America
Russ Coffey
The last time Mr E toured these shores he looked as if he might be heralding the end of the world. Dressed all in white with a Moses beard and gangsta bandana, his songs were about inner struggle and personal redemption. Between songs he remained mute and mysterious. How things have changed. This year the band is touring the much fuzzier Wonderful, Glorious and last night Mark Everett hardly shut up.The change in mood was evident even before the band had taken to the stage. As I arrived “The Candy Man” from Willy Wonka & The Chocolate Factory was playing over the PA and there was a jolly Read more ...
Emma Dibdin
The question of what makes a romance click on screen – what combination of elements goes into creating that indefinable spark between two projected faces – is one of the most eternal for filmmakers. David Lowery’s wistful, lyrical neo-Western has just over 10 minutes to make you invest in doomed lovers Bob (Casey Affleck) and Ruth (Rooney Mara) before fate and justice do them part, and succeeds with breathtaking ease.Their snatched moments together, like most of Lowery’s film, settle over you like half-remembered dreams, images that burrow deep into your subconscious and re-emerge Read more ...
mark.kidel
Janelle Monáe’s much-awaited second album doesn’t disappoint. She navigates the ever-renewing waters of African-American pop invention, drawing on R & B, funk, gospel, rock and dinner jazz, with a sense of fun and a great deal of talent. She is a master of eccentric chic, sophisticated, with a hint of the (tastefully) bizarre.Questions of identity have both haunted and inspired black culture in the USA. Monáe, with her cyborg and extra-terrestrial alter egos, mines a vein of fantasy that the likes of George Clinton and Sun Ra have explored before her: the space-man or woman as avatar of a Read more ...
Nick Hasted
“Hannibal Lecter meets Jason Bourne”: that’s how director Ryuhei Kitamura unbeatably sells No One Lives’ indestructible serial killer hero. But his film is at its most interesting before it’s clear who Driver (Luke Evans, pictured below) is, or where we stand with anything that’s happening.We meet this coldly urbane charmer as he motors through the American South, checking into a motel with a woman with an ambiguous relationship to him – maybe an accomplice to the murders glimpsed on TV, and certainly jealous of another woman who, we eventually discover, is being transported in the boot of Read more ...
Demetrios Matheou
When The Newsroom’s first season started in 2012 the unthinkable seemed to have happened: Aaron Sorkin, creator of The West Wing and Oscar-winning writer of The Social Network, had lost his mojo. Not even his previous, erratic show, Studio 60 on the Sunset Strip, cancelled after its first season, had moments as excruciating as this. Set within a fictional cable news channel and centred on a ratings-hungry anchor man, Will McAvoy, who has rediscovered his fire for campaigning journalism, The Newsroom sought to combine the idealism and calling-to-account of Sorkin’s best work. But whereas Read more ...
Kieron Tyler
The Beach Boys: Made in CaliforniaMade in California is a fantastic thing. Six CDs slot into the inside of the back cover of an LP-sized, full colour hardback book with a padded cover. As an artefact, it’s a triumph. As a career-spanning summary of the best of The Beach Boys’ music it’s flawless. Quibbling about individual tracks which aren’t included is possible, but ultimately pointless. Everything which needs to be heard is here. Made in California is a statement of who The Beach Boys were, are and even – as revealed by some of the originally unreleased tracks – who they could have Read more ...
Lisa-Marie Ferla
It was only today I learned that, for copyright reasons, it is impossible to use Martin Luther King’s iconic “I Have A Dream” speech in its entirety without paying a hefty licensing fee to his estate. That knowledge made it easier to understand why a new documentary to commemorate the 50th anniversary of the March on Washington seemed to gloss over its figurehead’s famous words.That those lines ring with familiarity half a century later is testament not only to King’s skills as an orator, but to the activists and civil rights leaders who pulled together what remains one of the largest, and Read more ...
Markie Robson-Scott
There’s never a good day for traffic in the Hamptons, and a Friday in August takes the biscuit. The Montauk Highway, also known as Route 27, was bumper to bumper on the way to the Parrish Art Museum, recently relocated from nearby Southampton village to an exciting new building in the Watermill area. However the slow pace didn’t prevent me missing the turning for the museum, a remarkable achievement as it’s a vast barn-like structure, the length of two football fields, just off the highway on a site of a former tree nursery. But its tiny black sign was almost invisible and at first I thought Read more ...
emma.simmonds
Coming-of-age films have frequently featured inebriated antics and ill-advised hook-ups, but it's usually the teenagers behaving badly. The Way Way Back sees a family decamp to an East Coast beach house for a summer vacation described witheringly by one teen as "Spring Break for adults". The film is the directorial debut of Nat Faxon and Jim Rash (two of the Oscar-winning screenwriters of The Descendants), who also pen the excellent screenplay and take supporting roles.Duncan (Liam James) is a painfully shy 14-year-old from Albany who hangs uncomfortably in his own skin and can't seem to Read more ...
Matt Wolf
The notion of childhood as any sort of state of grace gets exploded big-time in What Maisie Knew, a largely blistering celluloid updating of the 1897 Henry James novel from The Deep End team of co-directors Scott McGehee and David Siegel. True (for the most part) to the spirit of its literary source if by no means to the letter, the movie on its own terms captures the terror that adults can inflict on children, a bequest that a brilliant cast makes painfully plain. Suffice it to say that by the time Julianne Moore, playing the toxic mother of the eponymous Maisie (Onata Aprile), tells her six Read more ...
Simon Munk
The Saints Row series has always been something of a magpie, stealing liberally from other games. It started out as a cheap second-tier Grand Theft Auto clone. But here, it transforms into a very silly, but great fun knockabout superhero game - the most gleefully rampaging fun gameplay you'll see this week.Trying to summarise the plot of Saints Row IV should give you some sense of exactly how seriously the game takes itself. The members of a street gang, called The Saints, decide to put their gangbanging past behind them and turn their appetite for destruction to good – they take on a Read more ...
emma.simmonds
We're the Millers is a road movie which sees a group of outsiders learn how to fill traditional roles and find happiness. It's a film that flirts with rebellion but ultimately reveals itself to be boringly conformist. Director Rawson Marshall Thurber had a memorable hit with his debut Dodgeball: A True Underdog Story but, in the manner of one of that film's KOs, he falls flat on his back here.Jason Sudeikis plays David Clark, a small-time weed dealer who's never really grown up. When he's robbed of his drug stash and money after playing the good Samaritan he finds himself in debt to mwa-ha-ha Read more ...