Reviews
Tim Cumming
There have been Throbbing Gristle reunions at Tate Modern, and Psychic TV last played in London at the now-demolished Astoria in 2008 – the band in nurse’s uniforms, playing psych garage rock over projections of medical procedures and sex scenes – but it’s a long time since Genesis Breyer P-Orridge was in London.Combining a sort of spoken-word memoir with poetry and a closing Q&A upstairs at the October Gallery as part of its Burroughs centenary exhibition, Can You All Hear Me?, the first half was an hour’s impromptu talk about how Neil Megson became the pandrogyne figure there on the Read more ...
ellin.stein
Charlie Lyne’s Beyond Clueless, a Kickstarter-funded film essay about the deeper meaning of post-1990 coming-of-age movies, aspires to be one of those Arena programs that takes a fresh look at a seemingly trivial or minor pop form to reveal deeper truths about the culture at large. Don’t get me wrong – I love teen movies and I think there’s a rich seam here to be mined. Unfortunately, because his analysis lacks rigour and is almost as superficial as the movies themselves, there are few insights here the perceptive viewer won’t have already gleaned for him/herself.Lyne draws on clips from some Read more ...
graham.rickson
Henry Mancini: The Classic Soundtrack Collection (Sony)You get a good sense of any composer's strengths and limitations when you consume their music in box set-sized quantities. With the Juilliard-trained Henry Mancini, you marvel at the catchiness of the melodic material and the transparent orchestration. Sony Music's new box set collects 18 Mancini film scores, and a casual perusal will also highlight the great man's weak spots. He wasn't a master at developing his ideas, relying instead on canny use of ostinati and a clever overlaying of his catchy motifs. Which, if you're writing Read more ...
Mark Kidel
Artangel continues to instigate extraordinary events in extraordinary places. Over the past two decades and more, directors Michael Morris and James Lingwood have helped generate major and ground-breaking work by Rachel Whiteread, Brian Eno, Laurie Anderson, Roni Horn, Jeremy Deller, Steve McQueen, Matthew Barney, Gregor Schneider, Francis Alÿs and many others. It's a long list. Their latest collaboration with PJ Harvey is no less thought-provoking and inspiring than the best of their unique collection of imaginative and risk-taking projects. Artangel has always excelled at finding new Read more ...
Nick Hasted
Alex Garland’s directorial debut is spare, clever s.f. Ever since he began his now abandoned novelist’s career with The Beach, he has known how to drive high-concept narratives home, viscerally fuelling them with human foibles. Ex Machina’s tale of artificial, attractive intelligence rings subtle changes on familiar s.f. ideas, while keeping within the clean lines of a mostly three-hand drama. When callow internet search engine employee Caleb (Domhnall Gleeson) wins a competition to visit his company’s legendary founder Nathan (Oscar Isaac, pictured below right with Gleeson) in his isolated Read more ...
Stuart Houghton
As a genre, the "Match 3" puzzle game seems like a sort of evolutionary dead end. You can gussy it up with dramatic sound effects and sparkling animations all you want but ultimately it is still Candy Crush under there. Bear Winter takes a slightly different tack. Rather than letting you match more tiles for combos or adding powerups and special effects, developers Nevercenter have pared the gameplay down to a 3x3 grid on the one hand and added a light tactical and resource management element on the other.In Bear Winter you are a hunter. You go out every day into the frozen wilderness and try Read more ...
Tom Birchenough
First-hand testimonial is surely the building block of history. Whether it’s in the form of written diaries or the television memory, it allows us to go back to the very basics as we, the reader-viewer, effectively re-experience the life of the teller.Last year witnessed a multitude of such remembrances of the First World War, and brought home the fact that little could match the sheer simplicity of such memories of those who had lived through that experience. But there were no more survivors to tell tales, and before long the same will be the case with the Holocaust, currently being marked Read more ...
Matthew Wright
It doesn’t take many cucumbers smacked into cupped male palms to realise this isn’t, surprisingly, a show about salad. Russell T Davies has written three new series (Banana shows on E4, and Tofu online), exploring LGBT sexuality today. Queer As Folk, Davies’s 1999 breakthrough creation depicting the lives of three gay men living around Canal Street in Manchester, was an important landmark in dramatic depictions of gay life. Returning to the same location and similar themes now, now those lifestyles are mainstream and familiar across the country, it was always going to be harder to make a Read more ...
Matthew Wright
To pair Rachmaninov’s brooding and little-performed The Miserly Knight with Wagner's brooding but much-performed Das Rheingold is an audacious piece of programming. The operas share an interest in the mortal power of money, and Rachmaninov’s score has a more distinctly Wagnerian colour than much of his later work. To do so in a single evening, requiring substantial cuts to the score of Rheingold, and to stage them in the Royal Festival Hall, shows boldness verging on the reckless.Both the programme, and the editing of Das Rheingold, were the work of Vladimir Jurowski: the first, a brilliant Read more ...
Gavin Dixon
James Dillon calls this major work, premered at the Huddersfield Contemporary Music Festival last November, a “Cubist Stabat Mater”. He sets the hymn, but adds in more recent words, texts on related themes by Picasso, Kristeva and Rilke, among others. The music, too, acknowledges the passage of historical time, with subtle references to musical styles from down the centuries. If this all sounds like a recipe for Postmodern intellectualism and detachment, the results are surprisingly direct – a heartfelt and emphatic response to the image of the grieving mother. Dillon is too much the Read more ...
alexandra.coghlan
What kind of regime, asks Gérard, talks of justice while killing poets? It’s a question the answer to which suggests itself all too swiftly this week, briefly turning a revolutionary romp of an opera into something rather more chilling. Playing things straight in his new production of Andrea Chénier (if wigs and lavender stockings, chandeliers and pastoral divertissements can be called straight), David McVicar may have missed a trick with a story that speaks with surprising clarity about the violence of political and ideological conflict. Or maybe he didn’t. This period production is the Read more ...
Matt Wolf
JC Chandor is rapidly turning into one of the most fascinating (and gifted) filmmakers out there, as A Most Violent Year proves in almost every way. Shamefully overlooked in this year's Oscar line-up, which neglected the film altogether, this portrait of crime and punishment during New York City's own lawless nadir some 30-odd years ago feels both like the finest film that the late Sidney Lumet never made and also entirely fresh in its portrait of morality trying to keep its head above the murk. And Chandor's cast match him every step of the way, Oscar Isaac and Jessica Chastain giving Read more ...