New York
Kieron Tyler
The Beatles’s arrival on US TV screens in February 1964 is usually recognised as the beginning of the British Invasion of America. But this drama, focusing on chippy, upstart photographer David Bailey, his relationship with his chosen model Jean Shrimpton and their first shoot in Manhattan, floated the idea that their US visit in January 1962 was as pivotal as The Fabs’s debut appearance on The Ed Sullivan Show. We'll Take Manhattan was significant for featuring Karen Gillan, now on her last lap in Doctor Who, in her first starring vehicle. The sense behind casting her was clear. Gillan Read more ...
howard.male
Whatever post-modern subtexts and layers of irony may lie behind the title Yes and Also Yes, the fact remains that Mike Doughty’s fourth solo album exudes a sunny positivism that makes a completely literal reading perfectly reasonable. From its opening lyric onwards - “You’re man won’t dance but I will” - this is largely a collection of bouncy, affirmative declarations of intent which find the one-time Soul Coughing front man more comfortable in his own skin than he’s ever been before.As someone who thought Soul Coughing were the best American rock band of the 1990s, I initially missed Read more ...
peter.quinn
Recorded live at New York's Blue Note during a two-week residency, this double CD celebrating the music and legacy of the jazz pianist and composer, Bill Evans (1929-80), stirs the soul even as it breaks your heart a little. Drummer Paul Motian, a member of the first Bill Evans Trio with Scott LaFaro on bass - widely recognised as one of the most influential piano trios in jazz - passed away in November last year.
Disc one sees piano maestro Chick Corea, together with Motian and another Evans alumnus, bassist Eddie Gomez, dusting down two Evans originals, “Peri’s Scope” from Portrait in Jazz Read more ...
Kieron Tyler
Their name is Portuguese for miracles. Aiming high with their handle hasn’t prevented the Brooklyn-based Milagres from being criticised for their supposed Coldplay leanings. Sure, singer and main man Kyle Wilson has a tendency to stretch the middle of words out and there is a yearning, windswept feel to much of their debut album. Elbow and Grizzly Bear can be chucked into the pot too, but what they most sound like is a Mercury Rev/Talk Talk smoothie.The production of Glowing Mouth is crisp. Precise. Milagres’s lyrics are less specific. “Lost in the dark” sings Wilson on song of the same name Read more ...
Sarah Kent
When it premiered at the Venice Film Festival in September, Steve McQueen’s second film, Shame, got rave reviews from male critics. Michael Fassbender (who played Bobby Sands in McQueen’s splendid debut feature, Hunger) is brilliant as Brandon, a successful thirtysomething New Yorker. His screen presence is so appealing that one could ogle him for hours and if, indeed, that is his body sauntering naked past the camera, he is well hung as well as handsome. Like Hunger, Shame explores bondage, but of a different kind: Bobby Sands was in prison, while Brandon is free but imprisoned by his Read more ...
Jasper Rees
Margin Call, a smart, taut and brutally frank portrait of the money game, asks a lot of its audience. A movie about traders as, if not quite good guys, then at least rounded guys? It’s not a trick Oliver Stone ever managed to pull off, and he tried twice. Refusing to deal in the Hollywood placebos of idealism and redemption, this is not a product that the big studios would have gone anywhere near. Scripted and shot by first-time writer-director JC Chandor, it was made on the very stringiest shoestring – a snappy little irony given the numbers its characters bandy around in the course of its Read more ...
Ismene Brown
London's Barbican Centre is 30 this year, and with a special Olympics subsidy boost as the world's eyes turn to the British capital this summer, it aims to be as lovely inside as it is famously unlovely outside. Film beauties Cate Blanchett and Juliette Binoche appear live on stage and theatre giants Pina Bausch, Philip Glass and Shakespeare are celebrated in a season of prominent internationalism. Peter Sellars, Toni Morrison, Yukio Ninagawa, Krzysztof Penderecki and Chick Corea are among many other world names invited to EC2 over the season. Three key British theatre companies are Read more ...
theartsdesk
“Brandon is everyone.” Shame, Steve McQueen’s new film, opens later this week. It is a brutally frank portrait of a man’s struggle with addiction to sex. As McQueen explains here, it was shot in New York for the specific reason that no one in the UK would talk to him about sex addiction. No sex please.And yet the film has a distinctly British flavour. McQueen co-wrote the script with Abi Morgan, the television scriptwriter who has branched out into film and theatre: she wrote the script for The Iron Lady, which opened last week, as well as the plays 27 and, opening this week at the Lyric Read more ...
Matt Wolf
A generally grim year for musicals (Matilda and Crazy For You very much excepted) nears a belatedly emotional and rewarding close with the Crucible Theatre's revival of Company, which brings the Sheffield playhouse's artistic director, Daniel Evans, back into the orbit of the man whose work is responsible for his two Olivier Awards. That the person in question is Stephen Sondheim means that interest is keen in an onward life for a staging that results in the knockout punch one always hopes for from this piece while offering up not a few eccentricities along the way. Indeed, just as Read more ...
graham.rickson
Unlike audio recordings, classical DVDs can only be properly taken in if you're sitting down for 80 minutes, ideally in the same seat. So they have to be pretty special to warrant repeated viewings. So much depends on the production and direction; how to make interesting the sight of a middle-aged bloke waving a stick at a sea of other middle-aged blokes, many of them looking as if they'd rather be somewhere else. Here's a selection of things which have lodged in my conciousness over the past year, including a couple of seasonal discs.A Concert for New York: Mahler Read more ...
philip radcliffe
Oh, the joys of eccentricity. Welcome to the Vanderhof family of misfits. The head of the household, Grandpa Martin, refuses to pay any taxes, preferring to keep snakes on a hatstand. Good for frightening off the tax inspector, who unexpectedly drops by.Other members of the three-generational New York family variously make fireworks in the attic, bake strange candy, play Beethoven on the xylophone, produce unrecognisable masks and write unsuccessful melodramas. Daughter Essie moves around the place as a hopeful hopeless ballerina, aided by an explosive Russian teacher, Olga (Maggie O'Brien, Read more ...
emma.simmonds
Idiotically buried by a release which sees it appearing on just one screen nationally, Kenneth Lonergan’s triumphant follow-up to his Oscar-nominated debut You Can Count on Me (2000) is, without a scintilla of a doubt, one of the finest films of 2011. Rich, resonant and with a meticulous approach to characterisation, it captivates, convinces and challenges.Margaret opens on the streets of New York in intermittent slo-mo, giving the impression of a city collectively under strain (not least as such images are sombrely set to Francisco Tárrega’s "Recuerdos de la Alhambra"). Our protagonist is Read more ...