Blade Runner 2049

bladerunner2049Directed By: Denis Villeneuve
Written By: Michael Green, Hampton Fancher
In Theatres: Oct 6, 2017 Wide
Runtime: 164 minutes
Studio: Warner Bros. Pictures

Blade Runner 2049 is certainly a worthy sequel to the original for many reasons, including it’s stunning visuals and cinematography.

CGI is used only when really needed and it’s convincing even to the well trained eye.

The lighting used in the film was absolutely superb and in places it all felt very real an atmospheric but yet still different, showing a dystopian world.

There are a number of moral issues with Artificial Intelligence that the film touches upon and it left me asking myself what humanity actually is and how humans have an ability to completely and knowingly discard their humanity. This even when furnished with the knowledge that an artificial intelligence would highly likely seek/cherish humanity in it’s quest to be more human.

I could not help but notice that there was a critical message about the human pests ruining the environment with their throwaway culture. This manifested itself in the plot in a subliminal way.

Another re-occuring theme in Blade Runner 2049, is a retreat from the outdoors to inside, possibly setup as a pointer to humanity’s lack of respect for the outdoors.

I didn’t tire of the pace in this 2h 43m film and slowing things down really did seem to demand more attention from the viewer.

All of the actors and characters played out perfectly, with a good script.

The only criticism I could possibly make about this masterpiece, is that it would have been nice to have seen more of the residents that inhabit this dystopian world.

It certainly is a film that I would love to see again, just to make sure there wasn’t anything I missed, especially on the philosophical front, though not at the Reel cinema in Burnley, as the experience was marred by a broken bass speaker!

Reviewed by Chris Barnett


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Dunkirk (2017)

PG-13 | 1h 46min |

Director: Christopher Nolan
Writer: Christopher Nolan
Stars: Fionn Whitehead, Damien Bonnard, Aneurin Barnard |

dunkirkDunkirk is an intense film experience. It shows the Dunkirk evacuation through the perspectives of those waiting on the beach, those on the sea and in the air. The action isn’t focused on a single individual or group. That’s alienated some who are used to finding out about a protagonist and following them. It worked for me, however. It’s the action that hooks you in.

The action starts quickly as a squaddie named Tommy (Fionn Whitehead) runs through the streets of Dunkirk trying to make it to the beach. As he runs and climbs over walls and gates he is being shot at and people are dying around him. It’s gripping stuff and there are moments of tension and dread like this throughout the film. The cinematography and music score (from Hans Zimmer) complement the action.

Dunkirk is not a glorification of war. It doesn’t use a lot of blood and gore but, instead, shows the way war can break the mind of a serviceman (as with the traumatised officer played by Cillian Murphy), take loved ones away and bring out the worst in people as they struggle to survive. Dunkirk also shows how the best in people can also appear. If the film has heroes it is those who are trying to save people from death. Mr Dawson, played by Mark Rylance, has a calm determination. The most inspiring parts of the film, for me, were focussed on ordinary people, like Mr Dawson, the blind man at the Railway Station helping the returning troops and, of course, when the floatilla of small ships arrive in Dunkirk. That’s an incredible moment and the score underlines it with a slow rendition of the most popular movement from Edward Elgar’s Enigma Variations – Nimrod. It’s particularly appropriate as this movement is performed on Remembrance Sunday before the Cenotaph to commemorate “THE GLORIOUS DEAD”.

Dunkirk is a great film. My only reservation is that women aren’t featured much. I realize that it is a historical piece but their almost complete absence is noticeable. That aside I did come away feeling proud of the French who helped cover the retreat (many of whom lost their lives) and of the quiet determination of the ordinary British people who were there when they needed to be. I think the film gets the British or, at least, how we would like to think we are.

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From Ibiza to the Norfolk Broads

Pleasance Courtyard (Venue 33) ​ 13:55 Aug 18-28 1 hour 20 minutes

fromibizatothenorfolkbroadsI am really in two minds about this show. Alex Walton gives a great one-man performance as a damaged teenager, Martin, who is obsessed with both the music and personality of David Bowie. On a sparse set he gives a very physical and moving performance which wrestles with issues of mental health and abandonment. The basic structure of the play is also interesting with a clear plot of the youth retracing his Father’s footsteps following a kind of Bowie map which takes in Bowie’s first school (Stockwell Infants School), his nearby home etc. The clips from Bowie interviews which are interspersed are fascinating. So far so good…

For me the problem is the writing. It’s not even as if Adrian Berry can’t write. There are places where the writing is excellent, a session with a psychologist and the, very funny, karaoke scene (set in the former Greyhound pub where Bowie performed live in 1972) stand out. I’ve thought about it a lot and I think it is when the troubled youth is explaining himself if flowery language using lots of similes that I found a turn-off. To be fair, perhaps it was intended by the writer to indicate the head in the clouds inner world of this troubled youth. After a while it just got on my nerves!

The play is an hour and twenty minutes long. It would be a much better play if 20 minutes of dialogue were cut.

Well worth seeing and, if edited carefully, would be a more powerful production. The music box version of ‘Life on Mars’ is worth the admission price on it’s own! I’d be really interested to hear what other Bowie fans made of this curious tale!

Reviewed by Patrick Harrington

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 Eleanor’s Story: An American Girl in Hitler’s Germany

Gilded Balloon Teviot (Venue 14) ​ 13:45 Aug 18-28 1 hour

eleanorsstoryEleanor Ramrath Garner’s best-selling memoir of her youth, adapted for the stage and performed by her granddaughter Ingrid.

In 1939, when she is nine, Eleanor’s family moves from a comfortable and fairly happy life in America to Germany. Her Father has been tempted by the offer of an Engineering job and a very favourable exchnage rate. He dismisses the idea that Hitler will go to war because, in his view, it would make no sense to threaten the newfound strength of the German economy. He ignores the gathering stormclouds which come through in the production in radio broadcasts and announcements. Just as the family is crossing the Atlantic war breaks out between Germany, France and Britain. The family are trapped as all their money has been put into German marks and no one will change them back. Ingrid does a fine job of depicting seven years into a one hour show covering a lot of ground but not just skimming through. The viciousness of anti-semitism is illustrated by a small story of Eleanor’s brother being berated for giving up his seat to an elderly Jewish woman. It’s these small episodes that say so much about the wider picture. The focus is very much on the Eleanor and her family but through her eyes you can see the horror slowly unfold. The family face great challenges as America enters the war and as the Germans begin to suffer loss after loss. The terror of Soviet occupation of Berlin and the rapes, starvation and brutality that accompanied it are vividly portrayed.

It’s a gripping and unusual show that shows the confusion, terror and development of a young girl caught up in traumatic and world shaking events.

Reviewed by Patrick Harrington

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Chamberlain: Peace in Our Time

Greenside @ Nicolson Square (Venue 209)
• 15:00
• Till Aug 19
• 55 minutes


Neville Chamberlain worried about how history would judge him

The 3rd of September, 1939 fell on a Sunday. Two days earlier Germany had invaded Poland and Britain and France sent an ultimatum that unless the German forces ceased operations by 11am on the 3rd of September a state of war would exist between the countries. Church attendance that Sunday morning was far higher than usual as people anxiously waited for the news. The UK Prime Minister, Neville Chamberlain, was scheduled to broadcast to the nation from 10 Downing Street at 11.15am.

The action of the play takes place during the preceeding hour and consists of a conversation between the Prime Minister and his Private Secretary addressed as “Jack” (presumably Sir Jock Colville).

Chamberlain was portrayed sympathetically as a man who had striven for peace above all else who felt betrayed by Hitler after the breaking of the promises given at the Munich Conference of September 1938. Chamberlain had returned to London believing that he had secured “Peace in our time”. He showed a great concern for his posthumous reputation but was pessimistic and feared that Winston Churchill, who in the play was waiting just off stage throughout, would succeed him as Prime Minister and be remembered more fondly. He felt that he was the right man at the wrong time and that he would be blamed for failing to stop the war.

History did indeed judge Chamberlain harshly, at least in the short term, exactly as he had feared. 78 years later, although his critics persist, he has acquired some vigorous defenders. Public opinion was on his side in 1938 and had he gone to war then he would have been vilified as a warmonger. To that extent his worse fears were not realised. The play did not discuss the wisdom of Chamberlain’s unconditional guarantee to Poland. This gave Britain no choice but to go to war when Germany invaded Poland.

In an otherwise excellent production one might question the credibility of the relationship between Chamberlain and Colville. Colville’s attitude to his boss varied between very respectful and occasionally addressing him as Neville – even on one occasion taking intemperate issue with his judgment. The choice of music was inappropriate to the production in that it consisted, almost entirely, of songs made during the subsequent War rather than using music from the actual period in which the production was set. The singing of the ‘Lancashire Caruso’ (from his accent closer to Bolton than Blackburn) did, however, do the songs full justice.

Reviewed by Henry Falconer

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 My Leonard Cohen

Assembly Rooms (Venue 20)
19:45 Aug 16-27 1 hour
20 minutes

myleonardcohenRight from the get go I knew I was going to love this show. Stewart D’Arrietta and band started with two of my favourite Cohen songs – Everybody Knows and In My Secret Life. For me Leonard Cohen was a poet, a philosopher and a modern day prophet. A compassionate, exceptional and inspiring man.

Outside in the queue one of the staff had said two things – that the band were all Scottish and that Stewart sounded like Leonard Cohen. If he meant that the band were all Scottish and excluded Stewart (who is Australian) he was right on that score. As to Stewart sounding like Leonard, well he doesn’t. He has his own unique and very good voice. The whole show is a celebration of the life and work of Leonard Cohen but it isn’t an attempt to duplicate how he did things.

That’s true of the music too as there were some impressive rearrangements. It made you listen with a fresh perspective and it’s a tribute to the music that it can be reinterprated in such different ways and yet still stay true to the core.

Phil Alexander on piano-accordion probably had a lot to do with that. Incredibly talented as was the lead guitarist. In fact all the band brought something to the table – very much an ensemble effort.

Some reviews are mixed because those who expected a slavish copy of the music will be disappointed. If you go along knowing that some exceptional musicians are bringing their energy and style to a body of work then you will be delighted. I was thinking of the criticism of Bob Dylan when he was asked why he covered some many folk songs and why he didn’t do more of his own. His response was: “I like to think I make them my own”. Stewart and the rest of the band are, I think, adopting this approach!

As people left the hall they were still clapping and calling out congratulations to the band. I was among them.

Reviewed by Patrick Harrington

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JUST FESTIVAL: 100 Years of Balfour

St. John’s Church, Princes Street
Aug 15-16, 18-19
1 hour 20 minutes


The seeds of the Palestinian conflict were sown by Balfour

This production forms part of the Balfour Project – a commemoration of the Balfour Declaration of November 1917 which pledged British support for the establishment of a Jewish National Home in Palestine whilst also promising to protect the rights of the existing indigenous Arab population. Contradicting, as it did the promises already given to the Arabs in 1915, the Declaration sowed the seeds of a future conflict with us to this day. The audience was presented with a meticulously-researched and balanced production based on original documents, leaving it spellbound throughout. Talulah Molleson, as the Voice of History, provided moving and beautifully sung vocal interludes. The commitment and sincerity of all who took part were obvious. We were left in no doubt that British duplicity and their subsequent abandonment of their promises to the Arabs are at the root of the current plight of the Palestinians. Running out of ideas of how to control the violence between Arabs and Jews, the British withdrew in 1948, handing over the problem to the United Nations, which in the aftermath of the Holocaust was strongly supportive of Zionist position (the Zionist Movement for the establishment of a Jewish National Home in Palestine was founded in 1898). The U.N. decided on Partition, resisted unsuccessfully by neighbouring Arab states, giving the newly-established state of Israel the first of its many opportunities to expand its borders.

The story was told imaginatively and was easy to follow – no mean feat given the complexity of the issues involved. Britain’s motives were mixed. As an imperial power she was fighting alongside France and Russia against Germany in Europe – yet her greatest imperial rivals were – France and Russia! Indeed Britain and France had almost gone to war in 1898 over France’s resentment at British dominance in Egypt. A Zionist presence in the region would help to check French ambitions. The Sykes-Picot secret Agreement of 1916 (effectively promising French dominance in Lebanon and Syria in return for British in Iraq and Palestine) was an attempt to pre-empt similar disagreement after the war. And how ironic that at the same time as fighting alongside the most anti-semitic regime in Europe (Russia) the British should be promoting Zionist interests!

100 Years of Balfour did not shirk difficult issues. I was particularly impressed by the emphasis given to the opposition of Edward Montagu, the one Jewish member of the British cabinet, to the Balfour Declaration – on the grounds that it was likely to promote anti-semitism in other countries as well as cause insuperable problems in Palestine itself. But the needs of War, not least the support of Jewish interests in the United States, and British imperial concerns came first.


Reviewed by Henry Falconer

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