I would have preferred a full concert recording from the Push the Sky Away tour, but this loose and casual 10-song show performed for the KCRW station in Santa Monica is a great live offering. It’s predictably dominated by the Push the Sky Away material, and the rest of the picks match the quiet, meditative mood of that album, bar the closer Jack the Ripper, a throwback to the fire-and-brimstone Nick Cave of old. It wouldn’t be a Bad Seeds gig without The Mercy Seat, their signature showstopper performed here as a stripped-down piano version with all the white-knuckle tension and power of the original.
I had a couple of biases to overcome in order to watch this movie. Firstly, the unattractive title that makes you think of some dumb third-rate summer comedy (a baby gets behind the wheel and hilarity ensues!). And then there was its lead actor, Ansel Elgort, whose punchable turn in the otherwise decent The Fault in Our Stars irritated the crap out of me. Well, I judged prematurely, because he’s more than fine in Baby Driver, and the movie itself is a rarity these days, a truly idiosyncratic thriller that doesn’t feel like a product of a committee.
This movie copped a massive backlash upon its release last year, and in all honesty it was practically asking for it, with its grossly misleading trailers and advertising which treated its premise as a twist and in the end made some viewers feel like they received a pretty glittery gift box with a dead puppy inside.
Here’s what the bullshit summary on my DVD rental reads like:
Jennifer Lawrence and Chris Pratt are two passengers onboard a spaceship transporting them to a new life on another planet. The trip takes a deadly turn when their hibernation pods mysteriously wake them 90 years before they reach their destination. As Jim and Aurora try to unravel the mystery behind the malfunction, they begin to fall for each other, unable to deny their intense attraction… only to be threatened by the imminent collapse of the ship and the discovery of the truth behind why they woke up.
Here’s what actually happens in the film (spoilers ahead):
I was a true Agatha Christie obsessive in my teens, and I’m pretty sure I’ve read every single novel and short story she’s ever written, in Russian translation. Even now that I can see the flaws in her writing more clearly, her knack for plotting and the ability to construct an elegant puzzle of a mystery – and doing it fifty times over – is pretty phenomenal. When I’m in between books and don’t feel like digging into something brand new, I’ll often reach for an Agatha Christie detective novel for a quick and easy detour. It’s hard to pin down exactly what, among all the other crime fiction I’ve read, makes them so uniquely re-readable despite knowing the identity of the murderer. It’s part nostalgia, part the very simplicity of Christie’s writing, uncluttered and efficient and not without its own charm and wry humour. Hers is a cosy, old-fashioned world that is just nice to visit from time to time.
A charming feel-good French drama/comedy about an unlikely friendship, The Intouchables is maybe not the most original film ever and doesn’t dig into its premise all that deeply, but it remains irresistible thanks to the exuberant lead performances and the film’s belief in the power of human empathy and resilience.
I watched the so-bad-it’s-good remake with Nicolas Cage a while ago, so I thought I’d look up the original British cult horror movie with Christopher Lee. I really mean it in the best possible way, but my reaction could be boiled down to, what the hell did I just watch? This is a strange, strange movie, an utterly bizarre blend of folk traditions vs. Christianity, musical (no, really), detective story and horror. The latter doesn’t really kick in until the last ten minutes or so, but when it does the results are uniquely creepy and chilling. It was also interesting to compare the film with the misbegotten Neil LaBute remake, whose inexplicably terrible choices and revisions are even more stark in direct comparison.