A Late Quartet - A late review...

 Yaron Zilberman presents the story of a string quartet from New York who must come to grips with the thought of losing one of their members. After being diagnosed with Parkinson's disease, Peter, the eldest of the group, expresses his wish to leave. As his departure threatens the future of the quartet, so too does the breakdown of Robert and Juliette's marriage. Tensions increase further when Robert becomes dissatisfied with his position as second violinist, while first violinist Daniel becomes involved with Alexandra, Robert and Juliette's much younger daughter.

Christopher Walken, Catherine Keener and Philip Seymour Hoffman turn in predictably high calibre performances here, with the latter truly shining; Hoffman's ability to find truth in a character through subtlety continues to thrust him higher through that league shared by the likes of Ed Harris, Tim Roth and Viggo Mortensen. It is a league actors who are, quietly, better than anyone ever says; actors who make a film worth watching, almost all on their own. Frustratingly, Mark Ivanir, as Daniel, doesn't quite strike as resounding a note as his screen partners; had a fourth cast member been able to share the screen with these masters, we would have had a perfect ensemble cast.

Nicely written, with real characters and great dialogue, A Late Quartet closes where it opens, with everything you see in between ensuring that when you reach the end, you see it anew. It makes for an engaging watch, with some golden scenes strewn throughout. It is true to say we do not quite get to know everyone as well as one might hope, and the running time could have been longer, allowing for better pacing, but the use of a quartet as an analogy for the strains that real-life relationships face, not to mention the fantastic performances, lend all the weight needed to what would have otherwise been a more average drama.

3.5/5

THIS WEEK: Mama / The Perks of Being a Wallflower

MAMA - (2013 - UK Certificate 15)

 

Mama is a poetic ghost story with a slightly haunting quality, featuring a lot of the trademarks with which Del Toro is clearly in love, so we see why he produced it.  Two girls go missing after their father murders their mother, kidnaps them, and attempts to end their life along with his own, only to be stopped by the mysterious titular character.  Five years later the girls are found, having survived, and are brought to live with their uncle and his reluctant rock-chick girlfriend, who the movie ends up being as much about as anything else.  The big question is, what was this mysterious character that appears to have saved the girls, and where is it now?  The story, predictably, deals with the mother/daughter bond in what turns out to be rather a "round the campfire ghost story" manner.

This sounds promising; indeed even the trailer whet the appetite nicely and prepared us for a film that looked set to follow in the footsteps of preceding Del Toro-produced successes.  Unfortunately, whilst it is carried fairly well by some familiar faces, most notably the chameleon-like Jessica Chastain, overall it has a sense about it of having been rushed, which shows not only in her character arc, but in the delivery of certain plot points which don't feel entirely thought through and, at times, a tad passe.  The whole thing lacks the creeping intensity of the first half of, say, Insidious or Sinister, as one might expect, and it also features the effects and lighter sort of scariness we saw with The Woman in Black and Don't Be Afraid of the Dark.  Given its theme and ultimate denouement, what it really needs is more of The Orphanage and The Devil's Backbone.

The negatives and some unmissable, lazy inconsistencies aside, however, this remains a perfectly passable, creepy flick.  A lot of credit should go to a director who extended his short to make this as his first feature, but don't expect to see it sitting alongside any classics in a few years.

2.5 / 5

 

THE PERKS OF BEING A WALLFLOWER - (2012 - UK Certificate 12)

Based on his own book, Stephen Chbosky adapts  The Perks of Being a Wallflower and captures rather well a time and place, and a group who aren't just cliches, but genuine people we care about, even with their flaws.  Logan Lerman plays Charlie, the troubled wallflower of the title, entering his first year of high school and facing all the trials that are part of coming of age.  Upon meeting Patrick and Sam, a fantastic Ezra Miller playing completely different to how most last saw him in We Need To Talk About Kevin, and Emma Watson, he becomes part of the out-crowd, discovers the joys and pains of love, the importance of music and sincerity, being yourself, and ultimately confronts the ghosts of his childhood, defying them to shape his future.

There is a question mark over Watson, not because she gives a bad performance, but just because some may feel she was miscast.  There is also the occasional anachronistic element, as well as some oddly under-written roles.  That said, a great deal of the film has a very sincere spirit, and an ambition to tell an honest story that comes to feel very real.  "We are infinite" is a tagline for the movie; whilst the film will perhaps not be infinite as such, it is certainly worthy of your attention.  Whether you are the age of the characters or not, it does a rather smart job of capturing a specific feeling, what it is to find real friendship, and distilling it in to images, like a moving photo book.  In some way we catch glimpses of The Catcher in the Rye, a story told in such a way as to elicit reflection on our own formative years, and maybe find some empathy for adolescents we truly care about.

3.5 / 5

 

On DVD/Blu Ray
Catch it if you like:  Donnie Darko, Juno, The Man Without a Face

DEFTONES - KOI NO YOKAN

Remember when Korn were gracing the covers of Metal Hammer all the time, when Blind was the biggest song on rock radio and they were heralded as pioneers?  The truth is they were merely holding the door open for bands like Limp Bizkit, Papa Roach, Disturbed, Staind, Taproot and Linkin Park to wander through (and promptly shit all over the floor); Deftones were the band who, with debut record Adrenaline, kicked that door open in the first place!  They were the true Kings of Nu Metal, and as if to reaffirm that status, they followed it up with an album many rock fans may recall as being quite good, Around The Fur, featuring a little ditty called My Own Summer (Shove It).  Then, in 2000, something happened nobody foresaw; while many of those other bands were sinking with the nu metal ship, recycling the same old boring ideas and sounds, moaning relentlessly about how awful it is to be buggered by your father and beaten by your mother (even when they hadn’t experienced such horrors), Deftones were swimming away from the wreckage...fast!  White Pony was their difficult third album, the one by which most artists can tend to be judged more harshly; you’re not allowed to recycle the same thing a second time, but you mustn’t disappoint your fan-base either; it is easy to see why it is a tough record to make, and why a lot of bands tend to drop off the map with it.  White Pony did indeed disappoint those who wanted more of the same, but for the rest of us it was a breath of fresh air, with a new approach, a maturity and a confidence, it was a near perfect record that quickly had them being referred to as the Radiohead of metal due to its daring freshness and new sound (as opposed to nu sound).  Still very much Deftones, but to some degree a shift in gear for a band who had matured and allowed more non-metal influences on their music to shine more obviously.

 

As a big fan of Deftones it was not easy for me to acknowledge my disappointment with what followed.  The lack of title for their fourth outing was indicative of its laziness, and the rather average and somewhat disjointed Saturday Night Wrist was a bit of a non-event.  Then they became one of those bands that were “hit and miss when playing live”, and I came to terms with the idea that they had dropped the ball permanently.  This feeling of loss of such a musical force was only cemented by the tragic accident that put bassist Chi Cheng into a coma.  Imagine my pleasant surprise, then, when they came back a couple of years ago with friend Sergio Vega on the low end and an impressive record in Diamond Eyes!  A little burdened by some ‘filler’, it is nevertheless a far weightier and satisfying affair than its couple of predecessors, and importantly, it was an indication that there was life in the beast yet. 

Well now we have Koi No Yokan, an 11 track mammoth record, which confirms the re-birth of the most important band in the nu metal movement as now one of the most innovative alt rock bands working today!  Twenty years on, to still expect any Adrenaline Pt 2 is ridiculous (just go and listen to that record, dude), but that said, the album is not without its nods to previous work.  Kicking off with the strident Swerve City, we are immediately smiling at the promise this might be as good as anything offered up on White Pony; the energy and groove are top-notch, and the hook is a dangerously addictive one.  It is not the last time that album seems to be referenced either;  Gauze is jagged, deceptively heavy and nicely textured in a way that brings Korea to mind, a sort of controlled chaos at points that houses some great bass work from Sergio, while Romantic Dreams is evidence that Frank Delgado is now officially a necessary member of this team, who pulls in the same direction as the rest and broadens their canvas, as first truly seen on White Pony, rather than a gimmicky fifth member just added after the fact.  All over this record his keys and samples can be heard to be doing so much more than anything DJ Lethal offers Limp Bizkit.  On Entombed, for example, a song that might not sound out of place on a new A Perfect Circle record, he adds a hypnotic layer, and on Tempest, one of the tracks they previewed prior to the album’s release and one which took a little time to grow on me, his work pulls you in and makes the track all the more compelling, complementing the song’s dark grooves and beautiful dynamics.  Another grower is Graphic Nature, which has a certain Adrenaline vibe going on, and sounds like it should have been the best song on Saturday Night Wrist, its guitar work at times bringing the likes of punk legends Fugazi to mind, and Abe really shining with some nifty, very precise hi-hat grooving.  It may take time, but this could end up being a fan favourite.

Another song they previewed, Leathers, nods its head to Around The Fur, with grooves full of swagger and huge guitars.  It is another example of the band’s desire to step away from the standard format of their peers, playing in 11/8 time.  It is not the only time they let this progressive tendency show either; Poltergeist, featuring sexy guitar effects and continuing the progression they made with Diamond Eyes, shows Chino’s penchant for a ‘hip-hop’ type of delivery in the verses, with a 7/4 time signature, completely atypical of the genre these guys are supposed to be part of.  If further evidence were needed that they do not see themselves in the same bracket as a lot of their peers anymore, look no further than Rosemary, a slow build to a slow BPM, putting on show an affection for the ‘post rock’ influence without going overboard,  it is heavy and seductive.  A huge Djent riff leads into a gentle outro that cleanses the palette ready for Goon Squad, which grows out of it expertly. 

Chino sounds like he cares more than ever about his performance on this; he is writing what seem to be his most positive and evocative lyrics, delivering gorgeous hooks with his unmistakable approach.  He is singing in that seductive way only he really can, and screaming very little, but it is exactly what is required for where they are as a band.   Any doubt that Sergio or Delgado may not fit is eradicated, Steph again shows off his ability to keep what he does simple yet hugely effective, with often molten heavy, groove-laden riffs.  Abe Cunningham is as solid and unpredictable a drummer as ever, straddling the line between punk and progressive perfectly.

Their reinvigoration may be down to working with Rush and Foo Fighters producer Nick Raskulinecz, who has helped them inject a boldness to their sound that has been lacking for some time.  Maybe it is certain members of the band cleaning up their act on a personal level and getting back to doing what they do best.  Perhaps it is the love for Chi Cheng and the hope he will return to play the music they enjoy making once again.  The latter is most apparent on uplifting album closer What Happened To You? which I am sure was written in Chi’s honour.  It may be all of the above, but one thing is for sure, Koi No Yokan is all the good things we know Deftones for rolled into one record with equal measure and perfect balance.  Dark and beautiful, textured and varied, heavy and emotional, it is their most creative work since White Pony, and unlike the last few records, it is in perfect playing order and has not one moment that you feel the urge to skip; in fact you feel almost rude for even considering skipping a song, and I struggle to pick highlights, it is that good!  This is an album you enjoy most when listening from front to back, in its entirety.  If there is any complaint, it is only that there isn't enough of it. This record is a tremendous gift if you're already a Deftones fan, and for anyone who is not, it's a perfect introduction.  There may be some who say it is their best album to date; it is a statement I would not try to argue with.

5/5

SKUNK ANANSIE - BLACK TRAFFIC

Skunk Anansie fans were over the moon to see it confirmed that the band had re-grouped a few years back, and I was certainly one of them.  Having never got into them much earlier I felt like a late arrival, understanding the hype only once the horse had bolted, so the news was....well, music to my ears, I suppose.  Speaking for myself, the album that marked their return, Wonderlustre, didn't really mark the return of the band as far as I was concerned; it is not that the album is at all bad, I'd happily say it is perfectly average, with some good, some weak, but ultimaely nothing that inspiring.  The truth of the matter is, I believe, that whilst the band might never admit it, they were still shaking off the rust when they wrote and recorded that material, and I have to say it shows.  Now we have Black Traffic, and here is how it works.

Opening with I Will Break You, we get the high energy Skunk coming out all guns blazing; it is heavy, has a thunderous bass, and will undoubtedly get the crowd moving when played live.  Similarly, later on the album we get Sticky Fingers In Your Honey, this record's Selling Jesus, with its injection of high octane energy and sense of fun, driven by a rare but much enjoyed double kick.  Together they make up this album's nod to the Skunk Anansie of Then.  To some degree this is a sadness; the rest of the album reflects a Skunk Anansie of Now, and whilst that is to be expected, it stands as a criticism of the album that there isn't quite enough of that fire-in-the-belly style that comes to mind when I mention Stoosh or Charlie Big Potato. 

This is not to say there are not plenty of wonderul hard rocking moments, but as with the very addictive I Believed In You, a riff-tastic burst of anger from a band who know exactly what they are cross about, there is a standard vibe to a lot of it, a safeness to them.  Spit You Out is the first song to really boast the soaring chorus we know Skunk for, and the trick is repeated quite a lot throughout the record, most notably with the song that should have been the closer, This Is Not A Game.  Following a couple of lacklustre tracks, this song sets you up for another taste of disappointment, only to then surprises you with a glorious, anthemic chorus that could have been written by Queen, and reminds us that Skin remains one of the greatest female vocalists we have produced in the last couple of decades.

The hard elements aside, we have an album highlight in I Hope You Get To Meet Your Hero, which is very much this album's Brazen.  Accompanied by a gorgeous string arrangement, Skin delivers heartbreaking lyrics with passion and Ace sounds terrific on bass.  Satisfied gives us another killer chorus and great lead guitar, and is a song that underlines Skin's ability to remain concise about the issues she is addressing, without becoming preachy.  Indeed, this album is generally a less personal record, and apparently more of a subtle knife to the political world, though a lot of it can still be understood as personal as well, which is a constant through the album and is to be admired.

Black Traffic has its weaknesses, even if you're not comparing it to old material; Sad Sad Sad and Drowning come across fairly standard, and Our Summer Kills The Sun is not the only moment that feels like a leftover from previous records and lacking inspiration.  In terms of production, some of this albums feels a little over-processed, lacking the in the room vibe that makes older material feel so vital, and whilst Skin's delivery is technically superb, there are points at which we miss the rawness of a more angry performance.  There are also points at which, through no fault of her own obviously, there appears to be a thin-ness to her voice that doesn't sit as well as it should with the rest of the band.  Granted, these moments are rare, but nevertheless, there they are.

Black Traffic is a solid rock album that tramples all over its predecessor in many ways, not least due to the confidence of a band who had been away for too long, and have now found their footing again.  Further away from perfect than it should be, and certainly not a touch on previous efforts, but a marked return to some sort of form, even if it is a new, more mature, but often less urgent and inspired form.  I remember saying something similar about Pearl Jam when they came out with their self-titled album, which I like very much.  I'm basically saying that all flaws aside, and whilst it is no album of the year or anything, this is still well worth your time!

 RATING: 3.5/5