Hollywood can be a tough business. Despite grossing over 200 million in 2006 Superman Returns was considered a commercial flop and what was supposed to be a new re-booted franchise ended with the single film from fan boy director Bran Singer. This month Warner Bros. attempts yet another re-boot of the franchise with Man of Steel, this time with Zack Snyder, director of Watchmen and 300, at the helm. And after just a few weeks on release it has already surpassed the 2006 film. And for good reason as this is blockbuster entertainment at the very highest level. Henry Cavill is convincing in the title role, and there is terrific support from an impressive cast including Amy Adams, Michael Shannon and Kevin Costner to name a few. There is a fresh feeling to the origin story of our hero and Snyder has put a both personal and inspiring touch to it. With a running time close to two and half hours it does carry on a bit too long, in particular when it comes to the final fight sequence where Snyder really let it rip. Still, this is top shelf entertainment both for fans of the comic and cinematic spectacle in general. Kal-El is indeed back amongst the living.
With the success of their previous collaboration Drive (2011), anticipations for director Nicolas Winding Refn and star Ryan Goslings new film Only God Forgives where high. And those expecting Drive 2 are in for a surprise. The style, colors and atmospheric pressure is very dark here, even for Refn. The dialogue would probably fit on just a few pages, as these 90 minutes are dominated by slow burning sequences and long looks. However it is difficult to remain unaffected, and even though it hits you hard and challenges your stomach with both violence and scenery, it is impossible to look away. Gosling can add another impressive performance to his resume, and Kristin Scott Thomas has a field day as his mother with, let’s say questionable parenting skills. Definitely not for everyone, but those who dare are likely to be rewarded.
Critics and audiences alike seem to be torn when reviewing The Great Gatsby, the new film from visionary director Baz Luhrmann. The Australian director reunites with his Romeo Leonardo DiCaprio in his epic sized take on the great American novel by F. Scott Fitzgerald. The bling and glamour of his leading man should fit Luhrmann's style perfectly and he does make the most out of every single frame. The style over substance cliché does become a factor; particularly in the third act but never the less this is terrific stuff. DiCaprio reminds us what a massive movie star he is and embodies everything you could desire from Gatsby. The support from Tobey Maguire and Carey Mulligan is disappointing though, especially Maguire who fails to both convince and engage as our narrator. But with DiCaprio on the top of his game you really don't need much more.
ESSENTIAL LISTENING THIS JUNE:
After a year focusing mainly on his activities outside the recording studio it is very pleasant to be talking about Kanye West for the right reasons again. It's been three years since his previous album, the brilliant My Beautiful Dark Twisted Fantasy, which surprised many in its dark tone. With this month's Yeezus West continues in the same mood. Where his previous outing, the collaboration Watch the Throne with Jay-Z in 2011 was a nonstop party, it is clear that West is more interested in releasing some of his own demons this time around. The superb Black Skinhead and I Am a God set the bar as the second and third track out of the gates, and thankfully the dark eyes of its creator never looks back. This is a high quality record, both for its genre and time, with West proving that he remains the most interesting hip hop artist working today.
Which other writer would dare to list Kanye West and Ole Paus together in a monthly review? This one! The 66 year old Norwegian legend announced before its release that Avslutningen would be his final album. And if he stays true to his word, it is a powerful and worthy closure to an incredibly impressive career. A three disc compilation that is put together beautifully, with the first one Oppgjøret proving that Paus is still the most original and fearless songwriter in the country. Omfavnelsen is a collection of new material, performed by a group of the writer's most beloved singers. The final and titular act is a moving and powerful goodbye, providing some of the most beautiful lyrics the retiring wordsmith has ever put to paper. For fans of Paus this is an obvious must-have and to others who are still discovering his earlier material it works both as a proper introduction and a fitting farewell to a collection of music that will never be surpassed.
An impressive catalogue grows bigger for Sigur Rós this month with the release of their seventh studio album Kveikur. Where last year's Valtari was a recognizable melancholic and sober experience from the Icelandic post-rockers, Kveikur takes a darker path with more aggressive tunes and an even vaster soundscape. It suits the outfit well, creating a mesmerizing session of music with the beautiful voice of Jónsi always at the core. Another strong release from one of the most consecutive bands of the past two decades. Always conscious of quality in every single track, like the delicious Ísjaki.
