After being stuck in development for years, the film based on Irvine Welsh’s classic novel Filth finally arrives. Written for the screen and directed by Jon S. Baird (only his second feature in the chair) it is one of darkest comedies, and indeed filthiest movies in recent memory. It is very enjoyable, much thanks to James McAvoy in the leading role. He turns in one of the finest performances of his career. Completely off the chain and clearly having the time of his life doing it, he brings one of Welsh’s most memorable characters to life in a way that simply has no end. A wonderfully entertaining romp that will excite, amuse and upset – like any decent Irvine Welsh story should.
The idea of turning the Coen brothers’ classic 1996 movie Fargo into a mini-series didn’t appeal to this writer at first, but after seeing the first two episodes is makes a lot more sense. Even though the movie was very character driven and carried a momentous story, it took place in a universe that obviously had many more opportunities. Set outside of the film, it shares nothing but the title; this too is carried by an ensemble of fascinating and curious characters. Led by Billy Bob Thornton and Martin Freeman (distancing himself from The Office even further with another great performance) the story is fueled by crime, violence and unfortunate circumstances that together create one of the most interesting and highly entertaining TV-shows of the year. Heck yeah.
Director Darren Aronofskys take on Noah was always going to be something different than the average Hollywood blockbuster. When he made The Fountain in 2006 it was a detour from his usual smaller independent pictures with a solid budget of 35 million dollars (by far his biggest film yet). That Noah cost close to four times that shows just how far Aronofsky has gone to get his most ambitious project yet up on screen. Co-written by Ari Handel (the director’s writing partner on The Fountain, and exec producer on his following films) and starring Russell Crowe as Noah, this looks at spirit and family as much as it does on adventure and legend. It actually feels fresh and original for its tremendous set pieces and manages to come away with a surprisingly large share of emotion and compassion as well. In fact, you have probably not seen anything quite like it – for better or worse.
ESSENTIAL LISTENING THIS APRIL:
One of the main contributors to Noah receiving the praise above is down to the original score by composer Clint Mansell. Aronofsky’s regular music man has proved he has a flare for both the downbeat and subtle keys of emotion as he clearly does with major orchestrations and larger than life compositions. Despite the already mentioned scale and budget of this production the soundtrack for Noah features Mansell in his most playful and diverse mood yet. Tipping his hat to some of the masters of memorable blockbuster scores (Zimmer, Williams, Shore come to mind) Mansell appears completely unafraid to mix the action driven symphonies with his more familiar somber atmospheric themes. It is a terrific collection of music that stands on its own, but naturally serves its purpose most satisfying when on the big screen.
Just three months after the release of his latest album Bruce Springsteen drops even more new music with his four track EP American Beauty. Released in celebration of Record Store Day (with a limited amount of vinyl editions), these are the numbers that came closest to making it on January’s High Hopes. Originally cut in Springsteen’s own home, this is an intimate and personal invitation to The Boss’ romantic and poetic side (the title track and the charming Mary Mary), shameless and irresistible pop and a touch of the always present political statement (the fairly dark Hey Blue Eyes which wrap up the EP). However, it is another must for the loyal fans and a wonderful introduction to anyone looking to influence a youngster in desperate need of a music lesson or evidence of what American mainstream tunes have the ability to be.
The always terrific Ray LaMontagne has been mentioned on this site before, and it is without question a need to do so again in the occasion of the release of his fifth studio album Supernova. The guitar playing singer / songwriter is still a sucker in love, with a past that is hopefully darker than the road that lies ahead. The ten tracks on the record are served with the soulful presence of a man hard at work, with much to say and eager to impress. Produced by The Black Keys’ Dan Auerbach it comes carrying both a sense of Americana and psychedelic vibe in addition to LaMontagne’s usual country and blues inspired rock & pop tunes. A superb album to introduce the summer and here’s hoping his next tour will bring him close enough to catch him in the act.
Enjoy the title track Supernova, as loud as you can.
