Giveaway: Brisbane Comedy Fest – Des Bishop and Jason Byrne

The laughs keep coming with another Brisbane Comedy Festival giveaway!

We have 3 double passes to Des Bishop’s show on March 14. Des is Irish-American and in his new show takes audience members on his honest look at Australian culture.

Continuing with the Irish theme, we also have 2 double passes to Jason Byrne’s show on March 18. Jason is a regular on Australian shores and has appeared on Good News Week and Spicks and Specks many times.

To enter leave your name and which show you’d like to see most in the comments section and winners will be drawn Friday March 12 at 5pm.

Good luck.

Movie Review: The Green Zone

The Green Zone

I’ve hesitated writing this review because, much like the situation in Iraq, after seeing The Green Zone I am confused and without a resolution.

The Green Zone based on the book Imperial Life in the Emerald City by journalist Rajiv Chandrasekaran is Paul Greengrass’s (Bourne Ultimatium series) latest directorial venture.  Matt Damon is the all American Action Hero Chief Warrant Officer Roy Miller. In his comfort zone as the action hero, Damon brings us a character not too far removed from his portrayl of Jason Bourne – Chief Warrant Officer Roy Miller. Viewers meet Miller in the weeks following the USA’s ’shock and awe’ invasion of Baghdad as they begin their hunt for Weapons of Mass Destruction. Only, as we all now know, the likely presence of WMDs are slim. Miller clues in on this after rogue intelligence leads them continually to sites lacking promise WMDs. Cue a mash-up of narrative and appearances from the CIA, corruption and collusion between Washington and Pentagon Special Intelligence Agent Clark Poundstone (played by Greg Kinnear), a haphazardly placed journalist from The Wall Street Journal, Special Forces being brutish and a chase for one of Saddam’s lead henchman and you have what could have been a thrilling suspense slash action flick.

Freddy (Khalid Abdalla), an Iraqi who helps Miller in his quest to uncover the truth is the strongest actor in this film. Even though his plight as a local being affected greatly by America’s invasion is only barely explored there are a few moments where he shines. He shines enough to remind the audience that amongst the dictatorship led by Saddam for many years were and still are Iraqi men, women and children just trying to get by. Locals who want nothing more than peace in their country.

My mother always said that if I had nothing nice to say I shouldn’t say anything at all and so, this is exactly what I am doing for the remainder of this review. There are fleeting moments in The Green Zone where you can see the potential this film had and that is the shame. It would be so much easier to instantly dismiss if it didn’t momentarily let us in on what it could have been. If you like action and war-related movies chances are you’re going to still take something away from the film. If you’re a Matt Damon fan and want to see him carry on in Jason Bourne-style wearing fatigues chances are you’ll also still enjoy the film. Unfortunately, all it leaves is a bad taste in my mouth and a disappointment of something that could have been so much more.

The Green Zone is released nationally on March 11, 2010. 

Green Zone Trailer

Have you heard of the AMP?

One of Australia’s most prestigious (and virtually unknown) music awards is the Australian Music Prize – where an Aussie band or individual’s album has attracted the attention of some Australian music’s most knowledgable and experienced performers, promoters and professionals alike. The AMP gives the winning artist(s) a $30 000 cash grant, as well as $30 000 worth of publicity, and a whole lot more coverage and opportunity. Previous winners include my personal favourites the Drones, the Mess Hall, Augie March and most recently, Eddy Currant Suppression Ring.

The 2009 AMP shortlist was announced in February, and by golly there are some great artists. It’s going to be an interesting outcome:

‘Privileged Woes’ by Oh Mercy
‘As Day Follows Night’ by Sarah Blasko
‘Kid Sam LP’ by Kid Sam
‘Black Across The Field’ by Lucie Thorne
‘Secrets And Lies’ by Bertie Blackman
‘For The Birds’ by The Mess Hall
‘Spitshine’ by Urthboy
‘Call Signs’ by Black Cab
‘Wonder’ by Lisa Mitchell

Stay tuned for more details about the winners coming up in the next couple of weeks….

photos courtesy of AMP

The Polyphonic Spree go Carnivale!

Words: Clare Kempnich
Pictures: Kate Scantleton

Attending The Polyphonic Spree’s performance at the Powerhouse last Friday night was, for me, much like achieving a life long goal. After missing their performance at Splendour in the Grass in 2008, (and having to listen to endless recounts of their fantastic set), I vowed that I wouldn’t miss them a second time around. I approached their gig, (part of the venue’s Carnivale hosted by Southern Comfort) with only the highest of expectations and, as hoped, they didn’t fail to deliver.

The orchestral-like band, throughout their history have consisted of 13 -27 members (I believe I counted 18 for this set) including in their ranks, amongst others; a flautist, cellist and a trombonist. The cumulative enthusiasm that The Polyphonic Spree displayed during their almost two hour-long performance was something that is not always experienced when viewing live music; they seemed to be enjoying playing to the crowd as much as the crowd enjoyed singing along to them. And enjoy it we did: chanting away to the old classics like Hold Me Now and Light and Day/Reach For the Sun.

At this point of the set I wasn’t sure it could get much better: the band were lively and frontman Tim DeLaughter was charismatic and charming as they started to perform some of their newer songs. From album to album, The Polyphonic Spree’s music retains a feel-good, “choral symphonic rock” quality (as described by DeLaughter), although perhaps a more mature range of sounds and lyrics is evident on the The Fragile Army album when comparing to Together We’re Heavy; but there was no doubt that both styles were well-received by the audience.

Perhaps my favourite part of the set were the cover-versions that the band performed. A spectacular version of Guns N’ Roses Live and Let Die was first up and it amazed me how they managed to perform such a rough, rock song in true Polyphonic Spree style. The band complemented the song perfectly and, for me, this was the highlight of the gig.

Audience participation, thankfully, was entirely appreciated by the band. Singing, dancing and chanting were not only encouraged, but proved integral to the bands’ encore. After a performance of Section 32: The Championship, DeLaughter left the audience repeating the mantra-like lines ‘all in good time/raise your voice’ whilst the band disappeared off stage for a good ten minutes. upon the return, the band were decked in their infamous white robes, a costume which has rendered certain fans to label the band a ‘cult’ (which DeLaughter flatly denies). Their encore was simply beautiful, including an amazing rendition of Nirvana’s Lithium and Neil Diamond’s Sweet Caroline.

After their performance had come to an end, I was left speechless. Not only had their set met my expectations, but exceeded them completely. It is not often that a band of The Polyphonic Spree’s calibre perform with such intimacy; the band members wanted to be there, and as a fan, I appreciated this more than ever. DeLaughter even spent time after the gig chatting to front-row fans; something which I can honestly say I haven’t seen before from a headlining act.

The set wasn’t just an ordinary example of live music; it was a truly outstanding performance and something that I won’t forget for a long time.

Movie Review: A Single Man

There are two things you should know about me before I share my thoughts on Tom Ford’s directorial and writing debut, A Single Man. The first is I have a peculiar ‘rule’ that where a movie should have originated from a book, I must read the book first. Second, I rarely find the big screen interpretation a satisfying as the book which is why I was surprised to be so blown away by the film version. I knew it was going to be good, but not this good.

A Single Man, the movie adaptation by fashion designer Tom Ford of Christopher Isherwood’s novel of the same name is an exquisite exception. Starring Colin Firth and Julianne Moore, Tom Ford has beautifully developed and extended the character layers and background stories the novel (perhaps deliberately) lacked. The complexities and contradictions of both Firth and Moore’s characters are given life by Ford in his script and wonderful visual interpretation.

Set in 1962 with the threat of the Cold War hanging over America, the movie tells the story of a “very serious” day for English professor George Falconer (Firth) who is struggling with the routine of life as he mourns the death his partner of 16 years, Jim (Matthew Goode). Throughout the movie you are introduced to constants in George’s life – his role as a teacher in an American university, his home in Los Angeles, and his long-standing best friend Charley (Moore). You’re also introduced to characters including Kenny (played by Nicholas Hoult) whose youth and effervescent composure seems to recharge George and bring him a sense of clarity when he needs it most.

Not surprisingly given Ford’s obvious design sensibility (rising to fame under GUCCI before starting his own eponymous fashion empire) the film is an aesthetic delight. His attention to detail is painstakingly obvious. You forgive being able to see the obvious mark of a wedding band on Firth’s finger and the terrible fake tans worn by Firth and Hoult in a later scene. You form the impression that in the movie’s construction there lies a man in astute control and a definite idea of ‘how how’ things should be. Like his fashion designs, the movie’s entire visual presentation is rich, understated, classic and timeless.  The filming techniques and contrasts employed tell the story just as much as the actors delivering the lines and in some cases carries a scene with a strength and fortitude that words would only serve to tarnish.

Firth’s portrayal of the conflicted and insular George is heartbreakingly beautiful and haunted by the grief the character feels after losing his love. The ‘wear and tear’ George carries in his face, mannerisms and distaste for daily life without his partner are balanced with warm and bright flashbacks to his time with Jim, a similar warmth that you see in the contrast between George and Kenny’s appearances. As in the book, Charley is only momentarily physically present in the story yet you always know she is the only other person who truly sits in George’s heart and soul.

Ultimately what A Single Man illustrates so well is that life is light and dark, it is cruel and unfair, it is blissful and at ease. Life is a wonderful contradiction that none of us can prepare ourselves for. Tom Ford has taken what was already a touching tale of love won and lost and made it so much more. He has given A Single Man a depth, dimension and human nature that will bring a smile to your face as you share the heartwarming moments George has with both Jim and Charley and it will make you shed a tear as you experience George’s struggle as if you were right along side him.

A Single Man is in cinemas now.

WIN: Bris Comedy Fest – It’s a David O’Doh Party

There is no excuse for not having a chuckle this month at the 2010 Brisbane Comedy Festival in full swing including shows from Aussie comedians including Kitty Flannagan, Hannah Gadsby, Josh Thomas, Tom Ballard.

The Festival runs at the Brisbane Powerhouse until Sunday March 21, 2010 and News Unlimited is excited to giveaway two double passes to Irish lad David O’Doherty’s ‘David O’Doh Party’ show on Tuesday March 16 at 7:30pm.

To go into the draw to win tell us the worst joke you’ve heard in the comments section below and we’ll announce the winners on March 11.

Good luck!

Ok Go bring bells and whistles to the Hifi

Words: Dave Callaghan
Pictures: Kate Scantleton

Wednesday Feb 17

Going into this gig I was sceptical to say the least. I am of the school of thought that any band who puts so much effort into developing their Youtube, Myspace and Facebook websites must inevitably lack substance and musicality. To be perfectly honest, Ok Go always seemed to be nothing more than a gimmick band cashing in on the internet social interaction craze. To say I was surprised is as much as an understatement as saying Chuck Norris’s acting is just ‘bad’.

These guys really now how to work a crowd, and they have the musical skills to boot. Their songs, albeit poppy and catchy, predictably containing that magical ‘hook’ that all DJ’s strive for, were driving and well thought-out; their live performance leaving a long, strong finish in the back-palate, like a fine wine.

The stage show was impressive and provided enough bells and whistles to astound even the strongest of critics. No literally, they played an entire song with bells – very cool.

My favourite of the on-stage gimmicks was the small cameras attached to the microphones of the three front men and a cymbal stand of the drummer to be projected on the large screen at the back of the stage throughout the set. Personally, I have never seen this done before and although a simple concept, I found it really effective.

Without even mentioning the laser pointers and the streamer confetti, this show certainly had enough to keep people interested. Bands that favour style over substance are frowned upon by this writer, but Ok Go showed that both were high on the agenda; most enjoyable. This is definitely one show to write home about.

Disclaimer: Obviously, I am kidding with respect to the Chuck Norris reference. He is a great actor and I pity the fools that dare say his name in vein.

Movie review: Wolfman

With the current slew of fantasy and paranormal theme-based films at the present, it seems the release of Joe Johnston’s “The Wolfman” was perfectly timed to cater for the niche market. Based on the 1941 film of the same name and set in Blackmoor, England, 1891, “The Wolfman” is an exploration of the existence and origins of werewolves as told through gypsy folklore.

The film stars Benicio Del Toro as Lawrence Talbot, the brother of Ben Talbot, whose disappearance causes concern to his fiance; Gwen Conliffe (played by Emily Blunt). His return home to the village for the first time since a child coincides with the visit of Aberline, a Scotland Yard inspector (played by Hugo Weaving), who is determined to link the recent slaughter of many village members to the work of a werewolf acting under a full moon. Whilst Lawrence attempts to hunt the beast and put an end to the savagery, he himself becomes inflicted with the curse and the remainder of the film explores his internal struggle between untameable primal instincts and the responsibility of protecting Gwen, the woman he too has come to love.

Perhaps the best performance is by Anthony Hopkins (playing Sir John Talbot), whose perfect balance between a loving and loveless father reveals the macabre dichotomy of nature and nurture.

Whilst the film is not revolutionary by any means, lovers of classic fantasy films (such as “Werewolf of London” and “The Curse of the Werewolf”, form which inspiration was taken) will appreciate “The Wolfman” for its dedication to the depiction of werewolves as in classic folklore.

Operator Please’s grown-up music

Picture courtesy of Pedestrian

So Operator Please have just released a new single, and my my, don’t they look grown up!?

With some serious help from director Price James (of Friendly Fires, Simian Mobile Disco and Florence and the Machine fame) and Australian Vogue, these kiddies are beginning to bloom.

This track, Logical is the first single off their soon-to-be-released album Gloves. Keep your eyes out because we smell a tour soon!

The track itself is something we’re not too sure about… it seems a little whiney for such grown-up people. Perhaps it will “grow” on us though!

Check it out right here:

Operator Please – “Logic”.

Tell us what you think!

Love Shared with Mama Kin

Words and Photos: Kate Scantleton

Friday February 12, 2010

It isn’t often that we see bands that truly seem as though the music runs through their veins. Mama Kin and her band proved to be one of these lucky few tonight, allowing us to participate in the cleansing ritual of her set. The hot and steamy Zoo was the best place for this ritual to take place; the modesty and welcoming nature of the venue sincerely complimented the sounds and love that was being shared amongst performers and audience.

Mama Kin and her band are such a modest, courteous and joyous trio – it was abundantly clear that they love what they’re doing and the buzz of making success out of art is really making them happy. And the crowd reflected this, loving every moment of the set.

If you haven’t heard of Mama Kin yet, her music is soulful; a mixture of slow and fast jazzy-blues, each song with a sweet underlying story and moral. Her voice is heavenly and meaningful – it comes from hard times and experiences that have led her to being the artist she is today. Accompanied by some delightfully precious melodies on keys and funky drum beats, the trio are certainly a force to be reckoned with.

The music itself is complex, yet made for easy listening. Busting out with the well-circulated single Tore My Heart Out and a number of very danceable bluesy tunes, the set was full of ups and downs including sing-a-longs, a Capella tunes and much dancing both on and off-stage, so there was plenty to keep everyone on their toes.

Currently touring, the band have already sold out their Sydney show and are spreading their love all the way down the east coast, stopping off at the Gold Coast and Mullumbimby on their way back north. With mentionable track records of wonderous sets (tonight inclusive!) such as Woodford Folk Festival earlier in the year, Mama Kin is definitely on the way up in the blues, roots and folk scene in Oz. You can check out the band’s tour dates and blog here.

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