With the massive success of his Dark Knight Trilogy and Inception it is difficult to think of a more anticipated film over the past years than Christopher Nolan’s Interstellar. Half his career in the making, it is a gigantic undertaking in scale, storytelling and technical ambition. Thankfully, it’s been well worth the wait as it is another triumph in his already vastly impressive catalogue of films. Co-written alongside his brother Jonathan, Nolan has created nothing less than one of the most entertaining and moving science fiction features in the history of cinema. It is simply a masterpiece, combining the advantages of the traditional blockbuster with a desire to both challenge and engage its audience in a way you would not imagine going into the theatre. Matthew McConaughey (completing a tremendous year of his career that features True Detective, The Wolf of Wall Street as well as his Oscar-winning turn in Dallas Buyers Club) leads a great ensemble where everyone involved manage to create strong connections on separate levels of the story, leaving you not only wildly impressed but also grateful that there are still filmmakers out there capable of making both an emotional and provoking impact.
Any film about the extraordinary Nick Cave was always bound to be something different than your standard musical documentary. So it is, as this month sees the release of 20,000 Days on Earth, a terrific portrait unlike any other by directors Iain Forsyth and Jane Pollard. The film is actually co-written by Cave, as it features much of his lyrics and poetry as well as a terrific narration by the artist. It does bend the rules of the genre, as it quite frankly is more of a documentary in disguise. Featuring guest performers as visiting storytellers but also as companions challenging Cave to answer questions about his artistic choices, it is both entertaining and an honest look at the career of a soon to be sixty year old performer who has spent his entire adult life in one artistic industry or another. An eye-opening biography of a brilliant mind and musician that is a must-see for the fans, as well as any curious lovers of film and music.
After Winding Roads, a directorial debut in 1999 that no one saw it would take fifteen years for Theodore Melfi to have another attempt at a feature film. But this time around he would have an ace up his sleeve that would guarantee both attention and quality to the screen: Bill Murray. With St. Vincent he has created one of this year’s funniest and moving American films, and it is without questions mainly thanks to his leading man. Murray delivers one of the finest performances of his career in a manner that we’ve come to actually expect from him at this stage of his professional life. It shares quite a few notes from previous memorable turns (The Life Aquatic with Steve Zissou from 2004 and Broken Flowers from 2005 come to mind), but there is a vulnerability here that we’ve never seen before. It is a tremendous performance that should ensure his return to frequenting award ceremonies in the months to come. Naomi Watts, Melissa McCarthy and Chris O’Dowd all provide solid support making this more than a cynical one-man vehicle, and Melfi’s script is filled with cracking dialogue and clever takes on familiar set-ups. A small treasure in a season dominated by blockbusters and hollow American dramas.
ESSENTIAL LISTENING THIS MONTH:
With its accompanying TV series (mentioned in this column last month) the Foo Fighters new album is easily their most accomplished and ambitious record to date. Each song recorded in a separate city, compiling into an eight track record to show their love for American music and the importance of inspirations and those musicians who came before them. Sonic Highways is a wonderful compilation that highlights the band’s experience and laid back approach to compositions, but also their skills and dedication in a credible fashion. Their eight studio album could find itself becoming a milestone for the band and surely something that will stand out as one of the most special in their catalogue.
Greatest hits and Best of- compilations usually don’t make their way onto this site, but an exception needs to be made this month for the release of Nothing Has Changed, a triple disc collection featuring a half a century’s work of David Bowie. The highlights are too many to mention, but the previously unreleased tracks from his 2001 album Toy which was never completed are a gem, as well as the collaboration with Mick Jagger on 1964s Dancing in the Street and a PSB remix of Hallo Spaceboy featuring the Pet Shop Boys all help in making this a must-have for any fan. After the modest success of his “comeback album” The Next Day last year, one could question the desires behind this release, but it is probably better to just enjoy it for what it is and treat it as a great document from still one of the most fascinating performers of our past century.
Damien Rice has been praised for many things, but efficiency will never be one of them. After the massive success of his debut album O in 2002, the fans had to wait four long years for his sophomore effort 9. When the years kept passing even further on after that many doubted that there would even be another record. Now, eight years on – and twelve after his debut – new material finally arrives from the Irish singer / songwriter. For fans, it’s an occasion in itself, but the quality of the new music is so strong that no one can doubt the motive and desire to resurrect with a bang. My Favourite Faded Fantasy is produced by the legendary Rick Rubin (whose résumé includes work with Johnny Cash, Tom Petty, Black Sabbath and Kanye West to name a few) and is a similar take on the genre, with Rice’s signature vulnerable voice and delicate lyrics carrying the tunes. The album is a great reminder of the original impact he had, and proof that real talent does not age. Let’s just hope we don’t have to wait another eight years for record no. 4.
The single I Don’t Want to Change You also comes with a great video by Arni & Kinski.
