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russell brand

Online reading and listening tips

By Asides

Time to draw your atten­tion to a couple of bits of media that I’ve enjoyed recently, namely an excel­lent art­icle by William Langewiesche in Vanity Fair about Captain “Sully” Sullenberger and the ‘mira­cu­lous’ land­ing on the Hudson River back in January. Langewiesche tells the story of the spe­cif­ic flight adroitly but also man­ages to tie it to mod­ern air­craft man­u­fac­ture, pilot polit­ics and even has a hint of a Right Stuff “what makes a pilot” going on too. Superb and engrossing.

In a dif­fer­ent arena entirely, I can recom­mend you down­load and listen to Elvis Mitchell’s inter­view with Rusell Brand, a fam­ous West Ham fan and some­times annoy­ing pres­ence as an act­or who I had thought was inex­plic­ably pop­u­lar. Well, now, thanks to Elvis, it is explic’d. I get it. In the inter­view Brand is pro­mot­ing the US edi­tion of “My Booky Wook” and he is funny, supremely intel­li­gent, spir­ited and self-aware. And he talks at 100mph. Download the inter­view from the KCRW site here, or down­load to the reg­u­lar pod­cast via iTunes here. Mitchell is a former crit­ic for The New York Times and his pro­gramme The Treatment is the most con­sist­ently intel­li­gent half hour on cinema on the web.

Review: Young @ Heart, Max Payne, Rise of the Footsoldier, A Journey of Dmitri Shostakovich, Brideshead Revisited and Irina Palm

By Cinema, Conflict of Interest, Reviews

Young at Heart posterThe most purely emo­tion­al exper­i­ence I have had in a cinema this year was watch­ing the delight­ful doc­u­ment­ary Young @ Heart dur­ing the Film Festival. It’s a life-affirming (and by its very nature death-affirming too) por­trait of a group of Massachusetts seni­or cit­izen chor­is­ters who tour the world with a pro­gramme of (often con­sciously iron­ic) rock and pop clas­sics and it starts out like the quirky British tv pro­gramme it was ori­gin­ally inten­ded to be. But then these remark­able, love­able, buoy­ant char­ac­ters take con­trol and by the time they get to Dylan’s Forever Young, I may as well have been a puddle on the floor of the cinema. Young at Heart is so suc­cess­ful I even fell in love with Coldplay for about five minutes. It’s that good.

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Review: Forgetting Sarah Marshall, The X-Files: I Want to Believe, Closing the Ring, Smart People, Married Life, Miss Pettigrew Lives for a Day and Journey From the Fall

By Cinema, Conflict of Interest, Reviews

Forgetting Sarah Marshall posterForgetting Sarah Marshall is an ideal post-Festival pal­ate cleanser: a saucy com­edy fresh off the Judd Apatow pro­duc­tion line (The 40 Year Old Virgin, Knocked Up). Here he gives the spot­light to one of his sup­port­ing play­ers: Jason Segal (Knocked Up) plays tv com­poser Peter who with­in two minutes of the start of the film is dumped by tv star Sarah M. (Kristen Bell from “Veronica Mars”). He goes to Hawaii to recov­er only to dis­cov­er that his ex is also there – with her new English rock star boy­friend. Very funny in parts, sur­pris­ingly mov­ing at times thanks to a heart­felt per­form­ance from big lump Segal, FSM gets an extra half a star for fea­tur­ing pro­fes­sion­al West Ham fan Russell Brand, play­ing a ver­sion of his sex-addicted stage persona.

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Review: U2 3D, Nim’s Island, Street Kings, St. Trinian’s, College Road Trip, Hunting & Gathering, Blindsight, I Have Never Forgotten You and The Real Dirt on Farmer John

By Cinema, Conflict of Interest, Reviews

Earlier this year I arbit­rar­ily decided that the Hannah Montana 3D con­cert movie was not cinema and chose not to review it. Now, a few short weeks later, I exer­cise my right to indulge in rank hypo­crisy by stat­ing that the U2 3D con­cert movie is cinema and, thus, belongs in this column. Pieced togeth­er from con­certs in soc­cer sta­dia across Latin America (plus one without an audi­ence for close-ups), U2 3D is an amaz­ing exper­i­ence and truly must be seen to be believed.

I hadn’t expec­ted the new digit­al 3D medi­um to be used so expertly so soon but cre­at­ors Catherine Owens and Mark Pellington have man­aged to make the entire sta­di­um space mani­fest with float­ing cam­er­as and intel­li­gently layered digit­al cross-fading, giv­ing you a con­cert (and cinema) exper­i­ence that can not be ima­gined any oth­er way. Even if you are not a U2 fan this film deserves to be seen as an example of the poten­tial of 3D to trans­form the medium.

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