FILM REVIEW: The Dark Knight Rises

The plot thickens in the compelling, absorbing conclusion to Christopher Nolan’s magnum opus

If ever there was a fictional character made for the angsty, grim and Hitchcockian sensibilities of Christopher Nolan, it's the Batman. To date, Nolan has prided himself on telling suspenseful stories about misunderstood, disillusioned outcasts who are given a shot at redemption through circumstance, their own ingenuity, or both. A little like Steven Spielberg and the James Bond series (unsurprisingly, Nolan is a huge Bond fan), but here, there is a stronger, not to mention vital, emphasis on consequences. We live in a world where society seems more subject to "agents of chaos" than ever before, and both the Bond films from Casino Royale '06 onwards and Nolan have grasped this. All three of Nolan's Batman films, especially The Dark Knight Rises, have engulfed the "boy who learns to be a man" story arc in the realities of our times, transforming it into a compelling and resonant saga. Both for our time, and for the ages.

"In spite of everything you’ve done for them, eventually they will hate you." Thus spoke the Green Goblin, as played by Willem Dafoe, in Sam Raimi’s first Spider-Man film. And those words couldn't be more applicable to Christian Bale's Bruce Wayne/Batman by the opening scenes of The Dark Knight Rises. Eight years after the events of The Dark Knight, when he took the fall for the quite literally two-faced Harvey Dent’s crimes, Bruce is a sorry, haggard, limping figure, hidden away from society. His ally, Commissioner Jim Gordon (a never better Gary Oldman), cannot bring himself to reveal the truth about Dent in front of Gotham's citizens. Such are the consequences of a lie, even a noble one, and before long, Nolan and editor Lee Smith apply very sudden cuts to underline the contrast between the apathetic (the citizens), the reclusive (Bruce) and especially the curious, notably Joseph Gordon-Levitt’s earnest cop, John Blake, and Anne Hathaway’s slinky, mischievous cat burglar*, Selina Kyle, at that moment in time. As Selina says, there is indeed a storm coming; Tom Hardy's Bane, the most brutal and possibly unintelligible villain in Nolan's Batman series. The scale of this masked menace’s threat is established in an Inception-esque action sequence aboard a plane that sets a high standard for the remainder of the picture, which deals with the actions - and, of course, the consequences - of Bruce choosing to don the cape and mask all over again.

"Just when I thought I was out... they pull me back in."

The whole film is laden with twists, proverbs, metaphors, gadgets and action scenes, and is so smoothly edited that its running time of almost three hours is barely noticeable. It breaks the curse of the "rule of thirds" in movie trilogies not by changing the rules of the series, but by expanding on them. One could easily lose themselves in the numerous issues the film raises, be they trust, societal manipulation, the significance of the stock market in the modern era, or why anyone would wear a mask to fight crime in the first place. But, at its core, any superhero film falls, or rises, on how suspenseful, well-acted and well-written it is. The Dark Knight Rises scores high marks in all three categories, with new gadgets (and cinematography) to dazzle the eye, new action sequences to titillate fans, new villains that, while not as unsettling as Heath Ledger's Joker, threaten to be even more dangerous, and a rich new character arc in John Blake's. It's been an absolute pleasure to watch both Joseph Gordon-Levitt and Anne Hathaway mature as performers over the years, although, as in The Dark Knight, they and the other impressive leads (particularly Oldman, Hardy, Marion Cotillard and Michael Caine) come dangerously close to upstaging Batman himself, Christian Bale. Apart from Batman Begins, none of the films in the trilogy have really felt like "his", but the writing is strong enough that this is a minor hindrance.

Moreover, The Dark Knight Rises is deceptively pretentious. Unlike Inception, where the cipher-like characters seemed shoehorned into an unnecessarily labyrinthine plot, the film is straightforwardly structured and not overly dependent on its twists, ensuring that repeat viewings should be kind to it. It’s also nice to see that Nolan hasn't lost his sense of humour; an especially amusing (and telling) moment occurs when Morgan Freeman's Lucius Fox shows Bruce his new set of toys, only to be told “Now you're just showing off.” (Bruce Almighty, indeed!)

But in the midst of all this, Nolan never loses sight of the overlying focus of his trilogy - the aim to keep three aspects of chaos - deceptive understatement (Scarecrow, Ra’s Al Ghul), overelaborate hyperaction (The Joker) and straight-faced brutality (Bane) - under control, despite the corruption in the police force and the mistrust in the air. Watching The Dark Knight Rises, it's clear now, more than ever, that Nolan's Batman films are about more than one man's rise and fall, or vice versa; they're about the rise and fall of the American, make that Western, Dream, a two-sided coin that's as balanced and edgy as it's ever been.

* * * * *

*It’s worth noting that the word “Catwoman” is never once heard throughout the movie, even though Selina’s not-so-secret identity is obvious; a clever move on Nolan's part, as it allows the character to maintain an extra degree of ambiguity.

MUSIC REVIEW: Clipper Festival Concerts, Part II

VOLUME TWO: THE ENTERTAINERS, aka THE CLIPPER CONNECTIONS CONCERT

The first thought that enters one’s mind as we return to Ebrington Square is, how on earth can tonight’s occasion match up to the previous night’s? Well, MC Siobhan McGarry is certainly convinced that it can. And before long, she succeeds in getting the crowd worked up, with the mere mention of Eoghan Quigg’s name being enough to elicit squeals from the front of the stage. His fans will have to wait a little longer for their idol to make his mark, though.

The James Peake Experience are on stage first, and Peake’s booming vocals, coupled with a warm, home grown sense of humour, are worthy of presence at the City Of Derry Jazz and Big Band Festival. (No surprise, then, that he has featured at previous Jazz Festivals.) His mix of soul, country and western, in addition to a rather funny Ian Paisley impression, succeed in stoking up the crowd early on, with “Ring Of Fire” getting the loudest applause. There’s even room for a “special guest” in his set – after all, in Peake’s words: “Big American stars have to take preference” – and before we know it, Peake is on stage in the guise of Meatloaf, performing a highly enjoyable medley. It’s a surprising and novel way to finish a very entertaining set.

Next, Australian Matt Jennings and Inishowen’s finest, The Henry Girls, try to warm our cockles with an Aboriginal number and an Irish traditional number. It’s pleasant enough, and Lorna McLaughlin’s chanting is certainly memorable, but it amounts to little more than an interval act. With more of their own material, not to mention greater stage time and a more appreciative audience, both Jennings and the girls will do much better.

It doesn’t help, of course, that they have to compete with both the “coolest and hottest pipers on the planet” (as Siobhan McGarry puts it). The Red Hot Chili Pipers (not “Peppers”), who pride themselves on being “bagpipers with attitude”, fuse jazz, funk and pop together with bagpipes, keyboards and drums to create a roaring riot of rhapsodic rhythms, an effect worthy of a Scottish traditional disco. Coldplay, Snow Patrol, rock ‘n’ roll, you name it... it all gets a highly energetic and passionate treatment that leaves everyone in the square longing for more.

With so many egos littering the showbiz world, a touch of humility is always welcome, and Eoghan Quigg provides it amidst the deafening screaming of his devotees. Unfortunately, his modesty is the most welcome thing about his set, as he lacks both the presence and charisma necessary to really light up the venue. Oasis and The Script are given the Westlife treatment, and while Quigg’s fans can’t contain their excitement, everyone else seems nonplussed. But hey, at least he goes out on a high, with his likable version of Take That’s “Never Forget” giving the crowd, McGarry and himself some much needed extra impetus.

Such new found momentum is carried forward into the highlight of the evening, The Saw Doctors. Like The Undertones the night before, this is a band who seem made for large outdoor venues, except their style is more in the vein of the Hothouse Flowers and Goats Don’t Shave.

The contrast in the Derry weather – clouds behind the stage, sunset in front of it – is in tandem with the contrasting tone in the set, a mixture of rock, waltz and even clowning around that comes together to create a memorable atmosphere. Indeed, watching this set is like reuniting with old friends – all the biggest hits, especially “N17”, “I Useta Lover”, “Downtown” and “About You Now” are here, and with this sort of vibe, which culminates in a terrific quadruple guitar medley during the final number, their failure to play “She Says” can be excused. The firework display at the end of the night is the icing on a well-baked cake.

If no concert at Ebrington Square can quite have the impact of Peace One Day - what could? - then the Legenderry and Clipper Connections concerts have consolidated the Square as an ideal venue both for entertainment and for the community. We are indeed the music makers, and we really are the dreamers of dreams.

(Video courtesy of Rory McSwiggan.)

(Click here for Part One.)

MUSIC REVIEW: Clipper Festival Concerts, Part I

Two open-air concerts were recently held in Derry-Londonderry’s Ebrington Square as part of the Clipper Homecoming Festival. But did the talent on show prove themselves worthy of the occasion? Si’s Sights And Sounds was there to find out...

VOLUME ONE: THE ORIGINALS, aka THE LEGENDERRY CONCERT

A small flame burns near the Peace Bridge (in honour of the Olympics, perhaps?) as the light of day engulfs Ebrington Square. High temperatures and the strains of Christina Perri drift through the air as people of all ages slowly begin to gather in the former army barracks. They are clearly hopeful that the event’s proceedings will be as Legenderry as this newly born concert venue is becoming.

A suitably, almost expectedly confident performance from Best Boy Grip, aka Eoin O’Callaghan, opens proceedings. One of three acts this evening who will be playing at Glasgowbury 2012 (the others being Paddy Nash and Eagles Rock regular Paul Casey), the still rising local star continues to impress with the depth in his music. An accomplished pianist in addition to being a seasoned choral singer, O’Callaghan draws on his experience to create a sound worthy of, as critics have pointed out, Neil Hannon, Ben Folds and the Beatles. And the “Derry wans” who have so far populated Ebrington Square are more than happy to show their appreciation for such a talent.

Or should that be “talents”, for backing vocalist Shane McCaul, bassist Liam Craig, drummer Stephen Hamilton and violinist Niamh McGowan make their presence felt just as effectively. The standouts here are “Barbara”, a “cheery number about a promiscuous woman” (don’t be puzzled – that’s exactly what it is!) and “They’ve Come For My Head”, which features a piano and vocal worthy of Duke Special. So, is O’Callaghan Derry’s own Duke, minus the dreadlocks? Well, whether he is or not, “everyone in the city is talking about him”, according to the evening’s MC, Mark Patterson. And on tonight’s evidence, it really isn’t hard to see why.

Paddy Nash has been looking forward to this concert for weeks. He had previously told Newswire about the “exciting” potential of a “new shared space” like Ebrington Square, and he, Diane Greer, Rory Donaghy, Jonny Nutt and the rest of his “Happy Enchiladas” are more than ready to make the most of it. His cheery, postmodern old timey music features very relatable and amusing lyrics that strike a chord with just about everyone in the crowd. More than that, his choruses are jaunty, catchy and very singable. It’s a one note formula, but a winning one, as if The Dubliners had collaborated with Thin Lizzy to write “family music”, which could entertain, educate and be appreciated by all sorts of punters.

The Enchiladas’ final two songs leave the longest lasting impression. “The Moneyman’s Dead” provides the perfect opportunity for Ulster Bankers to vent their frustration at the recent crisis, and “Billy Bragg Jeans”, features the burgeoning talents of Nutt’s three young daughters. As the final refrain begins, Greer looks out towards the Peace Bridge, and one cannot help but feel warm inside and look towards a better future. Or, perhaps, a different planet.

It is indeed a different planet now for Paul Casey, with his recent nomination at the Hollywood Music in Media Awards gaining him an even larger audience. And it’s not long before the organiser of the event commands the Ebrington Square stage as well as his doppelganger, Manchester City’s Samir Nasri, commands the football pitch. His catchy, relatable tunes, especially “Something To Remember”, “Something’s Gotta Give”, “I Do” and “Wait” are a perfect fit for the occasion, and even if some parts of the set work better than others, there’s plenty of clapping and smiling faces in the crowd throughout. Kudos is due to Casey, too, for continuing to jam away during a technical glitch in otherwise excellent sound. What could have easily derailed a solid set is almost forgotten by the time Casey leaves the stage.

Note that I said almost; Mark Patterson can’t resist making a joke about the glitch! But it’s all in keeping with the good nature of the occasion, which continues as The Legenderry Clipper Crew receive a wonderfully warm and deserved reception from the whole of Ebrington Square.

Is Paul McLoone a showman or a show off? Take your pick. But there’s little doubt that this front man really knows how to lift the roof off a venue – metaphorically or literally – as both him and The Undertones provide the energy that the concert promised, but until now, did not quite have. Tonight, McLoone resembles Roger Federer, or even the Duracell bunny, with age seemingly unable to wither him. Better still, being back home appears to have given him an extra spring in his step.

Early numbers set a good tempo, with the likes of “My Perfect Cousin”, and “You Got My Number” clearly indicating that while Best Boy Grip may have been a better musician, Paddy Nash funnier, and Paul Casey more dependable, these guys have the most presence. If they lack truly memorable melodies – at their best, they remind one of Paul Weller and The Rolling Stones – the swagger in their performance compensates for this. The loudness and excitement on stage mirrors the loudness and excitement in the crowd.

It is left for the classics “Teenage Kicks” and “I Don’t Wanna Get Over You” to leave everyone strolling out of Ebrington Square knowing that they have truly witnessed an occasion worthy of its name – Legenderry.

And it’s not over yet...

(Video courtesy of Rory McSwiggan.)

(Click here for Part Two.)

MUSIC REVIEW: M83

Si’s Sights And Sounds recently visited Belfast's Mandela Hall to watch French musician Anthony Gonzalez take everyone on a sonic journey through the ages...

The stage is set for a really creepy discotheque when Anthony Gonzalez strolls into the Mandela Hall dressed like an alien, amidst a rather psychedelic atmosphere. It’s hard to tell whether the French musician and his band, M83 - named not after a motorway, but a spiral galaxy - are genuinely weird or just playing at being weird, but, either way, they’re already making an impression.

Such an impression continues throughout their first two numbers, with both band and crowd really letting themselves go in the heavy indie rave music and strobe lighting. The lyrics seem almost completely irrelevant, as Gonzalez, clearly relishing his return to the Belfast stage after an absence of four years, transmits his excitable nature around the stage and onto what’s starting to resemble a dance floor.

From Rammstein to Trainspotting to the 1980’s without the cheese, M83’s music is like a sonic journey through the ages. Be it techno, ambient, carefree or chilled, this is a soundtrack that’s very easy to dance to. It’s the kind of thing that you’re likely to see at festivals for months, a rhythm worthy of the setting.

It’s exceptionally loud too, with everyone’s ears getting a thorough workout from both the instrumentals - especially Loïc Maurin’s drumming - and the applause. If, by the gig’s closing moments, it’s all becoming a little wearing and repetitive, I suppose that’s the nature of the beast. And there’s still time for a rather lovely sax solo, a lusty Dire Straits-esque riff, and the band’s signature tune, “Midnight City” to be heard.

As talented as Anthony Gonzalez and his ensemble are, however, it’s uncertain if M83’s brooding, raving brand of “indietronica” will guarantee much more than a niche audience on these shores. On the other hand, even the bar staff in the Mandela Hall were bopping away to “Midnight City”, so what do I know?

FILM REVIEW: The Amazing Spider-Man

There's plenty that's good about this re-boot, but little that's amazing

Marc Webb’s The Amazing Spider-Man is probably the most purely enjoyable blockbuster of the year so far. The characters feel genuinely human, the acting is excellent, the villain is better than any of those in Sam Raimi’s Spider-Man movies, and the story is coherent. And yet, as appealing as it is, did it honestly need to be made?

It’s not so much about the money these days as about trends. Both 9/11 and an economic recession have paved the way for different kinds of re-boots; the “dark and edgy” kind, where our heroes must openly face the consequences of their actions (see: Batman Begins, Casino Royale) or the “nostalgic” kind, whose high-octane, popcorn plots aim to remind us that they can, in fact, make ‘em like they used to (see: Star Trek ’09, all the Avengers films). The Amazing Spider-Man falls somewhere in between the two, by trying to keep its story both “retro” and “real”. And at that, it succeeds well enough.

An outcast with daddy issues (Andrew Garfield’s Peter Parker) unexpectedly develops “magical” qualities and sets out to both right wrongs and take care of his own life, which includes nurturing a crush on the girl of his dreams (Emma Stone’s Gwen Stacy). Meanwhile, a little scientific accident has transformed the mild mannered Dr. Curt Connors (Rhys Ifans) into a murderous monster known as The Lizard. In other words, it’s a re-tread of the typical superhero “origin” story, but with enough carnage and quirkiness to satisfy most movie-goers.

As was clear in his acclaimed but slightly shallow (500) Days Of Summer, director Webb has a knack for dealing with youthful angst. His male leads (previously Joseph Gordon-Levitt, now Garfield) are tormented and sensitive, while his female leads (previously Zooey Deschanel, now Stone) are rebellious and confident on the surface, but not much more stable minded underneath. Throw in some nicely offbeat moments and you get something like Juno with more heart, less phoniness and, above all, good action. And both leads fit Webb’s oeuvre to a tee, delivering performances that easily capture the nervy and misunderstood nature of their characters. Rhys Ifans and Denis Leary (as Captain Stacy) are no less effective in their respective roles, bringing fear and authority to the screen in equal measure. There are plot problems, of course – in particular, our hero reveals his face so frequently that you wonder if there’s any point in him even having a secret identity – but for the most part, these are offset by the film’s all round appeal.

On the other hand, there’s little here to truly get excited about. Ideas such as the villain’s Jekyll and Hyde complex, the ups and downs of vigilantism and family responsibility have already been dealt with countless times before, especially in Raimi’s Spider-Man trilogy. While one must credit Webb for at least trying to be more soulful and less tongue-in-cheek than Raimi, the overt familiarity of both the story and themes are a burden on his shoulders. There’s plenty that’s good about his re-boot, but little that’s amazing.

Then again, “The Good Spider-Man” wouldn’t quite draw in the crowds, would it?