THE JUNGLE BOOK - Film Review

Ya know, this wasn’t supposed to be that good. Okay, so the kid looks the part, sure, and there’s so much beautiful CGI that calling it “live action” is kinda misleading, but how good can the actual film be? Six, maybe seven out of ten if we’re lucky? Well, if you were of a similar mindset you may be surprised and delighted by Disney’s retelling of their classic animated adventure, as it’s bold, surprising and red in tooth and claw.

You all know the story by now, concerning young Mowgli who is abandoned/orphaned in the jungle and raised by the animals, who all talk and often sing jolly songs. He has to be taken to the humans village before nasty tiger Shere Khan eats him, because Shere Khan is like that. This basic story is kept to, and we also get Mowgli’s main buddies Baloo the bear and Bagheera the Panther, as well as Christopher Walken’s unsettling King Louie, now a gigantic Orang-utan whose rendition of ‘I Wanna Be Like You’ is anything but jolly.

The selling point of this new version is the CGI, and it looks fantastic. From the vibrant jungle to the animals within it, it never looks anything less than real. The whole movie is a feast for the eyes, with many small touches that add character to the smallest animal. Stuck in the middle of all this is Neel Sethi, who in all honesty does an excellent job of acting against green screen for one so young. He looks perfect, and if he’s only ever remembered for this one performance it will be a fine legacy to leave. The vocal performances, too, are almost universally excellent, with Bill Murray’s Baloo and Idris Elba’s Shere Khan standing out, Elba’s charming menace working beautifully with by far the best CGI character in the movie.

The only mistake, for me, is Christopher Walken’s King Louie, as he just doesn’t fit in with the rest of the film. Making the character a giant also seemed like a step too far, as oddly it takes you out of the realism. The inclusion of the song was also a mistake, as it has zero charm and 100% creepy menace, unlike ‘Bare Necessities‘, which is slotted in naturally. Aside from this, though, I have no other criticism.

The Jungle Book is a wonderful film. It doesn’t shy away from the violence of the jungle, all of which is down to Shere Khan, a more evil, brutal figure than ever before. The supporting characters, notably the wolf pack that raised Mowgli, are always given their own traits and quirks, and you never get the feeling they are anything less than real. Ultimately this is an exciting, funny and charming film for all, although Shere Khan may terrify young children. Bad kitty!

VEGA - 'WHO WE ARE' ALBUM REVIEW

Over the last three albums, British act Vega have been carefully carving themselves out a niche in the AOR world by simply keeping their faces out there and providing quality releases. Last album ‘Stereo Messiah’ was hailed by many as their best yet, but it seems that it may not hold that accolade much longer when ‘Who We Are’ comes your way on 13th May.

The album starts with a literal bang, as ‘Explode’ does just that in a flurry of guitars  and drums, a track that belts along and lays Vega’s cards on the table with a raised middle finger to anyone who thought they might have emptied the creative well by now. Fast, frantic and with a superb little solo from Marcus Thurston, it’s the start fans will be wanting. They don’t let up with the next two tracks either, with ‘We Got It All’ a fist pumping audience pleaser and ‘Every Little Monster’ a catchy singalong that is the archetypal Vega track (you can find it on YouTube).

The band slow down for the ballad ’Nothing Is Forever’, and whilst I often get a bit bored by ballads they hit the nail well on the head here with a powerful, emotional piece that makes sure to include a great solo in the middle. ’White Flag’, ‘For Your Sins’ and ’;Generation Now’ take us back to the tried and tested Vega formula that sits comfortably between Journey and Def Leppard, tracks that you just enjoy for the quality AOR that they are. ‘Ignite’ is a slower track that feels a little ploddy, for me the weakest track on the album, but it’s followed by the best: ‘Saving Grace’ stands out with a horribly infectious chorus that demands sterling pitch control from vocalist Nick Workman. This Vega’s 2016 ‘summer’ song, and almost certainly the one that’s going to stick around the live set for a good while.

The album closes with the high energy ‘If Not You’ and the anthemic ‘Hurt So Bad’, another track that I feel will slot well into any live set. As an album, ‘Who We Are’ is a rush of adrenaline, a melodic kick in the nuts that will have you coming back for more. It sounds great, and the band are tight as ever. It’s no surprise that Nick Workman sings his heart out as he never gives anything less than his best. The man has a perfect voice for this kind of upbeat melodic rock, with Tom and James Martin helping him to write songs that fit his vocals to a tee. My only complaint is that I’d have liked to hear more guitar heroics from Marcus Thurston, whose contributions are short but incredibly sweet. Come on guys, give the man a 30 second solo at some point!

In conclusion, ‘Who We Are’ is definitely as good as ‘Stereo Messiah’, and to be honest it’s difficult for any album of this type to be better. Vega still sound fresh and hungry and I’m looking forward to seeing them with Magnum and at the Steelhouse Festival. If ‘Stereo Messiah’ pushed Vega to the top of the UK rock scene, ‘Who We Are’ cements that position.

EVERY LITTLE MONSTER

Official Website

FRANCIS DUNNERY - "VAMPIRES" CD REVIEW

I suppose I should say that I’ve long been a fan and admirer of Francis Dunnery. He made some incredible albums with It Bites, and went on to a solo career that has produced some brilliant work. For me, he hasn’t done anything of real interest since ‘The Gully Flats Boys’ over ten years ago, with more recent releases showcasing a man who really doesn’t seem to sure what he wants to do anymore, revisiting his past and wibbling on about astrology and not actually writing any new music. Surely, I hoped, an album named after one of It Bites more aggressive tunes might be different?

Well, the simple answer is ‘no’, as ‘Vampires’ is a double dig pack CD that contains 14 reworkings of It Bites songs. Okay, you may be thinking, maybe this is a chance for Frank to give us interesting new versions of some classics that can sit proudly next to the originals. Again, it’s a big ‘no’ there, as almost all of these add absolutely nothing to the originals. ‘Underneath Your Pillow’ does change the ending so it’s like the old live version but that’s it. There is always the excuse of getting a better production on the songs, but to be honest the originals were pretty damn well produced, and these in general don’t sound as good, although if you were completely new to the songs you would find little to complain about. Indeed, ‘Screaming On The Beaches’ lacks the youthful energy of the original and just sounds hollow, whilst the title track burns up when exposed to the sunlight of the original.

Another bugbear is the price we fans are paying for what is in effect nothing new. $25 for a download? $30 for a CD? Who do you think you are kidding, Mr Dunnery? I understand yours is a cottage industry, but only the most dedicated fans will want to fork out their hard earned for an album they might as well already have. As a ‘Best Of It Bites’ this is a cracker, but as a fan I feel completely ripped off. Ironically, for an album called ‘Vampires’ this is utterly toothless.

BATMAN V SUPERMAN: DAWN OF JUSTICE

I sat down to watch this earlier today, and two and a half hours later staggered into the light with decidedly mixed feelings. I didn't have the buzz that had been present after seeing 'Deadpool' or 'Guardians Of The Galaxy', and I didn't even feel that I had been entertained like with 'Ant Man'. 'Batman V Superman: Dawn Of Justice' is a different kettle of worms completely, steering DC's big screen output to an altogether darker place than Marvel are prepared to go. 

The film starts with an outsider's view of the big showdown from the end of 'Man Of Steel', as Supes and General Zod basically kill thousands of people and knock down more buildings than Godzilla having a hissy fit. The outsider in question is Bruce Wayne, desperate to do what he can to save employees in the building that houses Wayne Enterprises Gotham branch. The answer is: not much. After all, he's just a man and a collapsing building is pretty heavy. Naturally, this makes Bruce wonder if we would be better off without this Superman chap, as 20 years as Batman tells him that it'll all go horribly wrong one day.

For his part, Superman is as boring as ever, Henry Cavill doing whatever he can to make you give a toss about an invulnerable alien. There's a daft plot that ties into the main film plot about someone arming terrorists (Supes saves Lois again – yaaaawn), and people are starting to turn against him, exactly as they would in real life, no matter how much good he does. After all, who would trust one with a power of a God and no one to answer to?

Pulling various strings behind them both is Lex Luthor (for the billionth time), played in a quirky, semi-insane fashion by Jesse Eisenberg. I'm not sure if he's supposed to be inherently unlikeable, but I wanted to smash his face in throughout the film. He's genuinely scared of what Superman is capable of, and is determined to get rid of him one way or another.

So stuff happens and the two titans get to have a nice little scrap. Fans of the characters will know there's only going to be one winner, but of course the have to kiss and make up to fight Luthor and his end-of-level-boss monster that has to be pummelled in the last half hour. Gail Gadot's Wonder Woman is shoehorned into this bit, seemingly with way more power than in the comics. Regardless, she has a real presence and lights up the screen, so bring on her interesting looking solo movie. There's also none too subtle hints of future Justice Leaguers Aquaman, Cyborg and The Flash, but don't expect too much. 

Even at two and a half hours, it seems that key scenes have been jettisoned, as Luthor somehow knows who Superman is and Superman knows who Batman is, and Luthor's shouty foreshadowing of an alien threat seems based on nothing at all but the need to give fans a hint. The plot is full of holes, and the script should have been tighter, but that's just me. Oh, and if you're looking for levity there's none. This is a serious, bleak, dark film that does not want you to smile ever again. This movie would tell Deadpool to stop being so childish.

The absolute best thing about it is Ben Affleck. This man is Batman more than any other Batman, convincing as both the dark knight and Bruce Wayne. Tormented, driven and hard as nails he IS the Batman you've been looking for. I genuinely like Affleck anyway, and I'm glad someone spotted his bat-potential. I doubt it will come, but a solo film would be a sizzling prospect.

Ultimately, 'Batman V Superman: Dawn Of Justice' (note who gets top billing) is not a great film, but it IS a good one. It may help that I'm a mature comics fan not a fidgety kid or perfectionist geek, but I am happy to see DC take the darker route. What it needs is to stop focusing on Superman because he's a boring, one note character, and follow Marvel in bringing heroes with personalities to the screen. 

TRAILER:

2000AD Thrillcast - Podcast Review

Greetings, or as 2000AD Thrillcast host Mike Molcher would have it, 'Borag Thungg Earthlets'. For those unfamiliar with the intricacies of the self proclaimed Galaxy's Greatest Comic, it's alien  editor, Tharg (The Mighty), has his own lexicon of phrases that only the dedicated can be arsed to learn. It's all part of the fun, though, pointing at a fan base that is quite happy not to take itself too seriously.

The Thrillcast has been going for just over a year now, and has featured interviews with a multitude of creators as well as a question and answer segment with Tharg himself (herself? has this ever been clarified?) and other bits and pieces. The reason I have decided to bring it to your attention is the recent three part interview with co-founder John Wagner. The man is deservedly a legend in comics, surely the British equivalent of Stan Lee, although Wagner is an immeasurably better writer and always has been. Along with Pat Mills he created Judge Dredd, the ultimate British comics icon, when they were asked to stitch together a sci-fi comic almost 40 years ago.

Molcher himself conducts the interview in fine fashion (as he does throughout the 'casts), coming over very much like Richard Bacon. It might just be me, but I like Richard Bacon so it's a good thing. John Wagner is happy to talk about anything at all, and if I'm honest the three hour overall running time could have been doubled and still leave questions unasked, such has been the output of the man. Part 1 is a little dodgy, having been recorded in a busy pub, (a lousy decision in anyone's book), but when they decamp to Wagner's home it's a much easier listen. Molcher is a big fan and it shows in the questions, and you get the impression he's in fanboy heaven, much as I myself would have been. It's informative and entertaining, and the true seal of approval is that I was annoyed when it finished, wishing that there had been time for a few more topics (Wagner's crass use of racial stereotypes, for example). Ah well, at least his Alpacas are included.

These three podcasts are a good place to start if you've not discovered the 2000AD Thrillcast yet, but once you've been Wagnered up I recommend downloading the rest, because if you are a fan of the comics they really are a pleasure to listen to. I myself have a keen interest in comics from the 70s onward, and the interviews with creators who were working at the time often provide priceless insights, and the joy is that 2000AD has had a multitude of talented individuals pass through it's doors, so there's many more to come.

In short, don't be a Grexnix, have a listen to the 2000AD Thrillcast.

Listen/Download HERE

DEADPOOL (15) - Film Review

This could have gone so horribly wrong. A superhero movie that features a lead character that kills people, swears, has sex and talks to the audience? Man, that could've backfired big time, but if you want to make a Deadpool movie that honours the source material that's just what you have to do. So here it is: the first big budget film based on a Marvel property that's definitely not for kids, although kids are gonna love it, trust me.

Wade Wilson is a mercenary, dishonourably discharged from the forces, he now sells his services to people who want him to deal with scumbags. This is made clear: Wade Wilson is NOT a bad person, but he likes doing bad things to bad people – he's good at it. Essentially, Wade falls in love and gets cancer, so much cancer that he's basically fucked eight ways to kingdom come. A shady guy says that his organisation can cure him and also give him powers, so what's to lose, right? Long story (filled with pain) short, Wade gets cured, gets mutilated, gets powers, and becomes Deadpool to get both revenge and his movie star looks back. That's your basic plot, now add swearing, violence, sarcasm and rude jokes. Ta daaa – Deadpool the movie.

Amazingly, it's not actually a bad plot. It;'s simple enough to follow, and has enough detail to make you actually care. This is helped by uniformly good performances, including the awesomely lovely Morena Baccarin as Wade's girlfriend. The star is, of course, Ryan Reynolds, who you would think was born to play this character. His previous disastrous appearance as Deadpool in Wolverine: Origins is quite rightly mocked a couple of times, as is Wolverine himself. The origin story is told in flashbacks rather than in a linear fashion, and it does a good job of spacing out the incredibly well shot violence as Deadpool tracks down the man who cured/maimed him/made him immortal. This a film that looks GOOD. We even get a couple of X-Men thrown in, with a totally CGI Colossus and dwarf Sinead O'Connor called Negatonic Teenage Warhead. At the X Mansion, Deadpool quips that it's almost as if the producers couldn't afford any other X-Men.

Like many fans (although not of all his comics) I was looking forward to this and also dreading a massive clusterfuck as a frightened studio backpedalled away from everything that makes Deadpool Deadpool. Let me assure you that no such thing has happened, and it really is like watching a live action version of the best of the comics. Deadpool tells the audience that it's a love story, and at heart this is totally true, but love really does hurt (mostly other people). It will make you laugh out loud many times, and I can say with sincerity that people who have never heard of Deadpool can still enjoy it for the sheer amount of silliness packed in. Remember, though, they also have to like violence and profanity so choose your date wisely.

Deadpool has quickly inserted itself at the top of my favourite Marvel movies tree (although it is made by Fox). It's up there with Guardians Of The Galaxy for action packed fun, and a real shot in the arm for the genre after the limp cumrag that was Fantastic Four. It's juvenile for the most part, and over the top throughout, but there's going to be a sizeable audience out there for it, I'm sure. Oh, and don't forget to stay for the post credits scenes, y'hear?

ALBUM REVIEW: MAGNUM - 'Sacred Blood, "Divine" Lies'

Incredibly, this is Magnum’s eighth studio album since reforming in 2001, only two less than their output beforehand. Maybe it’s time to judge Magnum on what they are now, rather than what they were, and stop crossing fingers and waiting for ‘…Storytellers’ part 2. The simple truth is that Magnum remain an astonishingly consistent rock group, and as such this new album will delight existing fans whilst having enough quality to hook a few new ones at the same time.

The title track opens the album, and as expected it’s Tony Clarkin showing his usual disdain for religion. More than that, it’s a huge melodic stomper with a very Magumesque break in the middle. It bodes well for an album described in the press release as being ‘among the group’s most dynamic releases’. The track itself is certainly a highlight of the album for me, along with ‘Quiet Rhapsody’, a quieter song with a solid, catchy guitar refrain and excellent vocal work from the ever reliable Bob Catley. That said, this isn’t an album with any weak tracks at all, full of guitar heavy bruisers that have will have old fans such as myself doing the Bob Catley arm movements as they listen and sing along. There’s no short, sharp fixes, as all the tracks clear the four minute mark, but those hoping for a Clarkin magnum opus will be unsatisfied, as nothing reaches the seven minute mark either.

‘Sacred Blood…’ is, in my eyes (and ears) the finest Magnum album since they returned, purely because of the sheer quality of the whole thing. There’s no temptation to skip a track, and each has it’s own merits whilst resolutely remaining Magum-like in essence. ‘The Gathering’ compilation was a fantastic reminder of what modern Magnum is all about, and took the standout tracks from several albums. ‘Sacred Blood…’ matches those standout tracks, with Clarkin choosing  wisely from the 25 tracks he had written, narrowing it down to a solid ten. Well, I say that, but the digi pack has three extra songs that I didn’t get sent. Boo! What I do have, though, is a Magnum album that I know will remain a favourite.