and Michael Owen added more urgency to their attack in the final quarter of an hour. Owen was eager to silence the home crowd of the team where he became the star he once was and showed glimpses of re-producing his former Liverpool form, most notably when setting up Valencia who was unlucky not to score as he hit the ball against the cross-bar.
With less than five minutes to go before stoppage time, Owen was the victim of controversy when Carragher brought him down outside the box, much like when Vidic brought down Gerrard at Old Trafford last season and was subsequently sent off. However Carragher was lucky to escape with a booking, though a sending off would have spoiled a superb defensive display alongside Agger who was also impressive at the back.
As the game went into stoppage time, Liverpool and Manchester United went to finish the game 10 a-side as Vidic and Mascherano did what they do best against their big city rivals and got themselves sent off. Vidic for bringing down Kuyt during a Liverpool counter-attack and Mascherano for a needless lunge into Van der Sar, trying to chase a stray, long ball. After that, there was still time for one more goal as Liverpool broke free with the United defence waving their white flags for surrender as Lucas passed to substitute David Ngog to score with an easy finish.
Man of the Match: Yossi Benayoun, who looked threatening from the start with some great dribbling and fine passing to provide the best chances, especially when setting up Torres for the first goal. Difficult to pick out a player for Manchester United after a disappointing all-round performance, but Ryan Giggs had perhaps the most encouraging display with accurate passing and crossing that was as consistent as Vidic departing from this fixture for an early bath.
Sunday, 4 October 2009
Big Match Review 1 - Chelsea V Liverpool
CHELSEA 2-0 LIVERPOOL
Anelka, 59
Malouda, 90
Referee: M Atkinson
A terrific advertisement for Premier League football with chances at either end from start to finish. The half time stalemate reflected an evenly matched game at that point with both sides having their fair share of chances to score. The first 20 minutes provided little, but both teams showing desire to put the opposition defence under immense pressure.
After the half-way point in the first period, Chelsea became the most likely threat and the Liverpool midfield were helpless to prevent some slick passing on many occasions between all four of the Chelsea midfielders, making efficient use of Carlo Ancelotti's diamond system. Chelsea had at least two great opportunities before the interval due to a great cross from Essien, which Anelka could only head straight at Reina, while Ballack also missed with his head as his connection from Deco's cross was just too high. The best of Liverpool's chances in the first half came from a perfect cross from Kuyt to an unchallenged Torres, who strangely failed to comfortably head the ball past Hilario.
The second half started in similar fashion to the first with both sides moving the ball well up the field, but couldn't make use of their chances. This was until just before the hour, when Javier Mascherano, who was by far Liverpool's biggest contender for man of the match, got caught in possession by Frank Lampard who started off another slick Chelsea midfield move, with Essien combining well with Deco for the latter to feed a ball wide to Drogba. Drogba then beautifully struck the ball low across the danger area for Anelka to meet at the far post and he slyly slotted the ball past Reina for the opening goal.
Liverpool were lucky not to concede only minutes after the first goal when Lampard crossed for Drogba, who failed to get enough power behind his header to trouble Reina. Liverpool then stepped up a gear with Yossi Benayoun to replace a very poor Riera. Benayoun was inspiring going forward which proved little use as Liverpool's more common heroes Gerrard and Torres were far below their best. Gerrard's disappointing display did improve towards the end and was unlucky not to score when John Terry, as he does best, superbly blocked Gerrard's close range effort on 81 minutes. However Torres was very unconvincing the entire match and towards the end lacked any desire to meet crosses by Gerrard, Kuyt and Johnson.
The late pressure from Liverpool didn't pay off and just after the board for stoppage time was raised, Didier Drogba, on the right-hand side of the area, shrugged off Carragher for a simple low ball into the path of substitute Florent Malouda, who got to the ball just in time to hit the ball past Reina to make the score 2-0. Liverpool did however have great chances in the small stoppage time left with Benayoun using great foot work to bring the ball down to slot the ball past Hilario, but inexplicably missed the target. This was then followed by Steven Gerrard, much more like himself, hitting a ferocious half-volley from the edge of the box, which was saved brilliantly by Hilario, who had a fine match in place of Petr Cech.
By full time, Chelsea ended up deserved winners against a Liverpool side guilty of two consecutive miserable performances, which leave critics questioning their chances of obtaining one of the big trophies by the end of the season. Chelsea do their title hopes no harm whatsoever after a stunning display.
Man of the Match: Didier Drogba, despite a typical over-enthusiasm to fall to the ground often, he was there for the key moments using great accuracy and strength to provide Anelka and Malouda with the simplest of finishes. Glen Johnson being the best performer for Liverpool with some great defending and always a threat going forward.
Anelka, 59
Malouda, 90
Referee: M Atkinson
A terrific advertisement for Premier League football with chances at either end from start to finish. The half time stalemate reflected an evenly matched game at that point with both sides having their fair share of chances to score. The first 20 minutes provided little, but both teams showing desire to put the opposition defence under immense pressure.
After the half-way point in the first period, Chelsea became the most likely threat and the Liverpool midfield were helpless to prevent some slick passing on many occasions between all four of the Chelsea midfielders, making efficient use of Carlo Ancelotti's diamond system. Chelsea had at least two great opportunities before the interval due to a great cross from Essien, which Anelka could only head straight at Reina, while Ballack also missed with his head as his connection from Deco's cross was just too high. The best of Liverpool's chances in the first half came from a perfect cross from Kuyt to an unchallenged Torres, who strangely failed to comfortably head the ball past Hilario.
The second half started in similar fashion to the first with both sides moving the ball well up the field, but couldn't make use of their chances. This was until just before the hour, when Javier Mascherano, who was by far Liverpool's biggest contender for man of the match, got caught in possession by Frank Lampard who started off another slick Chelsea midfield move, with Essien combining well with Deco for the latter to feed a ball wide to Drogba. Drogba then beautifully struck the ball low across the danger area for Anelka to meet at the far post and he slyly slotted the ball past Reina for the opening goal.
Liverpool were lucky not to concede only minutes after the first goal when Lampard crossed for Drogba, who failed to get enough power behind his header to trouble Reina. Liverpool then stepped up a gear with Yossi Benayoun to replace a very poor Riera. Benayoun was inspiring going forward which proved little use as Liverpool's more common heroes Gerrard and Torres were far below their best. Gerrard's disappointing display did improve towards the end and was unlucky not to score when John Terry, as he does best, superbly blocked Gerrard's close range effort on 81 minutes. However Torres was very unconvincing the entire match and towards the end lacked any desire to meet crosses by Gerrard, Kuyt and Johnson.
The late pressure from Liverpool didn't pay off and just after the board for stoppage time was raised, Didier Drogba, on the right-hand side of the area, shrugged off Carragher for a simple low ball into the path of substitute Florent Malouda, who got to the ball just in time to hit the ball past Reina to make the score 2-0. Liverpool did however have great chances in the small stoppage time left with Benayoun using great foot work to bring the ball down to slot the ball past Hilario, but inexplicably missed the target. This was then followed by Steven Gerrard, much more like himself, hitting a ferocious half-volley from the edge of the box, which was saved brilliantly by Hilario, who had a fine match in place of Petr Cech.
By full time, Chelsea ended up deserved winners against a Liverpool side guilty of two consecutive miserable performances, which leave critics questioning their chances of obtaining one of the big trophies by the end of the season. Chelsea do their title hopes no harm whatsoever after a stunning display.
Man of the Match: Didier Drogba, despite a typical over-enthusiasm to fall to the ground often, he was there for the key moments using great accuracy and strength to provide Anelka and Malouda with the simplest of finishes. Glen Johnson being the best performer for Liverpool with some great defending and always a threat going forward.
Saturday, 3 October 2009
Album Review 1 - Blink-182 by Blink-182
I'll start my first album review by selecting the last one released by my favourite band. This was the album which was thought to be the band's final release after their "indefinite hiatus" in 2005.
This self-titled album for Blink-182 evidently shows a higher level of maturity, which was lacking from all their previous releases. The content is still no different as the majority of this album is dominated by lyrics about relationships. On a more exciting note it has a much more experimental sound with some electronic input and unique structures to the rhythm of a few tracks, which they pull off well, at least for any typical Blink-182 fans.
It starts off with "Feeling This" which lyrically is compatible with many tracks on previous albums, but however gives an indication to an album that is more diverse than what Blink-182 fans are used to, especially with the overlapping vocals throughout, providing a catchy edge to this track.
"Obvious" is the first of some unusually dark tracks, which suits Tom Delonge's angry vocals.
This leads into the pick of the tracks "I Miss You" for what Blink-182 fans will remember for many years for all the right reasons. A unique style that makes it hard to believe it was devised by this band and is instrumentally reminiscent of the Police, which complements the dark tone.
"Violence" is lyrically weak, but is supported well with an odd structure that turns into a typically catchy Blink-182 track.
This is followed by another highlight of the album "Stockholm Syndrome" which with regards to the female voice reading out a war letter* in the build up to the start, gives an indication to a dark and moody song, which eventually is executed brilliantly and is also superbly written by Mark Hoppus.
"Down" is the simplest sounding track on the album, which doesn't provide much, but is generally likeable.
This slides into what is easily this band's most surreal track "The Fallen Interlude" which at least provides something different for two minutes, but wouldn't be missed had it not been included.
The same can be said for the following track "Go" although it has a catchy rhythm to it at least.
"Asthenia" is another lyrically weak song, but is a treat when listening to the sound of the guitars, which I'm sure the fans will never tire of.
"Always" is like something out of the 80's and is matched by a supremely directed and entertaining video for the single release.
"Easy Target" is too short to be a favourite, but is among the best written on the album and is accompanied by a suitable dark tone.
The inclusion of Robert Smith is a delight for "All Of This" but doesn't offer much reason to listen to over and over unlike the tracks around the beginning of the album.
The penultimate track "Here's A Letter" starts off quite exciting, but trails off disappointingly much like the end of the album in general.
"I'm Lost Without You" is touching for the soft-hearted, but overdone and not suited for Tom who doesn't really have the voice to pull off this song. The album ends with the most unnecessary drum solo from Travis Barker, but loveable for all Blink-182 to appreciate his undeniable talent.
Overall a job well done to prove their growth as a band, which arguably starts off as one of the most exciting albums, but then like many albums, ends poorly. Having said that, more than half of the tracks should leave fans with great satisfaction, though I doubt that matches the satisfaction of the news of the reunion of Blink-182 earlier this year with the prospect of another mature and pleasurable album to listen to in the near future.
*With regards to some description in "Stockholm Syndrome" the album features a booklet with comments provided by Mark, Tom and Travis explaining each song.
**All album reviews will exclude bonus tracks as they differ with the release in other countries.
This self-titled album for Blink-182 evidently shows a higher level of maturity, which was lacking from all their previous releases. The content is still no different as the majority of this album is dominated by lyrics about relationships. On a more exciting note it has a much more experimental sound with some electronic input and unique structures to the rhythm of a few tracks, which they pull off well, at least for any typical Blink-182 fans.
It starts off with "Feeling This" which lyrically is compatible with many tracks on previous albums, but however gives an indication to an album that is more diverse than what Blink-182 fans are used to, especially with the overlapping vocals throughout, providing a catchy edge to this track.
"Obvious" is the first of some unusually dark tracks, which suits Tom Delonge's angry vocals.
This leads into the pick of the tracks "I Miss You" for what Blink-182 fans will remember for many years for all the right reasons. A unique style that makes it hard to believe it was devised by this band and is instrumentally reminiscent of the Police, which complements the dark tone.
"Violence" is lyrically weak, but is supported well with an odd structure that turns into a typically catchy Blink-182 track.
This is followed by another highlight of the album "Stockholm Syndrome" which with regards to the female voice reading out a war letter* in the build up to the start, gives an indication to a dark and moody song, which eventually is executed brilliantly and is also superbly written by Mark Hoppus.
"Down" is the simplest sounding track on the album, which doesn't provide much, but is generally likeable.
This slides into what is easily this band's most surreal track "The Fallen Interlude" which at least provides something different for two minutes, but wouldn't be missed had it not been included.
The same can be said for the following track "Go" although it has a catchy rhythm to it at least.
"Asthenia" is another lyrically weak song, but is a treat when listening to the sound of the guitars, which I'm sure the fans will never tire of.
"Always" is like something out of the 80's and is matched by a supremely directed and entertaining video for the single release.
"Easy Target" is too short to be a favourite, but is among the best written on the album and is accompanied by a suitable dark tone.
The inclusion of Robert Smith is a delight for "All Of This" but doesn't offer much reason to listen to over and over unlike the tracks around the beginning of the album.
The penultimate track "Here's A Letter" starts off quite exciting, but trails off disappointingly much like the end of the album in general.
"I'm Lost Without You" is touching for the soft-hearted, but overdone and not suited for Tom who doesn't really have the voice to pull off this song. The album ends with the most unnecessary drum solo from Travis Barker, but loveable for all Blink-182 to appreciate his undeniable talent.
Overall a job well done to prove their growth as a band, which arguably starts off as one of the most exciting albums, but then like many albums, ends poorly. Having said that, more than half of the tracks should leave fans with great satisfaction, though I doubt that matches the satisfaction of the news of the reunion of Blink-182 earlier this year with the prospect of another mature and pleasurable album to listen to in the near future.
*With regards to some description in "Stockholm Syndrome" the album features a booklet with comments provided by Mark, Tom and Travis explaining each song.
**All album reviews will exclude bonus tracks as they differ with the release in other countries.
Sunday, 27 September 2009
Film Review 1 - American Pie
This is the first film that sparked my interest into researching Screenwriting. The reason why? Because the portrayal of young teenagers at High School is absolutely spot on in comparison to what I observed in my experience at school. Even in England the events at house parties appeared to unfold in similar fashion.
Four young teenagers are in their last year of High School and are concerned they will go to College as virgins. Therefore they make a 'pact' for all four to lose their virginity by Prom night.
The entertainment provided is faultless with a simple, but necessary structure. The four teenagers use completely diverse methods to lose their virginity, which keeps the story moving from scene to scene at a consistent pace with so much controversy and hilarious incidents that makes it difficult to take the eye away from the screen.
The personalities of the main four characters also provide the film with a well executed split between comedy and romance from the hilarious stupidity that revolves mainly around Jim (Jason Biggs) and also later on with Finch, (Eddie Kaye Thomas) to the sensitive side of young-adult relationships where Kevin (Thomas Ian Nicholas) and Oz (Chris Klein) each try to develop a better understanding of their girlfriends before achieving the ultimate prize.
All parts are played with great conviction, most notably from Jim's Dad (Eugiene Levy) whose the father everyone wants to have unless you feel uncomfortable with his over enthusiastic advice about sex, as Jim certainly does. In addition the role of Stifler (Seann William Scott) is played exceptionally well as the over-confident, self-obsessed trouble maker who is arguably one of the most amusing film characters of the modern era. A minor weakness is perhaps the occasional poor delivery and timing from Tara Reid with her character of Vicky, (Kevin's girlfriend) but nonetheless plays her part well enough to be an adorable high school girlfriend.
Any other weakness would only be the fact it would not pick up many regular viewers from the audience of film-noir or Sci-fi. However for teenagers or anyone who wants to enjoy comedy at it's best from any generation, this film is unavoidable.
Four young teenagers are in their last year of High School and are concerned they will go to College as virgins. Therefore they make a 'pact' for all four to lose their virginity by Prom night.
The entertainment provided is faultless with a simple, but necessary structure. The four teenagers use completely diverse methods to lose their virginity, which keeps the story moving from scene to scene at a consistent pace with so much controversy and hilarious incidents that makes it difficult to take the eye away from the screen.
The personalities of the main four characters also provide the film with a well executed split between comedy and romance from the hilarious stupidity that revolves mainly around Jim (Jason Biggs) and also later on with Finch, (Eddie Kaye Thomas) to the sensitive side of young-adult relationships where Kevin (Thomas Ian Nicholas) and Oz (Chris Klein) each try to develop a better understanding of their girlfriends before achieving the ultimate prize.
All parts are played with great conviction, most notably from Jim's Dad (Eugiene Levy) whose the father everyone wants to have unless you feel uncomfortable with his over enthusiastic advice about sex, as Jim certainly does. In addition the role of Stifler (Seann William Scott) is played exceptionally well as the over-confident, self-obsessed trouble maker who is arguably one of the most amusing film characters of the modern era. A minor weakness is perhaps the occasional poor delivery and timing from Tara Reid with her character of Vicky, (Kevin's girlfriend) but nonetheless plays her part well enough to be an adorable high school girlfriend.
Any other weakness would only be the fact it would not pick up many regular viewers from the audience of film-noir or Sci-fi. However for teenagers or anyone who wants to enjoy comedy at it's best from any generation, this film is unavoidable.
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