In Slaughterhouse Rulez, the private boarding school attended by ‘rough Yorkshire lad’ Donald Wallace, has been taken over by frackers, whose digging inadvertently cause a lot of trouble. The Headmaster, played by Michael Sheen leads a crew of military-esque prefects that will go to extreme lengths to follow his lead.
It’s a fun movie for the most part if not being really predictable and unoriginal in parts. When introducing the different houses within the school, they did the stereotypical Mean Girls esque pan around the room to show them all, but never reaching that level of humour.
There are a few great, funny scenes in the film, with the ensemble cast all working well together especially in the tenser moments with all of the kids putting in believable performances with Asa Butterfield being patricularly great alongside Pegg, Frost and Sheen all being on their usual great form. At some points the humour just doesn’t work and there are a few long stretches where the movie can’t decide what tone it wants to have and it just comes across a bit messy.
Slaughterhouse Rulez is enjoyable despite its flaws and still manages to be charming and funny in spots despite never quite living up to its cast.
Michael Sheen’s dog is good though.
The Hate U Give is a very timely, important film from director George Tillman Jr. and the late Audrey Wells brought to life by a cast who all bring stellar performances.
Starr Carter, played by Amandla Stenberg, is a high-school student who becomes the only witness to the fatal shooting of her best friend Khalil by a white police officer.
The Hate U Give shows how Starr has to balance what are effectively two different lives. Her home and school are in completely different neighbourhoods, and she struggles to hide parts of her she only wants certain people to see.
This only gets more difficult once she has to go before a Grand Jury, in what is quickly becoming a very high profile, public case – with protests aiming for justice for Khalil pretty much surrounding her, both at home and school.
Amandla is consistently brilliant as Starr, emotional and powerful while not overstated or overacting the role. The whole cast are almost perfect in their roles. From Anthony Mackie as the imitable ‘King’ to Common as Uncle Carlos there are so many smaller stories woven throughout the movie, giving a real human depth to the setting, with each character being fully realised, and they are all portrayed with excellence.
If you can, go and see this.
The Hate U Give is out now.
Self Esteem- Rollout: The strongest track from Rebecca LT so far in my opinion. A great hypnotic melody with great harmonies over a great, funky percussion track. Very promising for a debut full length. 90%
Ian Brown – First World Problems: It’s good to have the monkey man back, with a new solo album coming next year. This new track is a groovy number, and Ian’s voice sounds on top form. Very exciting. 84%
Razorlight – Carry Yourself: A fairly pleasant, non threatening indie tune from Razorlight here, its not bad at all but it would fit in perfectly in a sofa sale advert or the opening of a cookery show. 70%
Lauren Jauregui – Expectations: A smooth, soulful slow jam from Lauren J here that really showcases her strong vocals; showing real emotion and passion while maintaining good control. Gooood. 80%
Bring Me The Horizon ft. Dani Filth – Wonderful Life: The second single from BMTH’s upcoming ‘amo’ album is another top tune. A bit heavier than Mantra, but just as catchy and not too over the top. Dani puts in a good feature too. 81%
Mumford & Sons – If I Say: This would be an alright, subtle growing track but Marcus’ voice is so grating, especially when its the focus of the track. Nah. 30%
Gerard Way – Baby You’re a Haunted House: This new track from emo king Gerard Way is a glam rock esque rock banger. It’s My Chemical Romance meets The Sweet, and its not bad at all. 80%
Cardi B – Money: Not a fan of this one at all. Usually Cardi has some funny bars that show she is still down to earth but this just seems like a big brag-fest. 20%
Peter Raeburn – Note To Self: A lovely, thoughtful collection of songs from Peter here. Sounding somewhere inbetween Fleet Foxes and I am Kloot, ‘Note To Self’ has great, stripped back production. ‘Never Gone’ is an album highlight for me, with haunting harmonies throughout. 80%
Time ‘n’ Place is the second studio album from experimental British 3 piece Kero Kero Bonito, who on their debut EP ‘Intro Bonito’ and subsequent first album proved themselves to be one of the most exciting, inventive new groups around. Drawing from a wide range of influences, ‘Bonito Generation’ was a bright, colourful record.
Based on the opening track ‘Outside’, it is clear that KKB have not just made a ‘Bonito Generation 2’, with it being more guitar based and instantly heavier than most things on their debut. Don’t worry, the band’s charm is still here in abundance on Time ‘n’ Place, with KKB developing their sound while not losing any of what made them great the first time around.
‘Time Today’ is an early album highlight, with Sarah happily singing about how she has a day to herself. The album continues very strongly into ‘Only Acting’ which details how Sarah feels while performing live over a nice pop-punky backing, that brilliantly self destructs towards the end.
The whole album is just as strong, most songs telling specific, on the nose stories over innovative beats and utilising Sarah’s unique vocal style perfectly, with ‘Dump’ being a nice little story about a rubbish dump, and ‘Dear Future Self’ being a letter to future self.
Closing track ‘Rest Stop’ begins sounding like the end credit music to an old Sega game like Nights or Alex Kidd before exploding into what is essentially a few minutes of noise music with Sarah faintly singing in the background before fading out to just Sarah. Odd, but it works. Good.
You can buy Time ‘n’ Place here, or stream it below.
Bohemian Rhapsody chronicles Queen’s journey from their early pub days as Smile up until their iconic Live Aid performance. Despite press coverage leading up to the film’s release, it does not shy away from any aspect of Freddie’s life. While there was a slightly heavy focus on his relationship with Mary Austin, she was an important person in his life, and Freddie’s sexuality and illness are explored in full, and handled with respect, with a great performance from Rami Malek.
Rami absolutely shines as Freddie throughout, being almost the spitting image of him whether he is at his highest performing on stage, or at his lowest during his struggles with substance abuse and AIDS. The rest of the main cast were pretty spot on too, with Ben Hardy and Gwilym Lee perfect choices for Roger Taylor and Brian May respectively.
There were a few issues with pacing in the film, with the beginnings of Queen being very relatively quickly skimmed over, and I felt there wasn’t a need for a full recreation of their Live Aid set, but other than that I found Bohemian Rhapsody to be very enjoyable. Lighthearted and serious when it needed to be, and with great attention to detail when recreating iconic set-pieces.
Another project from the man who never stops making music, Damon Albarn, is on the Horizon, with the second The Good, The Bad & The Queen releasing in November. ‘Merrie Land’ is the title track, and the first new music from the group since 2007.
Sounding halfway between early Blur and The Magic Whip, this first glimpse of the album is a very promising one. Melancholy lyrics about the state of post-brexit UK set to a carnival-esque instrumental. No idea how he had the time to make something this good whilst being on tour non-stop for the past few years.
The Good, The Bad & The Queen have been gone a long while, but they came back at the right time.
You can pre-order Merrie Land here.
They have some upcoming UK dates in December, on sale Friday:
Dec 1st – The North Pier, Blackpool
Dec 2nd – SWG3, Glasgow
Dec 4th – Hackney Arts Centre, London
Dec 5th – Hackney Arts Centre, London
Dec 6th – Hackney Arts Centre, London
The third album from Teleman has somehow managed to improve on their previous two releases; it being a more electronic, robotic and dance-able collection of songs while showing off more of their personalty than ever before.
When an album has a couple of very strong singles i’m always worried that the rest of the album will disappoint, and with ‘Cactus’ being an absolute banger and probably the best Teleman song to date I certainly had those fears.
They were quickly dismissed as soon as the opener, and title track ‘Family of Aliens’ began. The same brilliant Teleman as usual, but sounding even more energetic. ‘Between The Rain’ is a Paul McCartney-esque upbeat piano track, and ‘Always Dreaming’ is a slower, calm moment on the record. These two tracks show just how diverse Teleman can be while still maintaining a consistent sound.
Another album highlight for me is the very groovy ‘Twisted Heart’,with the opening synth riff sounding like a Pokemon battle theme gone wrong and it just generally being one of the catchiest tracks they’ve put out to date.
‘Somebody’s Island’ has another great melody throughout, with the song again being one of the best the band has ever put out, it being so well produced and full of emotion and personality. The album closer, ‘Starlight’, aptly sounds like a really dramatic end credits song for a movie, a fitting end to a great album.
This is Teleman’s best album to date, and one of the best albums of the year so far.
Best Three: Cactus, Twisted Heart, Starlight