The year is 1999, the place is Japan, and the worried face on the screen belongs to Bryan Cranston as a nuclear scientist too worried about the unnatural seismic readings he’s picking up to remember it’s his birthday. Turns out he’s right to be concerned: whatever’s causing the readings also causes a breach at the reactor where he and his scientist wife (Juliette Binoche) work, resulting in disaster, destruction and evacuations all around.
Billie (Tilda Cobham-Hervey) is 16. Her parents are separated, and while she gets along well with her dad (Beau Travis Williams), it’s her mum (Del Herbert-Jane) that she’s closest to. So when her mum announces that she’s going to transition to male and that with all the stresses and dramas that her journey will cause it’s better if Billie go live with her father for the foreseeable future, it’s a bit of a knock.
A new Terry Gilliam film is always good news. The Monty Python alumnus’s visual style is layered, very funny, and always a delight to look at, even when the story he’s telling isn’t quite up to the same level. Which has been a little too often of late, though to be fair misfires like The Brothers Grimm and The Imaginarium of Doctor Parnassus weren’t entirely his fault.
After the success of his low-key but often very funny coming of age tale Submarine, a hard left into absurdist comedy probably wasn’t what many were expecting from Richard Ayoade. Yet that’s what the former IT Crowd star-turned-director has delivered with The Double, based on the novella by Fyodor Dostoyevsky.
Shades of Bob Marley, Yothu Yindi and Santana are all present within Larry Maluma’s eleventh studio effort Ndakondwa (I’m Happy). Like smooth Jamaican rum, throughout all of the tracks on the album are many stories explored through both English language and Maluma’s native tongue.
In Georgian England, Dido Elizabeth Belle (Gugu Mbatha-Raw) stands alone. The daughter of a British naval officer and an African woman – both out of the picture (he off at sea, she dead) – she was raised to be a noblewoman by her uncle, Lord Mansfield (Tom Wilkinson). Her birth means she’s a woman of […]
When Boy & Bear hit the stage the mild-mannered seated audience erupted as the guys started playing their first song. Drummer Tim Hart had a rather minimal set-up which was a nice change from most bands you go and see these days. The boys were grouped together much more than they needed to be, only taking up about a quarter of the enormous stage that is Costa Hall.
The part-Bulgarian, part-Norwegian’s cheeky sense of humour was clearly evident through the whole set, kissing his guitarist and long-time friend Joseph on the cheek and introducing his song ‘Come On’ as a “song about Chris Brown and Rhianna’s loving relationship”, to which all had a bit of a chuckle, and even whipping out a trumpet.
Jon Favreau (who also directs) is Carl Casper, a chef at a fancy L.A. restaurant. He works hard, he likes his food – fat jokes abound, at least early on – and he likes his son. Maybe Carl’s single, it’s hard to tell – the film literally cares so little about his private life it takes maybe half an hour to tell us that the reason he keeps dropping his son off at his mother’s place isn’t because he works late, but because they’re divorced.