Once Upon A Time - Season 4, Episode 1 'A Tale Of Two Sisters' [Recap + Review]

Get ready your winter gloves and slip on your snow boots, because Once Upon A Time just got a little bit frozen! Yes, the highly anticipated Season 4 Première had a distinctly icy edge to it with the arrival of Arendelle royalty, Princess Anna and Queen Elsa. The dynamic duo were back on our screens after the success of Frozen, but this time as live-action television characters, portrayed by Georgina Haig (Elsa) and Elizabeth Lail (Anna). Sufficed to say, the announcement of the arrival of the characters brought much scepticism, but Haig and Lail proved that they could embody their characters personality perfectly, with Haig showing off her more refined, responsible side as Queen Elsa, and Lail bringing life to the quirky, sometimes quick-acting Anna. We're going to be doing this review in two parts, the first is a quick recap of the entire episode, and then a review of the episode on a whole - so, if you don't want to hear the recap, then scroll down to the review, and if you don't care to read the review, stick around up top for the recap alone. 

Recap 

In Arendelle 

The episode kicked off with Elsa and Anna's parents struggling to keep on their boat at sea (as portrayed in the movie version). The parents of the famous duo seemed to be keen to send a message to Anna and Elsa via a bottle, but whether it ever reached the two is unknown (it seems likely it didn't). Many years later, after the events of Frozen, Elsa and Anna visit their parents' graves and Elsa reveals she has a wedding gift for her sister, for her union with Kristoff. It's a wedding dress, but whilst Anna is trying it on Elsa finds her mother's diary that makes it seem like they left because of her. Anna doesn't believe this is true and goes to see her 'in-laws' - the troll people. 

The elder troll tells her that her parents were on their way to a place called 'MistHaven'. Anna is keen to go to the place, but Elsa tells her she shouldn't, but she goes anyway. Elsa and Kristoff run after her but they are too late, she is already boarded - and Kristoff reveals that MistHaven is called 'The Enchanted Forest' in other realms. 

In Storybrooke 

Regina is heartbroken over Marian's re-arrival, and Robin tells Regina her made a vow to Marian that he would be with her till death do he part. Regina is understandably upset, and seeks help from Sidney (Magic Mirror), hoping to go back in time and kill Marian before Emma can rescue her. Meanwhile, Elsa has escaped and begun to cause havoc round town, creating icy snowmen bodyguards to protect her, which Regina destroys. Elsa manages to sneak undetected in Gold's shop while he is on his honeymoon with Belle, and takes Anna's necklace (that she had given to her before in Arendelle) and says that she will find her. In a house near town, Belle and Gold are on their Honeymoon, and Gold, after visiting Neal's grave, reluctantly switches his dagger back with the fake one, leaving Belle to truly hold the real one. He notices a box on the table of the house, but doesn't mention it to Belle. 

After an impromptu dance in full Beauty and The Beast attire, he goes back downstairs to the box when Belle is sleeping and (with a little magic) reveals it to be The Sorcerer's Hat (Mickey Mouse). Regina eventually resolves to locate the person who wrote the Story book that has caused her so much pain, and means to get them to re-write it so she can have her happy ending; as Regina says, 'Villains don't get happy endings'. 

Review

Well, now that things have gotten a lot more icy, in both the relationship department and in the literal foundation of the town, it would seem like Storybrooke has got plenty of news issues to deal with. With the arrival of Arendelle's favourite resident(s), Elsa and Anna look set to shake things up significantly for the probably exhausted members of the humble town. Haig and Lail seem all-in-all appropriate choices for their characters, and although we were sceptical, they do have the character quirks down well, with Anna's giddiness and Elsa's strong demeanour but vulnerable side showcased well through Haig's responses to the situations that face her character. 

There are certainly plenty of interesting events happening in Storybrooke, especially regarding the Evil Queen herself, Regina - who has now set herself on a path to redo a Villain's fate. This clever twist on the old classic motto that Villain's don't get a happy ending is one that is no doubt going to go heavily wrong for at least a few people. The person who penned such a book better hope he lives far, far, away from Storybrooke and it's heart-broken inhabitant. Regina's return to (half) evil certainly puts us back in a similar position to the beginning of the show, but it would seem that even Regina isn't exactly the same person she was before (demonstrated by her saving Marian from the snowman). What this will spell for the future of her relationship with Robin, is for the moment, unclear. 

Emma seemed to take a relatively smooth back seat in this week's episode, and Snow White seems to be enjoying her time with her new-born. Emma's budding relationship with Hook (which she seems to be putting off) is stalling a little, and it will be interesting to see exactly how this develops considering Neal is buried in the ground just a few feet away from the town. Will the Captain and Swan end up together in the end? 

In the land of happy-endings lies Belle and Rumplestiltskin, who, after recently tying the knot, have chosen to vacation in an abandoned house in town. These new settings finally allow Rumple to work a bit of his magic for good, returning the dagger to its proper place (in the hands of Belle) and also dazzling up a room for their first dance together. Cue Beauty and the Beast costumes! A much anticipated event, the dance was one of the most emotional of the episode, a no doubt a crowd pleaser for most. In amongst all the drama of the episode, it was satisfying to have a moment of peace, with the dance slowing things down a little for the viewer. 

Being a Frozen inspired episode, there were an abundance of good and not-so-good references to the movie, but one of the best was undoubtedly the two-way door scene between Emma and Regina. Regina, taking on the part of the film's Elsa, sobbing in her cold prison after being thoroughly heartbroken after the breakdown of her relationship, and Emma acting as the film's Anna, trying to get her to come out and embrace the life she has around her. It was touching, and interesting to see the contrast between the characters, and the resemblance their is between the Frozen sisters. 

Overall, the first episode of the Fourth Season brought with it plenty of new unanswered questions, more drama and an icy edge to a magical series that always has a surprising twist or turn at almost every corner. What creators Kitsis and Horowitz have planned for this season is anyone's guess, but it looks set to be a thrilling ride for all involved. 

The next episode is entitled 'White Out', watch the promo for 4x02 here: 

The Big Bang Theory - 'The Locomotion Interruption' & 'The Junior Professor Solution' [Recap + Review]

It's here! The Big Bang Theory is back, as we open with the new season (8), and things are certainly new; new hairstyles, new problems and new comedic events to laugh at! We're going to kick it off with a brief recap of both episodes, so if you don't want to spoil it for yourselves, then scroll down to the 'review' section and read our review of the episodes there, instead. 

'The Locomotion Interruption' - RECAP [spoilers] 

45 days after he left Pasadena, Sheldon arrives at a train station in Arizona missing his pants and the rest of his belongings, having been mugged while sleeping. He quickly finds his way to a police station (one way or another) and rings Leonard to come get him. Leonard brings Amy with him and they arrive to pick Sheldon up. Amy is visibly annoyed that Sheldon didn't ring her in the first place to come get him, and he appears disinterested in her being there. In the car back, Amy voices her anger and Sheldon admits that he didn't want Amy to think he couldn't cope by himself, and to think any less of him. She states that she doesn't mind if he isn't perfect. Sheldon arrives back at the apartment, ready to embrace change (or so he says) until he opens the door and sees Penny has cut her hair and he doesn't like it/can't cope and he leaves. He shows Leonard and Penny photos of his trip (which he spent solely in train stations or on trains). 

Meanwhile, Penny has a new haircut, and is looking to get a job. Bernadette manages to get her a job as a Pharmaceutical sales person, and although Penny tries to back out of it, claiming she knows nothing about sales, Bernadette is insistent and makes Penny go. At the interview, Penny unsurprisingly fails miserably, not managing to answer any questions appropriately, and is about to leave the interview until she admits that she only came because Bernadette made her and she is afraid of her. In turns out the interviewer is also afraid of Bernadette and the two bond over their mutual fear, leading Penny to get the job anyway. 

Howard and Raj go to Howard's house and still find Stuart living their even thought he was supposed to move out, and Howard is not pleased. Later, Stuart and Howard have an argument and Howard is afraid of the questionable relationship between the two. 

'The Junior Professor Solution' - RECAP [spoilers] 

Sheldon is informed by Mrs. Davis (Regina King) that he can keep his job at the University and that instead, they are promoting him to Junior Professor so he can still study dark matter and teach at the same time with a significant pay rise. Sheldon is still not pleased. He gears up for his first day with his class, hoping to delight in failing them all, but Sheldon has a reputation and no one has turned up for his class due to it. Howard wants to join the class so he can finally get his doctorate, but Sheldon is reluctant and refuses to believe he can handle it. Despite doing well on Sheldon's tests, the two argue and play games with each other to annoy one another. They manage to eventually mend their relationship with a quiz game that features scientific topics. 

Meanwhile, Bernadette is frustrated with Penny who hasn't looked over the material for her job yet, despite having training days coming up. Penny says she will get to it, but Bernadette isn't happy and the two are annoyed with each other. Amy uses this to her advantage by bonding with each one separately and employing 'mean girl tactic' to insult and gossip about the other whilst with the friend she is with. Amy's good times don't last as Bernadette and Penny eventually make up. They attempt to ring Amy (who is standing outside the door eavesdropping) and the former runs down their staircase quickly to take their call, so she can go out for drinks with the both of them. 

'The Locomotion Interruption' & 'The Junior Professor Solution' - REVIEW 

The Big Bang Theory is back – and so is Sheldon, who returns forty five days after his departure from Pasadena with a refreshed outlook and ready to tackle any challenge. Only kidding! He’s pretty much still the same. Season 8 of the series opened with two new episodes for audiences to revel in, ‘The Locomotion Interruption’ and ‘The Junior Professor Solution’, the former covering Sheldon’s return to the gang and the latter focusing on his appointment as a Junior Professor so he can still study dark matter (and get a pay rise).

Surprisingly, the series felt refreshed in a way, with Penny’s haircut ushering in a new era of the series, which at times has felt like it might have run its course. The first episode, however, seemed to be more on track in terms of where it was going, and the questions it managed to answer and solve. Sheldon’s absence and eventual return meant that characters had time to shake up their personalities a little, with Penny’s new look and subsequent job interview showing that her character is progressing in both appearances and her career. Cuoco-Sweeting did a brilliant job of portraying the more serious side of Penny at points where she really did try to perform in her interview, whilst still managing to retain some of the character’s classic humour and silly mannerisms.

The jokes and one-liners also felt less forced and more genuinely funny, in particular regards to Bernadette’s feisty nature and also Stuart’s continual presence at Howard’s Mother’s house. There seems to be plenty of directions which the comedy show could take now, and that’s a strong element of the series which means that we might get some even more exciting storylines in the future, as you have the whole Stuart/Debbie relationship as well as the impending marriage of Leonard and Penny.

You might think that the second episode must have therefore been a bit lacklustre, but that was not the case at all. ‘The Junior Professor Solution’ offered Parsons’ character an opportunity to try and solve some of his conflict with Helberg’s Howard, over the former’s disregard for engineering in general. But it wasn’t just Howard and Sheldon who locked horns in the episode, Bernadette and Penny were at logger-heads over Penny’s disinterest in studying for her pharmaceutical job, and Amy was benefitting greatly from their feud, becoming the sort of ‘middle woman’ the two could confide in. This element of the episode was particularly humorous and possessed an air of Mean Girls, with Amy becoming the new ‘popular girl’ and gossiping with each friend about the other. The school-like behaviour was particularly funny coming from Bialik’s character that had never excelled in the social side of the classroom, and it was interesting to see her transporting herself back to those days which she missed, and how they have an impact on her behaviour now.

Overall, The Big Bang Theory seems to have benefitted from its break and returned with fresh, new storylines that still maintain the essence of the characters but offer them more personal development, and relationship development with certain characters that have not interacted properly for a significant period of time. It’s safe to say that certain things have changed in the series, but it seems to be revitalised and have a more vibrant energy to it that has been lacking in previous seasons of the show.

Best Dance Movies

Sweeping screens since way-back-when, the legendary dance movie is one that has proved successful and utterly catastrophic for cinema and producers alike. Ultimately difficult to get just ‘right’, the dance movie has to contain enough of a plot to sustain the feature on its own, and inevitably be backed up by a load of super stellar dance moves that delight and entertain in equal measure. In a moment of reflection, we take a look back at some of the all-time Best Dance Movies. Be sure to check out this article over at I'm With Geek, in its original version, right here. 

Dirty Dancing

You may have guessed that this addition would be on our list. Possibly one of the most well-known dance movies, Dirty Dancing features Jennifer Grey and Patrick Swayze as Frances ‘Baby’ Houseman and Johnny Castle, respectively. The film follows Baby as she vacations at Kellerman’s with her family, and focuses on the developing relationship between Baby and the Resort’s dance instructor, Johnny. The iconic scene from the film (you know the one – the lift) has been recreated and referenced so many times it seems utterly insane to suggest that Baby and Johnny haven’t earned their place amongst our list. 

Black Swan

Dark and elegant in equal measures, the five-time Academy Award Nominated Black Swan plied its way onto screens in 2010. Starring Natalie Portman and Mila Kunis, Black Swandocumented young Nina Sayers’ dancing journey, as she competes for the lead role in her company’s production of Swan Lake. Waiting in the wings as her understudy, and also initially as her black swan counterpart, is Lily (Kunis), as Nina seems unable to truly let go and perform as both the perfect White Swan and the dark and sensual Black Swan. Psychologically torturing and beautifully performed, Black Swan showcased some of the most impressive ballet moves imaginable and the levels of passion and innocence displayed by Portman were unrivalled by any other.

Billy Elliot

Featuring the boy who just wants to dance, Billy Elliot is one of those touching and invigorating films that you just can’t help but love. Starring Jamie Bell as the infamous Billy, and the delightful Julie Walters as Billy’s helpful dance teacher, Sandra Wilkinson, the film followed Billy as he struggles to showcase his talent and become a successful dancer, despite opposition from his own father, Jackie (Gary Lewis), and older brother, Tony (Jamie Draven). Nominated for a whole heap of awards, Billy Elliot was so emotional that we still haven’t really gotten over it.

Step Up

Often known as the film which spawned so many sequels and rip-offs, Step Up reignited a passion for dance that audiences had long forgotten they had. Step Up also has the added bonus of featuring real-life couple Jenna Dewan and Channing Tatum as Nora Clark and Tyler Gage, respectively. When Tyler is caught vandalising an arts and theatre school, he is sentenced to 200 hours of community of service, to be completed at the aforementioned school. Upon arrival, he meets Nora, a dance student who is preparing for her senior showcase. After Nora’s dance partner is injured, Tyler suggests he can be her rehearsal partner, and she initially refuses but eventually accepts after he demonstrates he can handle the routine. The movie features a whole combination of street-dance and classical performance and intertwines the two beautifully in a mix of different culture and energy. 

Save the Last Dance

Continuing the streak with ballet-centred films, Save the Last Dance stars Julia Stiles as Sara Johnson, an aspiring dancer who desists from dancing all-together after her mother dies after trying to get to an audition to see her perform. After moving to Chicago and in with her father, Sara meets Derek Reynolds (Sean Patrick Thomas) at the high school which she attends as one of the few only white people. Eventually forming an interracial relationship with Derek, who helps her rekindle her love for dancing; their romance causes quite a stir amongst the fellow students at the school and they must overcome the opinions of others and help Sara achieve her dream. Save the Last Dance isn’t perfect, but it is one of the most enjoyable dance movies out there and still holds up as a solid romance drama movie. 

Flashdance

A compilation of bizarre music style videos, Flashdance is a guilty pleasure of ours as it showcases the wonderful talent of Jennifer Beals, who portrays Alex Owens, a welder by day and an exotic dancer by night. Alex aspires to become a professional dancer but has no formal education on which to build it on, and is reluctant to apply to the Pittsburgh Conservatory of Dance and Repertory, until she meets Nick (Michael Nouri) who eventually persuades her to attempt to achieve her dreams. Well received by audiences everywhere, Flashdance quickly became a commercial success and a guilty pleasure for many. 

Strictly Ballroom

The first addition in Baz Luhrmann’s The Red Curtain Trilogy,Strictly Ballroom was based on a stage play originally developed by Luhrmann himself. The film details the story of Australian ballroom dancer, Scott Hastings, (Paul Mercurio) as he struggles with establishing himself and his ‘personal’ style of dancing, in a bid to win the Pan-Pacific Grand Prix Dancing Championship. As many dance films go, the film also documents his relationship with beginner-class dancer Fran (Tara Morice), whose family is passionate about the Pasodoble, and who becomes his rehearsal partner after his own dance partner leaves him for his unconventional dancing style. Focused on individualism and less about the actual competition, Strictly Ballroom shows it isn’t all about winning or losing, it’s about having fun and enjoying your-self, and about discovering new things along the way. 

What are you favourite dance movies? Let us know in the comments below!

Rising Star: Chloe Grace Moretz

How do you define a star? No, not the luminous sphere of plasma, I’m talking about entertainment stars, and more specifically, movie stars. The term ‘rising star’ is often attached prematurely to any new talent that appears on the scene, without first considering what ingredients actually make said star. Is it potential? Is it having a few successful films underneath your belt? Is it the very essence of a persona? Is it a unique ability to command attention on screen, and to be able to transform into any part and character that needs to be played? Or is it all of these things and more? [You can also check out this article over at I'm With Geek, here.] 

In terms of names you may be aware of, of have heard in passing, Chloe Grace Moretz protrudes amongst others. The surprisingly mature (for her age) actress has managed to blaze onto screens in recent years, attracting attention for being both able to deal with complex material, and to channel this into her portrayal of characters, but also capture the very essence of the people she is playing with subtle gestures and expressions. For the release of If I Stay, Moretz’s latest film, we delve into the actress’ career to date, and releases we can look forward to in the future, drawing back to what makes Moretz such a force to be reckoned with in the film industry today?

Whilst Moretz has been appearing in films since 2005, she shot to fame by playing Hit-Girl in the film adaptation of the popular comic book series, Kick-Ass. Directed by Matthew Vaughn, the film was unlike anything audiences had seen before, with its trademark violence and gore, to its ruthless but quirky styling, the film had a specific visual flair on screen, and Moretz’s character was considered a great success. Despite sparking some controversy for Hit-Girl/Mindy Macready’s foul language (Moretz was 13 at the time), the actress stole the spotlight as the brazen, dangerous and slightly mad eleven year old girl-come-vigilante, and this role planted Moretz firmly on the industry radar. Moretz’s maturity allowed her to fully comprehend and accurately portray the character, and she managed to epitomise the character in her confident movements and deadly weaponry skills (Moretz learned how to use several weapons for the action sequences, although there were obviously things she couldn’t do).

So how would she follow up such an iconic cultural role? With 2010’s Let Me In, of course, which was a romantic horror film – a step up from anything she had starred in before. Her chemistry with co-star Kodi Smit-McPhee was undeniable, and this particular remake was not in vain, it brought something new to the table and was suitably chilling, creepy and visually dramatic that it could entertain even the most sceptical of viewers. Moretz was perfect in the role and, now, she proved to a wider audience that she was here to stay. The young actress has starred in many prominent films since then, most of which proved that she has the level of versatility that film stars need, and that she approaches projects with a cool, collected demeanour, and spends time thoroughly researching the part that she is playing. 

Some films that showcase her talent were 2011’s Hugo, where Moretz starred Isabelle, opposite Asa Butterfield, who played the title character, Hugo. She was enchanting and engaging in the role, and once again her chemistry on screen with her co-stars was electric. Notably, 2013 saw Moretz reprise her role as the deadly Hit-Girl in Kick-Ass 2, and also star in another remake, this time it was Carrie. Whilst the former two films may not have garnered such critical acclaim, the praise Moretz received for her acting ability proved that she had talent even when featured in films that on the whole, received some negative critical reviews. Her performances have always been on point and she has always been able to command attention on screen, and her appeal is undeniable, considering the level of talent she possesses.

But it’s not just old projects that have us so excited for the actress. The potential is there to truly be a great film star, and the ability is there; in time perhaps she will get the role that will truly bring her the attention she deserves. Interesting future projects on the horizon (and yet to be released in cinemas) come in the form of Clouds of Sils Maria, Dark Places and The Equalizer, all due for release in the latter part of this year. Assuming the role of a young actress (who is interpreting the role made famous by another actress) in Clouds of Sils Maria, Young Diondra Wertzner in Dark Places, and an abused girl named Teri in The Equalizer, these parts sound fairly intriguing and it will be interesting to see Moretz’ interpretation of the characters.

It certainly seems that Moretz is a force to be reckoned with, within the industry, and you need only to glance at some of her films, and indeed the recognition she is getting via awards to see why. In 2012 she received CinemaCon’s BSA Award for Female Star of Tomorrow, as well as the Women In Film Crystal Awards Face of the Future; a sign of her dazzling potential in the industry. Also scooping the award in 2014 for Young Hollywood’s Fan Favourite Actor, it would seem that Moretz is certainly on her way to becoming a household name and a true talent in the industry. Let’s hope her success continues in the future. If you’re going to label anyone a ‘Rising Star’ then it surely has to be this actress.

Eminem - Guts Over Fear ft. Sia (Lyric Video) [+ Review]

Eminem's next single has itself a new lyric video - with a distinctly intercity theme. But who should appear on the rapper's next single but the recently popular Australian singer Sia, who has shot to (mainstream) fame with her hit 'Chandelier'. This is the second track that the two have combined forces on, and it's an interesting mix of synth and rapping, with very personal lyrical content. The track focuses on Eminem's struggles establishing himself as a music artist, and his feelings on his place in rap industry and what sort of music he wants to produce, and the effect he wants to have; 'And I'm frozen cause there's no more emotion for me to pull from/ Just a bunch of playful songs that I made for fun'. 

Eminem lyrics are certainly more reflective, and rightfully so, after years of being in this career with periods and phases that his music went through, it's certainly intriguing to get a glimpse into his own personal opinions on the way his music has evolved and the struggles and emotions he faced and felt while doing so. To balance out the heavy-rap segments of the track, Sia is back and offers up her unique vocals for the hook, which is also reflective but more bold, as the singer showcases her power through her voice but also the track, showing that she now has 'guts over fear' and will not be taken advantage of and be stronger - 'For all the times I let you push me around/ And let you keep me down/ Now I got, guts over fear, guts over fear'. 

The two make for a suitable pairing, and the beat is solid and showcases a different tone and perspective to the infamous rapper, who is seemingly distancing himself from his previous work which he would prefer not to remake again. It's a shift that seems to have divided some fans who would prefer to hear the 'old stuff' but it's a welcome change for an artist whose place in the music industry is largely uncertain, but it will be interesting to see what single he will come out with next, as 'Guts Over Fear' is a more thought-provoking piece than some of his previous, more lively, works. Watch the lyric video for the track, below: 

Jennifer Lopez - Booty ft. Iggy Azalea [+ Review]

NEWSFLASH: Jennifer Lopez has a new music video out featuring Iggy Azalea and it contains a significant amount of booty. Aptly titled 'Booty' the song does exactly what it says on the proverbial tin. There's booty, it's about booty and don't expect to see anything less. When it comes to reviewing the song, it's relatively easy - however, the music video has caused a usual stir because of the amount of female sexuality in it (surprising, no?). Apparently, anything with a butt in it nowadays is a no-go, and it particular Nicki Minaj 'Anaconda' style, the duo have divided viewers with their booty-filled music video. But what people don't seem to be noticing is the song itself. Is it an indicator of our society when we can only seem to notice something right in front of our faces but not listen to the actual lyrics? 

I'll be discussing the song first, so that those of you who perhaps don't want to hear this site's thoughts on the video can skip down to the video after the music review (although we really hope you don't!). The track itself is pretty standard in its construction, Lopez's sings out her verses in typical fashion, but nothing is particularly hard-hitting, and the hook isn't as addictive as previous songs we've heard. The instrumentals of the track also sound a bit similar to Lopez's previous song 'On the Floor' in particular areas and 'Papi' in others. Azalea's verses are more solidly constructed, and she seems to be more confident singing her segment, although it is a little short compared to other tracks like 'Problem'. 

The break-down in the track towards the end is a little bewildering, and doesn't really fit in with the rest of the song. Clearly aspiring to be more of a club anthem, it falls a little short in terms of what's required, and it doesn't seem to have the same sort of edgy nature like 'Anaconda', which is disappointing. However, this particularly remix with Azalea propels the original version to new booty-full heights, and her verses add a bit more life into the track which originally featured Pitbull. Azalea shows more dominance in her lyrics with 'They begging me to drop down on 'em but, right now, Iggy on the top/ The last time the world seen a booty this good it was on Jenny from the block' which is distinctly more edgy with its clever little reference to J-Lo's previous nickname and song. 

The addition of Azalea to the remix definitely helps the track become more current, considering Azalea's recent success with hit 'Fancy', the featured-spot on Grande's hit 'Problem' and her dynamite pairing on 'Black Widow' with Rita Ora, not to mention her successful album, The New Classic. Now on to the video itself. When we went in to watch the video I thought it might be a bit racy, but it was (fairly) tame compared to other stuff out there, and yet people in the comments section were acting like it was the worst thing ever (newsflash: it's not). You can argue morality and 'what about the children' until the day goes long, but the video is essentially two women singing a song about 'the booty' and providing some visual accompaniment that ties in with the song. All in all, it's pretty much what you'd expect. 

Butts in music videos are nothing new, but it seems to be that people face the most backlash about perceived sexual parts when the main (singer) individual is female. There are a multitude of music videos (particularly rap/r'n'b/some pop) that feature women, scantily clad in particularly sexual positions. But the most notable difference in those videos is the women has no spoken word. She is simply something to look at in the video and nothing more. In music videos for Minaj's 'Anaconda' or Rihanna's videos, the women is in control, and perhaps this is something that is unsettling for some people - to see a women expressing her sexuality (which she is, of course, entitled to do) in a similar fashion to how females are portrayed in other videos, except that she has a voice and is in control. She is not decoration and maybe this is unsettling for some people. 

Regardless, it seems that videos feature female music artists' sexuality seem to be a taboo subject; one that causes numerous emotions ranging from awkwardness to outright spitefulness and hate messages. Whilst this is not an essay on female sexuality, it might be prudent to question the emotions and thoughts you have about the video. Feel free to watch the curvy video below, and share with us your thoughts on the video in the comment section: 

Only Lovers Left Alive (2014) Review

                                                   "That certainly was visual."

In a world where the vampire genre has been plagued by some more ‘sparkling’ additions, Jim Jarmusch arrives to rescue us all from the suffocating teen infatuations that we have all had to endure. Only Lovers Left Alive is not content to adhere to normal standards and provides a uniquely artistic cinematic experience, with Jarmusch showing that he is a certain flair for the indie aesthetic that he has created.

(You can read this review online via I'm With Geek, here.) Assuming the role of the undead leads are the suave and sophisticated Tom Hiddleston and the elegant Tilda Swinton, who portray Adam and Eve, respectively. The decades-old vampires show a sense of weariness to the modern day world, greatly populated by ‘zombies’, as Adam describes them, and the two conduct themselves in an elitist manner as the simmer around the outside world in a uneasy fashion. Hiddleston’s Adam is a music visionary, creating wondrous pieces of music that he has no desire to be tied back to, and distancing himself from any people who come knocking, except, of course, for his long-distance lover, Eve, and his seemingly only friend (if you can call him that), Ian. Adam and Eve’s sumptuous paradise is brought abruptly to a halt when Eve’s younger sister, Ava (Mia Wasikowska), arrives in a brazen manner. Ava is impulsive and doesn’t calculate things quite like her older sister, and it’s clear that Adam and Eve are in a state of trepidation. Whilst Adam has Ian (Anton Yelchin), Eve finds comfort in companionship with Marlowe, portrayed by John Hurt, who supplies Eve with her blood supply (which all vampires seem to consume in a drug-like manner).

It’s true that the film benefits greatly from the leads’ performances, with Hiddleston managing to capture the overall dark aura of Adam, who feels outdated in his current world, as he adorns his walls with vintage records and relics from golden eras gone. Swinton is not one to be cast aside and shines as Eve, a distinctly odd character with a passion for literature (that she literally carries everywhere) and her dearly beloved Adam; her calming aura soothing his tormented persona. It sounds like the characters could be difficult to endure, with their typical hipster mannerisms and clichéd styling (all vampires seem to have a penchant for leather gloves), but there is something oddly endearing and intriguing about the way in which Hiddleston and Swinton perform as whimsical Eve and the depressing Adam.

It’s not only the characters that possess an air of charm, the film relies heavily on its artistic visuals, with atmospheric lighting being key to the overall ancient feel of the film, which reflects its characters rather appropriately. Only Lovers Left Alive has the traditional look of your average indie film, but with a distinct despondent nature that underlines its seemingly never ending narrative, which seems entirely intentional. It is this witty, almost self-knowing manner that propels the film above your typical vampire flick, and creates something that manages to feel effortlessly timeless and deeply sensual.

With grand set designs that reference the cultural items that will no doubt be nostalgic for some, Only Lovers Left Alive combines its somber nature with enchanting visuals and thoroughly beguiling characters that draw you in with every sensuous dance movement, striking gaze, or thought-provoking line in the dialogue. Jarmusch’s Only Lovers Left Alive is an elegant love story that is steeped in just the right amount of heartache and sadness to offset its drier, humorous moments. 

Brody Dalle - Rat Race

Brody Dalle, who you might know from punk rock band 'The Distillers', or indeed alternative rock band 'Spinnerette', has recently released another music video for her solo song, entitled 'Rat Race'. The track is taken from her début solo album, Diploid Love, which was released earlier in the year in physical format and as a digital download in May and April, respectively. Kicking back to the alt rock vibe, Dalle shows she hasn't lost her touching for rocking rhythms and frantic pacing. 

The visuals are a suitable match, as Dalle gives off a particular electrified aesthetic, with flashing colours and effects present throughout the video. Think Scott Pilgrim meets Tron. Surprisingly, we actually enjoyed the video and it's effect suit the styling of the track and Dalle's striking vocals. With the instrumentals on an all-time-high, and Dalle's deep, catchy voice, 'Rat Race' is another winner for the singer, and it's certainly a track you should be checking out from her début solo album. 

Some of our favourite lyrics from the track include the uncertain 'I'm a sure fire assassin/ Not so sure of what I'm meant to do/ Am I meant to Kill? Am I meant to thrill?', which particularly caught our ear steeped over the heavy guitar and beats. Check out the hectic music video for 'Rat Race' below: 

Daniel Radcliffe: "You're An Actor Harry!"

It’s been said before; if you’re lucky (or unlucky) there are certain roles that you will undertake as an actor that will define your career for the foreseeable future (and possibly the rest of your life). Many actors will be known for particular films they have starred in, which will often loom over them for better or for worse, and when it comes to typecasting, these roles can be difficult to break out of.

The same goes for Harry Potter. No, I’m not talking about the film series-come-franchise itself, I’m talking about the man who played the titular character, Daniel Radcliffe. Over the years, Radcliffe wove his way into the hearts of millions by portraying J.K. Rowling’s infamous character, over the course of 11 years (with filming time), in which audiences saw him evolve on screen as not only an actor, but also a person. But what would happen when the doors of Hogwarts closed for the last time? It was anyone’s guess, but since then Radcliffe has established himself as a versatile actor, taking on a multitude of roles in theatre, film and on television. With the release of Radcliffe’s latest film - What If – today, it seems suitable that we should look back on how Radcliffe has evolved since his Potter days, and why he should be recognised for his acting abilities in the present era, whilst also looking at projects that are in the future and what we can expect from them.

Following the end of the series with Harry Potter and the Deathly Hallows: Part 2, Radcliffe managed to score himself several different roles, from the widowed lawyer Arthur Kipps in The Woman in Black, to the poet Allen Ginsberg in Kill Your Darlings, it’s clear that Radcliffe has made his mark on the industry post-Potter. The Woman in Black was Radcliffe’s first film role after playing the boy wizard for over a decade, so to say some audiences were apprehensive was an understatement. However, his role as Kipps was surprising, in the sense that he managed to convey the struggles Arthur has to go through, following his appointment to sell the Eel Marsh House. Similarly, in Kill Your Darlings, Radcliffe was equally captivating, and his on-screen performance and chemistry with his co-star, Dane DeHaan made for compelling viewing. Of course, Radcliffe has also taken on many roles elsewhere, other than the film industry, including his role in A Young Doctor’s Notebook, which was unlike anything we’ve seen from the actor before, and his role in How to Succeed in Business Without Really Trying, where he played J. Pierrepont Finch.

Sufficed to say, Radcliffe has been busy since his long-term role came to a close, and it’s not hard to see why; he still has the appeal that draws in the masses to films that you wouldn’t think would be popular amongst audiences, and manages to put in an accurate and enthralling performance as the character. But it’s not just past projects of Radcliffe’s that have captivated us, oh no – it’s future ones as well. What If sees Radcliffe turn his talents to romantic comedies, and from the looks of trailers and early reviews, it would seem that this has been yet another success for the star, with critics praising Radcliffe’s performance.

Another project on the horizon and set to hit cinemas in the US and the UK on the 31st of October is Horns, a dark fantasy thriller based on Joe Hill’s novel of the same name. In this film, Radcliffe is set to play Ig Perrish, a man who is falsely accused of murdering his girlfriend and simultaneously begins to grow horns on his forehead that allow him to compel people to unravel their deepest secrets. Chilling, no? Radcliffe himself has stated that the role is “very different” to “anything I’ve done before” and that the role was “deeply emotional and also incredibly outrageous in some ways”, and by the looks of the first trailer, we’ve got to agree with him. Horns looks promising for the young actor, as does 2015’s Victor Frankenstein, were we are set to see Radcliffe star opposite James McAvoy (who portrays Victor Von Frankenstein), as he portrays the side-kick Igor, in the film based on contemporary adaptations of Mary Shelley’s 1818 novel. It’s safe to say that Radcliffe has some exciting projects lined up for release later this year and next year, which will hopefully further his standing as a reputable actor, and act as further stepping stones away from the role he is most known for.

Whilst we are glad that Radcliffe is establishing himself as an actor in other roles, this is not to say that his work on Potter should go unacknowledged; brushed over as a youthful mistake, or the like. Harry Potter will be perhaps one of Radcliffe’s defining moments, and it should not be forgotten that he effectively ‘made’ the film, with the addition of several skilled actors and crew that created the ‘universe’, so to speak. Whilst Radcliffe’s acting is questionable in some places throughout the 8 films, it is clear that he has evolved as an actor and that this experience has given him vital tools in order to survive in the industry, and we hope to see more great work coming from the actor in the near future. 

You can also check out this article in the I'm With Geek e-magazine, available here.