ESSENTIAL VIEWING THIS MONTH:
After the array of combing forces from Marvel Studios’ comic books, it was only a matter of time before their fiercest competitor DC Comics did the same. This month the highly anticipated BATMAN V SUPERMAN: DAWN OF JUSTICE arrives, with Henry Cavill reprising his role as the Man of Steel and Ben Affleck taking on the dark bat of Gotham. The ladder casting choice caused quite a stir in the comments section of fan sites, but Affleck comes away from this with his honor intact as he provides a sober, firm and modern take on both Bruce Wayne and Batman. This will hopefully put to rest the memory of his previous comic book outing of Daredevil back in 2003. With Man of Steel (2013) director Zach Snyder created a mixture of the previous take on the superhero genre, with part fantasy from the first Superman series and part reality from Christopher Nolan’s more recent Dark Knight trilogy (Nolan still serves as executive producer on BvS). With this follow-up he continues to mix it up, but leaning more towards the fantasy route – in particular with the introduction of Gal Gadot’s Wonder Woman. The result is a great piece of blockbuster entertainment that stays loyal to its source (and their fans) while also pushing it to a new level in respect of technology and effects.Ryan Reynolds worked for nearly a decade to get DEADPOOL his own franchise. This month his labor of love hit the screenings, becoming a smash hit and recently taking the throne of the highest grossing R-rated film of all time. It is easy to see why. Reynolds is simply irresistible, both as the light hearted Wade and then later as the title character. His style of humor combined with his impressive physicality and action abilities puts him up there as one of the most entertaining comic book characters of all time. The decision to “go meta”, breaking the fourth wall and allowing the audience in on the jokes that Deadpool knows he’s in a movie – and being played by Reynolds. The leading man is not afraid to laugh at himself – a feat not often found among actors taking on superhero roles. Director Tim Miller keeps it light and on a modest budget, he’s managed to pull of impressive action scenes and set-pieces, without a chip on his shoulder but instead with a smile on his face and well timed nods to other inspirations. This is a refreshing and tremendously entertaining addition to the ocean of superhero movies out there that is likely to be enjoyed just as much upon repeated viewings.
One of the most fascinating documentaries to arrive in a while is LISTEN TO ME MARLON, a modern and unique look at one of the all-time acting greats – Marlon Brando. Made in large parts with the use of Brando’s own audio tapes, where he talks about his life and craft, with all achievements and mistakes included. It makes for compelling viewing, with director Stevan Riley re-creating Brando’s profile in a mesmerizing experimental effect that allows the legendary actor to communicate beyond the grave and taking the audience onto a journey that transcends both dimension and time. It is really quite something. In addition there is plenty of previously unseen footage, both from Brando’s personal life and the many film sets he appeared on – always taking center stage and impossible to ignore. Regardless of your feelings of him, as an actor or otherwise, this is simply must-see documentary filmmaking that will surely stand as the ultimate portrait of film acting’s most influential player.
ESSENTIAL LISTENING THIS MONTH:
The announcement of a new album from IGGY POP came as a big surprise earlier this year. In January Pop and album producer Josh Homme appeared on The Late Show with Stephen Colbert and revealed that the record would arrive in March. POST POP DEPRESSION is the seventeenth studio album from Iggy Pop. In addition to handling the production Homme also plays on the album alongside fellow Queens of the Stone Age alumni Dean Fertita and Arctic Monkeys drummer Matt Helders. It’s an interesting group, performing together nicely with a balanced mixture of energy and nostalgia. Pop has stated that the album is about legacy and realizing you’re coming to an end creatively. If so it is only natural that the soon to turn sixty-nine year old musician has decided to slow things down. The album contains a modest nine tracks, mainly featuring slow, but hard hitting rock tunes that arguably focuses more on lyrics than Pop’s previous solo albums. It won’t knock any doors down or establish Pop with a new set of potential fans, but it is a timely and appropriate addition to the discography of the second half of his career.After achieving great critical acclaim as well as a decent amount of commercial success with his band Grant Lee Buffalo in the 1990s, lead singer and songwriter GRANT-LEE PHILLIPS has gone on to release twice as many albums as a solo artist since the turn of the millennium. They have varied quite heavily in quality and their resulting success. This month his eight studio album THE NARROWS arrive. Produced by Phillips himself it is an ambitious and wide stretching album with a generous number of thirteen tracks. The new record explores his interest in folk music to a more open level than before, despite always being a background element on his albums. The Narrows takes its time and goes through each track with diligence and attention to detail, making it a more compelling experience the second or third time around. It would have benefitted from a slightly tighter format, with one or two tracks from its middle section getting the boot, but this is still collectively a strong and enjoyable album that is arguably his finest outing since 2004’s Virginia Creeper.
After steadily releasing an album every other year since their establishment in 2006 The Gaslight Anthem announced last summer that they would go on an indefinite hiatus. Front man and main songwriter in the Group BRIAN FALLON shortly later announced that he had started work on his first solo album. It arrives this month in the form of PAINKILLERS. Fallon is responsible for every tune on the album, with the occasional co-writing credit from friends in the studio. It’s a comprehensive package with twelve songs that still clocks in just shy over forty minutes. Meaning that these are songs designed for – and inspired by – the radio. Fallon is a nostalgic who wears his heroes on his sleeves, with the likes of Springsteen, Petty or Fogerty echoing throughout, as it usually also did on his band’s albums. It is still a refreshingly honest and straightforward record, committed to the formula of the classic rock and pop tune. Fallon’s trademark hoarse and weary voice is still his most prominent feature, carrying each song with passion and intent. The album is a love letter to American music and its key players from the past five decades. If you’re looking for experimental or cutting edge tunes you should turn elsewhere, but if you enjoy well-crafted and traditional rock anthems performed with heart and soul this album is a terrific treat.
Check out Red Lights, this writer's favorite track on the album.
