THE NIGHT JOSH (NIXON) CAME TO OUR APT.: "I Love You, Honeybear" and his new single, "Real Love Baby"...

Upon first glance, "I Love You, Honeybear" seems nothing more than a fleeting folk rock act, to which is instantly relieved as the title track kicks in and sweeps you off your feet. Instead, it's a concept album. About who? Himself [Josh Tillman], dealing with his personal life and as he put it: "engaging in all manner of regrettable behaviour."

Contradictory is one of the words that springs to mind when I think of this album, a beautiful, almost whimsical backing with lyrics that showcase Tillman's cynical nature and dry humour, a notable exchange coming from my favourite cut of the album "The Night Josh Tillman Came To Our Apt." The track opens with a poke at those certain people who throws 'literally' into way more sentences it than it should, (certain people we all know) the only response being a sarcastic retort: "Well, it's literally not that." The same goes back at the beginning with the title track, ranging from part-autobiography about his wife or 'honeybear' to straight up satire, the use of 'honeybear' being a joke in and of itself. That is what is so wonderful about this album, the humour being there for only those who want it. "I Love You, Honeybear" could serve as yet another feel-bad tale of unrequited love if you want it to, but pay attention and a whole new layer opens up for repeat listens to take advantage of.

That aside for the time being, the sound that this album adopts is quite unlike any other folk rocker in recent memory. Strings, trumpets and all-kinds of arrangements are used throughout as Tillman's voice calls for your attention. This sprawling style takes an electronic turn on the early "True Affection", oddly one of the most straightforward tracks on the album, commenting on society's turn towards technology (matching the change in tone) and how it leads to emotional frustration. "When can we talk? With the face? Instead of using all these strange devices?", Tillman pleas.

Next in the track listing is the aforementioned 'notable exchange', opening with a sweet guitar riff, maintaining a similar tone throughout its run time as he, Josh Tillman, referring to himself in the third-person, tears a past lover, who is certainly not his 'honeybear' to shreds. "The malaprops make [him] wanna fucking scream," he says, and is frankly well-put. It could serve as a parody of himself as it further unravels, third-person and all, as almost all of his thoughts reflect back onto him, showing his true colours. He is only as bad as what he is saying. That or, it is really as bad as it seems. Begs for choking could only be obliged.

"When You're Smiling and Astride Me" is the closest you're ever gonna get to a sentimental narrative on not just only this album, but with Tillman's entire line of work, serving as another ode to his wife. The opening vocal gets you humming along, truly sugary in its nature and one of the truly touching moments of the album. This almost-sentimental theme is continued on the final track, "I Went To The Store One Day", also written about his wife and how they originally met in a store naturally.

One things for certain amongst all tracks: such a high standard is set amongst them that it is near impossible to fault for what they strive to achieve. Conceptually, it's pretty damn near flawless in critiquing his very own flaws. Be it harshly insulting a past lover to wildly praising his current, it is what it is. Josh Tillman, take it or leave it. "I can hardly believe I've found you and I'm terrified by that," as Tillman thinks about his 'honeybear'.

Alongside this comes "Real Love Baby", a wonderful little single that continues much of the same style that is found on "Honeybear", reverb fully intact. Satire takes a backseat however as an air of humbleness is found, as he's learned to surrender his love to his significant other. He's the flower and his wife is the bee. It's a matter of compromise and that's perfectly okay. It's honesty is bolstered by a soothing tune, especially in its outro as the chorus is burned into your ears, straightforward and heartfelt in a manner that you never thought he could show without cracking a joke.

SEASON AFTER SEASON: Everything Everything's "Get To Heaven", bold, determined art rock at its finest...

"Get To Heaven" is a pretty radical statement in comparison to their previous albums which featured more sombre tones and sensitive lyrics. This is quite the opposite, firing on all cylinders, aggressive in every definition of the word. It's this buzz which gives "Get To Heaven" its edge, with banger after banger coming on out to pull your attention with its unique approach to pop music, whilst still maintaining its accessibility throughout.

"To the Blade", the opening track, is to the point, addressing you directly as the listener with its first line: "So you think there's no meaning in anything that we do?" It's sense of urgency is immediate and there is no second guessing as to what it is trying to achieve. The song is an open letter to a person of a questionable nature, proven by that very line, possibly relating to terrorism. A heavy message for any song, but this just goes head first into it, a radical action attacked head-on by a radical opener. The elephant in the room. The track bursts into life mid-verse, surprising further. This burst alone showcases Jonathan Higgs' vocal talent with his ability to snap between differing vocal styles and pitches at an instant. As an opener, it serves as a perfect introduction to the album, the aggressive and somewhat overbearing nature doesn't slow with later tracks. It keeps going.

So as the story goes with "Distant Past", continuing the thumping beats started in the previous tracks. It relates back also in terms of its theme, in that history repeats itself, with the distant past serving as a simpler time. As we "cross the Rubicon" or our evolutionary point of no return, the distant past is our ticket to change what is set in the present. Their unique flavour and approach to pop continues with this, an electronic presence is greatly felt in the chorus in particular with the synth strings which is not too dissimilar to house music. It's a blend that needs to be heard more often and experimented with, as the rest of the tracks on this album strive and achieve in doing so.

It keeps on coming with the title track "Get To Heaven", overcoming the horrors of everyday life and understanding them: "We can get to that heaven!" Served alongside this is the falsetto-defying vocals once more and a blissful chorus featuring its own quirky mix of instruments, uncanny in how it fits together. "Regret" contrasts this, opening with a banging percussion beat and the title of the song serving as its hook. A simple statement of wanting to change mistakes for the better, but powerful in its execution and again being direct in nature, asking you directly: "Did you imagine it in a different way?" Thinking about what went wrong and how your own imagination would make up for the scenario and serve as the way it actually happened.

Now, my favourite hook of the album "Spring / Sun / Winter / Dread" opens with Higgs' yelp in danger of time passing by as the clock hand looms heavy before throwing you into its chorus, questioning the inescapable nature of time. Season after season passes and you get older, "[no way!]" Higgs proclaims. It's another simple message in the nature of "Regret" but again it is one that affects us all. The song becomes impossible to resist as it hits its cut-throat bridge and you can just feel your head letting go, banging away with the track, building in intensity and speed until the song finally cuts out. When you can end your song with the bridge, AND make it incredibly satisfying, you've got a winning combo there and then.

It takes a transitional turn with "The Wheel (Is Turning Now)", a darker tone showing their "Kid A" influence rearing its head, still maintaining a beat but one that is more subdued, a stark contrast in comparison to the rest of the album so far. To which is the direction the album goes for the rest of its duration with tracks like "Fortune 500", an account of breaking into Buckingham Palace and murdering the Queen, reemerging with "No Reptiles" which again starts subdued but builds to an almost heavenly climax, dealing with rejection and pleading for a meaning in the world. "Just give me this one night, just one night to feel..."

This album is a bold new direction for Everything Everything and a direction that should be pushed even further with their next album, as while it can be overwhelming at times and for some it may have to be taken in parts, but it is truly enthralling as it never lets go of your attention and is always at the forefront.

THIS COULD BE FOREVER, BABY: Vince Staple's "Summertime '06" album thoughts & review...

Last year, up and comer Vince Staples made a hit with his album debut "Summertime '06", and with good reasoning behind it. An admirably consistent effort with memorable moments scattered throughout its run time, it is simply put, a solid rap album. It doesn't reinvent the wheel in terms of its concept, a hustler growing up on the streets of Ramona Park, but maintains interest through Staples' hints to his past. In particular, the album's namesake: "Love tore us all apart. Summertime ’06, June 30th."

With this being what it is, a pretty sprawling 20-track double album, the overall themes and atmosphere that this record generates is perfect for its subject matter. Grimy and hard-hitting beats tie together with Staples' emergent tone and verses which is particularly put to the forefront with the track "Norf Norf", the opening line grabs your attention, addressing you directly, and if that doesn't do it, the hook is certain to do so. The production, one of the album's greatest strengths, takes a backseat on this track as Vince breaks through: "Norfside, Long Beach!". This trickles down to the following tracks where it never misses a beat and never stops to take a breath, with Vince's flow on "Loca" perfectly complimenting the intro and hook from guest who features later, Kilo Kish. It is forever emergent, production really coming through with beats that simply keep you glued. 

Producer No I.D. brings it all together, ensuring that every track has this quality in the case that Vince couldn't tie it in himself which happens on odd tracks such as "Dopeman". The beat overwhelms his verse on the track and as a result you struggle to hear him, allowing for the production and the feature from the aforementioned Kilo Kish overshadow his performance. However, this is immediately course corrected with the next. "Jump Off The Roof" is as simple as a hook goes on this album, but it is one of it's best and when it kicks in, even on the first listen, I couldn't help but tag along. Past this, the hook and later bridge alludes to this being the ending to an addiction, to what, I'm sure you can guess. The metaphor is hammered home by this hook, brought into the spotlight from the very first line: "What's your addiction baby?"

Where this album really came into its own and connected with me is with the closure of the first act, if you will, "Summertime". In particular the almost soulful hook, which may or may not already be apart of the title of this very article. It's a comedown, a break from the hectic lifestyle afforded by the previous tracks heard thus far. This brings Vince's insecurities to the front lines instead of focusing on his emergent vocals, showing him at his most introspective. The reflective and almost tender nature doesn't last long however, it being back to business with the second disc, continuing the Ramona Park Legend...

The second disc continues the trend established prior: solid beats and as direct of a performance as you can get out from a rapper. Vince sounds hungry in his verses, eager to throw his verses out there for all to hear with a near flawless flow. This is seen on tracks like "Get Paid" or "Street Punks" and it is just as strong as the previous disc with the same caveats in place also, with certain tracks such as "3230" whilst still a strong track in its self, Vince takes a backseat to the feature, making you momentarily lose track of whose album this actually is. It's bizarre, some cuts are undeniably unique to him and who he is whilst others just seem to fall between the cracks in terms of his own personal touches. This is at no point a criticism in regards to the individual tracks as they're all solid as aforementioned, but it does breakdown the concept put in place by Vince when he himself isn't as prominently featured to purvey said concept.

All in all, this is simply put, a great debut and follow-up to his previous mixtape "Hell Can Wait" which in itself was a promising start giving a taste of things to come. This was it, and it was certainly worth the wait, as this album has stuck around in my thoughts a year over its release consistently. Great beats and production from No I.D. and an undeniable charm and urgency from the man himself, Vince Staples. If what is seen so far is to be judged, that seems to be a winning combo.

HELLO FRIEND: "Mr. Robot" Season 1 review and recap...

With season 2 very much underway and all of its twists and turns yet to be unravelled, a recap of the now hugely popular "Mr. Robot" or an introduction to those who haven't started the phenomenon would perhaps be appreciated. No need to worry as this is certainly spoiler-free! Just a plain and simple look at "Mr. Robot": what it is, its unique quirks and ultimately what has boosted it into success.

Welcome to New York City, the home of one Elliot Alderson and you, the viewer, are his new friend. That's not in a figurative sense either, you serve as a passive force in the story as it unfolds with Elliot giving a nod to your viewership every once in a while. The fourth wall isn't just broken; it was never there. A simple yet contradictory immersion into the story. As simply put, this direct point usually serves as a form of parody or a form of comedic effect and to take you out of the experience, but this does the opposite. It breaks the fourth wall but in a sense that makes sense within the character's frame of mind, and as you can imagine, a person with an imaginary friend is in this case not exactly the most stable as you will come to find.

It starts straightforward enough, but as the season takes its toll, you're gonna have to learn that at some points, what is on screen and what is actually happening with the characters are two different things. In a manner quite akin to "The X-Files": trust no one. As the subversion kicks in, good luck putting it down. If you're anything like me and this hooks you, this season will be done within a matter of a week or less depending on how avid you are in terms of binge watching. It culminates into a wonderfully self-aware commentary on society and how the team behind fSociety decide to try and take it on head first with their attempts to end one of the world's largest conglomerates, E Corp. (Or Evil Corp as Elliot loves to put it from his perspective, another slight detail that is only perceived in scenes with his presence.) 

When you hear the title and the premise of hackers attempting to break down society, it does sound awfully cliche. You see, that's where I and presumably you are wrong. It's not that, in fact its far from that. There are some issues present, albeit those are predominantly in regards to spoiler territory, but overall with its premise and most importantly execution there is very little to go wrong with "Mr. Robot". Perfectly cast and acted, most notably by the lead Rami Malek with his dry humour and incredibly expressive eyes, which in some scenarios, do all talking that needs to be done. Christian Slater also as the titular character is also to be commended, with his first notable role in years, proving he's still got some oomph left in him. The style involved is peerless for a TV show, with exceptional presentation, cinematography and use of licensed tracks to set the scene, my favourite track used being "Sound & Color" by the Alabama Shakes. Sam Esmail should be proud.

There's just so many areas that this show can be praised for and whilst certainly it is understandable for some to dislike it, there is at least some aspects on offer for anyone to enjoy or appreciate. While the show doesn't revolve around it so much as the character of Elliot, the hacking process involved in the show is unlike any other fictional programme or film I've seen with one exception. Instead of dumbed down processes seen in shows like "CSI", (you know exactly what I mean) it is as close to the real thing as you can get whilst still remaining accessible to viewers who are unwitting to such uses of technology. It isn't treated with utmost importance either and being toted as a major selling point in the exception of Michael Mann's "Blackhat" in which it decides to juggle realistic elements with almost ludicrous plot points and action sequences. It is just there and present as a tool for the characters to utilise. The show can come across as indulgent or potentially pretentious as some points, with itself being aware of that, but the use of hacking and technology certainly isn't.

And with that, what are you waiting for? There's plenty to catch up on and plenty more in store for "Mr. Robot", and if you don't at least give it a try, you're missing out on what could be your next favourite TV show.

WE GET THE WORLD WE DESERVE: season 2 of True Detective comes to a close...

For once, I adhere to the namesake of this blog... there will be spoilers!

With the 90-minute spectacle "Omega Station", the somewhat unsteady yet somehow riveting second season has ended. Did it redeem itself? The answer to that is merely a mix of yes and no.

Continuing on from the pilot that so many called disappointing, it received similar criticism for later episodes, but for me, the time investment really paid off when it hit the climax of episode 4: the extravagant shoot-out that only starts the slippery slope for our morally ambiguous heroes. However, up until that point, the episodes were still largely entertaining, but suffered from some surprisingly major detractors.

For example, the end of the second episode. Velcoro is seen to be shot twice in the stomach point blank by a shotgun upon finding Ben Caspere's illusive hard drive, for the week-wide cliffhanger to be clumsily resolved by the reveal of non-lethal riot shells, not buckshot. It did serve the purpose of the story and made sense within its context, but if that wasn't a horrific bait, I don't know what was. In terms of misplaced cliffhangers anyhow, it still doesn't reach The Desolation of Smaug's levels, not by a long shot.

The slow start is the main issue that most had with this fledgling second season and to a certain extent, I agree. When it starts to kick out its shockers, it never lets go. The aforementioned shoot-out in episode 4, the subsequent backlash and time jump in 5, the bizarre and nightmarish orgy sequence in 6, the death of Woodrugh in 7 and now here we are: the final nail in the coffin for a majority of our surviving leads.

One last attempt at cracking the case is made before our characters realise that the hydra is unstoppable, you cut one head off, another one grows in its place. They need to get out before they follow Woodrugh's fate as Velcoro is framed for his murder. Both Velcoro and Bezzerides are fugitives, on the run from the long arm of the law. However, what eventually culminates by the show's closing minutes is utterly heartbreaking. There is one last glimmer of hope as all of the loose ends are tied and they can all make their escape from the toxic noir that is Los Angeles, but emotion and human weakness shatters that illusion and it all comes tumbling down. 

Frank is ambushed by the side he least expected and is left for dead in the desert, stumbling through all of his visions of nay-sayers throughout his life, all of the people who said he could do no good, striding past them, leading up to his one reason to live - his wife. In a twist of fate, when Frank says to her that he has to keep moving, she struggles to retort: "you stopped moving way back there". Reminded of his wife only being a vision, Frank passed before he even got to her.

Velcoro is tracked down after letting down his guard to see his son one last time, throwing away his chance to escape. In his last chase and ditch attempt, he sends a voicemail to his son as a goodbye and to explain to him that it is nothing like it seemed. After an exchange in bullets, just when you think he may actually make it, reality kicks in and he is shot to pieces by his boss Lieutenant Burris, Woodrugh's killer and overall scum bag and his squad. His phone is last seen, with a message that reads: "Failed to Upload Recording to chadvelcoro@gmail.com", his son will never hear his heartbreaking last goodbye as his wife discovers that Chad really is his son, getting back the paternity test.

As after all, the second season of True Detective doesn't succumb to what the twists and turns of the case are, it's about the people behind it and your hope for their success. Cohle and Hart from the first season may have survived, but they never even scratched the surface of the conspiracy that they attempted to uncover. The higher-ups and those responsible will never be accounted for as they left it too long unsolved. The final message that this season poses wraps it up ever so perfectly as the current conspiracy becomes too much to handle and comes back and ruins our heroes chances of a new life, absorbing them. While Frank's wife and Ani get away with Velcoro's second child, they are left no more satisfied. Ani lays down all of the evidence they had, knowing that it will most likely never even make a dent on the unsolved conspiracy. 

Incredible performances from Colin Farrell, Rachel McAdams, Taylor Kitsch and of course Vince Vaughn all hold this up past the sometimes questionable dialogue and slight holes in the plot to create an overall touching experience that is as good as the season that preceded it. The bad guys win, and we all do get the world that we deserve...

INSIDE OUT (2015) thoughts & review, "the best since UP!"...

It's time for a current release, current to the point that I haven't actually seen it yet! These words were kindly provided by one Adam James Young, currently running his own blog, right here.

I must admit, I wasn’t really expecting anything much from Disney/Pixar new movie. After all, the last films that Pixar had done weren’t exactly stellar: Monsters University was okay, but lacked humour of Monsters Inc. and before that Brave was a piss poor attempt to try and be “Brave” with the princess theme that Disney perfected a long while back and try and make it empowering to women and younger girls. However, that went horribly to say the least. Even when I saw the excellent reviews on Rotten Tomatoes at an amazingly high 98%, I felt something inside me saying that it was going to be another mediocre dud. Not bad, just plain average.

Boy was I shocked - not only was this good but it was certainly by far the best Pixar film since Up! No film since Up! has had a stronger message for kids than this. It’s excellent. The story is about Riley Anderson (Kaitlyn Dias), an 11 year old girl who has moved with her parents from Minnesota to San Francisco. Naturally moving from Minnesota to hippy central San Francisco both of which provide a mix of emotions to experience.

In comes Riley emotions: Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling). The cast is for the most part. Amy Poehler voices her the exact same personality as she does in almost everything else she's been in. Optimistic, bubbly & just a little bit unrealistic. Really if you close your eyes and just listen to her talk, it sounds like clips from Parks & Recreation. But... I like Parks & Recreation so I'll allow it. The real standout though is Sadness voiced to perfection by Phyllis Smith. Her dry & slow performance make the most quotable lines in the film.

The story is interesting and always seems to be on the move. This is because of the need to swap perspectives in the film to flesh out both sides. Usually this is never helpful for a kids movie (Osmosis Jones anyone?) but because of it always being interesting to watch, whether it be in Riley's head or outside of it you'll probably not seem to mind.

The many messages of the film is by the far the best thing about this film. Every kid’s film should have some important message. The message in this kid’s film however, it even goes to rival many adult films. It’s damn well in philosophical terms.

The message is the importance of our mixture of emotions. It talks about the importance of suffering. To link in with religious philosophy, this film is saying the Veil of Soul Making. The idea that we suffer to make us better people. We need sadness as much as we need joy. Those events make us stronger. Another compelling idea that has been overlooked by other reviewers is the accepting that we let go of things. We lose friends in life. We have to face that facts that we just grow apart and move on. This may not be a nice concept but it is an honest one, the whole film had me genuinely questioning things about life. A rare feat for a supposed “child’s” movie...

Safe to say, Inside Out is one of the most mature films to come out of the Disney canon. No real and generic truly happy ending and no bad guy or villain. (Unless you consider loss of one's self a bad guy but who would?) All you need to make a great film is good characters, good story and concepts that get your head into motion.

Not forgetting Richard Kind's portrayal of Riley’s ex-imaginary friend Bing Bong, playing it to Jewish perfection...

TWIN PEAKS: FIRE WALK WITH ME (1992) review & retrospective, "The last seven days of Laura Palmer..."

...better late than never?

TWIN PEAKS: FIRE WALK WITH ME was the return to the titular town, where no one is innocent - the same goes for the critics and fans like who watched the film upon its release. No one liked it. Released in 1992, a year after the show had run its course and David Lynch at the helm once more...

What happened, and why is it celebrating critical reappraisal 20 years past its release?

The curious case with this film and the point that everyone has with Fire Walk With Me is a simple one: it has little to do with Twin Peaks, at least in style or tone. Instead it plays like standard Lynch fare - more akin to his features, with some quaint and odd echoes to his past films such as Blue Velvet, handling similar themes. It's non-linear structure and seemingly incoherent narrative lost fans, including myself on a first viewing, baffled by the images that had passed my retina. It takes a deeper look to fully appreciate what Fire Walk With Me is, which is not Twin Peaks, the goofy, loveable and ever so slightly uncomfortable look into a small town, but Twin Peaks, the horrifically dark and sinister place with the façade of an idyllic small town. The literal fourth wall breaking moment at the very beginning with the smashing of a TV screen should be enough evidence to suggest that this is to subvert expectations and play with it's own space, the big screen, not the small.

It touches upon all of the elements that would have been in Twin Peaks if it weren't on TV or more appropriately, a network looking to play it by the books, not taking any risks. Drug abuse, violence and psychological torment play key roles in this film, at the centre of it - a girl who is about to give into said torment and end her own life. It goes back to fill in the blanks, Lynch himself coining the story as not the obvious death (or at least it should be obvious) of the lead, but when. When is Laura going to die? It's this uncertainty which is what Fire Walk With Me hinges upon, it constantly unnerves you. It's that feeling that many horror films attempt to replicate - that sense of dread, you know something is going to happen, but when? When it does happen, it feels like a great release, like a burden has been lifted from your shoulders because you know that Laura is free from her torment, from the killer BOB, from her revolting nightmare.

As ultimately, when I think of this film, I have a horrible feeling inside: a feeling I have for no other film, this film disgusts me... but that's what I love about it. That's what keeps me coming back. It's taken several years for people to realise this - Fire Walk With Me exists as its own entity, detached from the TV show to show Twin Peaks from a different perspective: the disgusted and haunted perspective of Laura Palmer and how she sees it before her untimely demise. I feel as Laura does and I'm not alone in this feeling.

Looking forward now, onto the already covered subject of a revival, most fans will be clamouring for that same old goofy Twin Peaks, that is what shouldn't be expected of the return and I believe it's third season will be much more akin to this misunderstood prequel, a much, much darker approach. Either way, be it like the show or the film, or even perhaps a mix of both, I look back to Fire Walk With Me and can't help but love it, and look forward to the small screen eagerly for the return of the cult classic - but maybe in a darker light.

Under the sycamore tree...

I'm not alone in seeing past Fire Walk With Me's undeserved hatred: http://www.telegraph.co.uk/culture/film/film-news/11153925/Fire-Walk-With-Me-the-film-that-almost-killed-Twin-Peaks.html

TWIN PEAKS revival in 2016... scratch that... 2017: what made it so special to begin with?

I'll see you again in 25 years...

Twin Peaks was and still is a pretty perfect example of a cult phenomenon - still maintaining a large enough following over 25 years later, rife for a comeback, which is indeed happening after a brief scare involving David Lynch's departure and subsequent boycott. Crisis averted.

Enough baseless appraisal. What is it that made Twin Peaks so memorable? How is it that such a short-lived stint on America's then third place broadcast network could attract such a following?

One simple thing: character, for me at least. Everything within Twin Peaks reeks of character, even it's idyllic setting, but from the moment you're introduced to the FBI's Dale Cooper, you are succumbed to intrigue as he blabbers away diligently to his tape recorder also known as Diane. This quirk alone builds the charm that is ultimately Cooper, a charisma so great it becomes nigh impossible not to like him. This follows onto each of passing characters and their locale, crafting a sense of nostalgia, this coming from a viewer whom only stumbled upon this show in recent years.

It is simply Lynch's masterpiece, as together with partner Mark Frost, the two created a balance, notably restraining Lynch's abstract nature in his films, allowing the show to have a goofy quality that adds to its unique nature. On the note of restrictions, the restrictions of the show being on ABC and of course the show's downfall due to the network's incompetence more than anything is what hampered it's progress, in addition to the waning interests of both of the show's creators during the second season and horrific anti-climax during said season. This lead to that 25 year unsolved cliffhanger (that I thankfully wasn't even in existence to wait for), which will finally be resolved with the show's return, with the passage of time hopefully being manipulated to the show's benefit, seeing these bizarre and often juvenile characters pushing the envelope of grand or great grandparents.

Leading onto the cultural impact Twin Peaks brought, it's had countless references and parodies as well as influenced all forms of media, ranging from it's habitat of television, film and video games, with video games taking up a large percentage of the influence with such lovely titles as Alan Wake, Deadly Premonition or a ham-fisted reference in Gone Home that take liberties from the series whilst being their own unique property. It's not only what Twin Peaks brought to it's audiences from it's own face-level existence, but the aforementioned director behind it: David Lynch, but not his own individual talent, but the prospect of a big screen director coming to the small screen. Whilst now you have directors such as Martin Scorsese behind shows such as Boardwalk Empire and going so far as to praise television as the next great medium, it was a different story with this show's conception in 1990. Television was largely avoided by film makers up until that point, opting to stick with the one-time feature-length experience, missing out on the benefit of a lengthy continuous story that can grow over time, instead of being condensed into one sitting.

There is oh so much more that can be said about Twin Peaks, with it's return to be welcomed by the collectively open arms of it's fan base, with a final note to the fan base being: don't be surprised if the new series is more in the vein of Fire Walk With Me, which I myself would not be all too saddened by. Only more excited.

"Diane, 11:30 A.M. February, 24th. Entering the town of Twin Peaks..."

TRUE DETECTIVE returns in it's second season blues: a plea against early judgement...

I can't say I'm alone in saying that the first True Detective was an unexpected delight, taking actors not known for their dramatic gravitas and putting them in just that - a fascinating character study between Rust Cohle and Martin Hart, Matthew McConaughey and Woody Harrelson, the latter set of names eventually forgotten as you, or I at least, came to love their fictional counter parts in all their fatal flaws.

Past the acclaim of the first, in comes the second. Troubled from the beginning, the fledgling second season had big shoes to fill after the news of it becoming an anthology. A clean slate for another story to be told - daring to say the least. The hype was and still is insurmountable for the second after the first, which seems to be deeply disappointing fans and critics alike. With only the first episode aired as of this writing, the picture hasn't been fully painted yet; this is the pilot, our introduction into the world that is far too early to be properly judged, a point that some publications don't seem to understand.

You look through any articles relating to the return of True Detective and you will only find the words "bad" and "disappointing" scattered through each piece, and this to a certain degree is true, but as aforementioned, it is far too early to tell.

From my perspective, this second coming is promising. It struggles to find footing, each of the characters flailing for a plot point to grasp onto which was finally answered by the four star-studded and solidly acted vignettes intertwining by the episode's end. The mutual connection to one Ben Casper. The atmosphere and look is as thick and enriched as ever, from the second the entrancing riff of Leonard Cohen's "Nevermind" kicks in, you know you're in for a ride, regardless of it's prioritisation of style over substance. This is Nic Pizzolatto's show through and through, it's made clear that this is exactly what he wanted, even from this first vertical slice, and that is admirable to say the least.

Retreating back past my potential hypocrisy to my previous ham-fisted moral: reserve your full judgement until the story is told, yes, do have your opinions and thoughts on each of the episodes as they come, but don't treat them as if it is representative for the entire season until the entire season is here. TV critics prove to be frustrating, putting their foot down before the picture is present - colouring the minds of viewers before the viewers themselves get a chance to form their own opinion on the basis of a three episode head start.

The blame is not on the critics to be perfectly honest, as while aggregate review scores on sites such as Metacritic or Rotten Tomatoes have their place, they are taken far too seriously by some.

After all, it's not about what others think including myself. It's about what you think. However, consider this: give the second a chance, and for the love of god, don't compare it to the first, as it's not trying to be what it was before, but what it is now.

"I was not caught, I crossed the line..."

Check back for more thoughts about the second True Detective past it's finale on August 9. Then a conclusive tale can be told...

SLOW WEST (2015) review, "He had his heart in the wrong place..."

SLOW WEST is a 2015 film starring Kodi Smit-McPhee, Michael Fassbender and Ben Mendelsohn, written and directed by first-timer John MacLean. The film follows the bare bones Western; a boy is on a journey west to find his love, accompanied by Silas, his mysterious "chaperone".

----------

It's hard to believe - amidst the summer blockbuster season comes a small and lovingly crafted film set within one of the most depreciated genres of cinema.

Slow West is just as the title suggests, it burns slowly and unapologetically so, taking its time to grasp onto its narrative just as the lead attempts to grasp onto his bounty-ridden love. However, when it does grasp, it goes with flying colours, delivering visceral and oddly surreal action sequences that clash playfully with the clean and heavily saturated landscapes and cinematography.

The cast populating those sequences are all commendable in their efforts, McPhee as the feeble but strong willed Jay, Fassbender as the jaded crook with a heart of gold Silas and Mendelsohn as the fur-coat wearing and sinister villain Payne. Fassbender especially steals the show, his character presented perfectly, chuckling on a cigar even in the most dire of consequences. Deferring to the lead's love interest, Caren Pistorius deserves an honourable mention as she dominates the screen during the film's finale, with her character left in a state that can only be described as bitter-sweet. 

Written and directed by aforementioned first-feature-length-timer John MacLean, it is certainly an impressive first effort. While it may be the definition of a simplistic story, never has it been taught so well and with such straight forward focus when it gets going. The film may suffer for some due to its meandering closer to the beginning, indulged in its own pretty visuals and minimalist style, this becomes a non-issue after the first plot-related bomb shell drops - leaving you wondering what made you feel even slightly bored in the first place. 

It brings the unquestionable moral that was the Wild West: brutal and often prone to life or death scenarios as everyone scrapes by, the scraping by being the bounties that are picked up by wanderers, each poster proclaiming "Wanted dead or alive", which is adequately put as "Wanted dead or dead". Dialogue between characters is often underplayed, the faces and the guns with those faces do the talking. The bonding process between Jay and Silas is a key example of this, the first moment in which they reluctantly work together leads to the deaths of multiple people, actions speaking louder than words. The last shots of the film hammer this home with each of the body count tallied up in a remorseless fashion, showing the count close and in grisly detail. While this may seem ham-fisted upon reading, it feels natural as you absorb what the film has to offer and succeeds in its job of making you think of the consequences of the actions made throughout.

The score by Jed Kurzel is a minimal aspect of this film, and to that it works to it's advantage, accentuating the slow build-up and outburst that takes place with plucky strings and violins soaked with dread respectively, taking an ambient back-seat instead of it being used entirely to demonstrate action - proving the age-old sign of intelligence as when to know when not to utilise the score in addition of when to utilise it. 

Cinematography as aforementioned demands to be discussed, as done by Robbie Ryan. This film is beyond gorgeous, the colours pop perfectly within the daytime scenes and evoke the quality of an old, classic Western, the cinematography alone makes this film worth a view and also shows a tip of the hat to all of the older influences that this film has.

Overall, Slow West is a wonder for fans of the genre and is also accessible to those who generally lack interest in Westerns, but if that is the case, it may not win you over, but it will certainly make your appreciation for films such as this deeper. It's only once in a while that you see a film like Slow West pop up without taking any of the well-deserved spotlight - and that's a damn shame. 

"There's more to life than surviving..."