A new venture. Spotted by Locals; Edinburgh.


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Look out for my impending travel writing.  I’ve just been interviewed by Bart and Sanne who run Spotted by Locals.  A travel app and website, created in 2008 and reaching over 60 cities, that invites a small group of writers to share their insights into their HOME city.

It’s a great idea because you get insights into cities all over the world from a non commercial perspective and outside of the usual historical or just plain obvious sights.

Anyway there will be five Edinburgh writers when I start.  Looking forward to it.  If anyone has any interesting spots for me to check out do please let me know and I’ll go investigate.

Wow. Just wow. The Killing of a Sacred Deer: Movie review.


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Wow.

Just wow.

Sorry for the repetition.

It’s not easy to reinvent cinema; but Yorgos Lanthimos is doing just that.

He’s pulling in Hollywood A listers to put in career defining performances in his movies and hey, with a Greek shrug of his shoulders, he’s pulling it off.

Agamemnon would cheer; I think.

This is a great piece of work.  It’s art house and it’s extremely challenging, but nobody left the screening I was at, despite several flinching moments.

I can’t review this on a plot basis because it would spoil it entirely.

But I will say it’s a masterpiece in direction, superb acted by all three main protagonists and darkly hilarious, although not many in the auditorium laughed.

And beautiful.

Just beautiful.

 

Blade Runner 2049: Movie Review


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Someone needs to get Ridley Scott in check.  His recent Alien movie was awful and overindulgent.  This is far from awful but it has his stamp all over it and at two and a half hours long is really quite indulgent.

Ryan Gosling may also need to go to some acting classes because his one trick pony is wearing rather thin now.

Having said that, the bad stuff, there’s a lot to like about this movie.

Roger Deakins is in fine form with a simply gorgeous cinematographic experience.  The yellow city and the green biodome actually take your breath away.

The CGI is universally excellent.  The opening aerial sequence draws your breath and there’s a love scene in which a hologram juxtaposes the body of a replicant hooker that is one of the most imaginative things I’ve ever seen in the cinema.

Indeed this movie is RAMMED with great creative ideas.

I mostly didn’t mind how slow it is until perhaps the third act when, even with the excellent introduction of Harrison Ford, it began to outstay its welcome.

Clearly it’s a little Marmite as I’ve rarely seen so many of an audience leave, and its length certainly tested many a bladder.  Not mine thankfully.

The plot has its challenges and I’m not going to go there as it would be too easy to spoil for you, but it’s interesting and quite clever.

The score by Hans Zimmer is simply brilliant.  All booming, crashing percussive synth punctuated by little moments of Vangelis (echoing the original).  He’s on fire just now, what with Dunkirk under his belt.  He’ll have more than one soundtrack Oscar nomination come February.

I liked the way director Denis Villeneuve dwells on scenes, allowing you take in the mastery of Deakins’ and the technical team’s work but when he dwells lingeringly on Gosling again and again and again you do wish it would push on a bit.

So, overall, a good, but not great, movie.  I wouldn’t want to see it again actually given its drawn out editing.  But I liked it much more than I didn’t.