The Night Manager [Review] - Spy Sensation

Strike a pose.

How to introduce The Night Manager? That might be a bit tricky; one look at its impressive cast would probably send you into a fanatical, wheezing fit, if you’re a fan of great British TV. Fortunately, in this daring drama Tom Hiddleston is available on hand as the enigmatic hotelier-turned-spy to resuscitate you…maybe.

Hello? {from the outside} 

Based on the John le Carré novel of the same name, this adaptation of The Night Manager has been updated to suit current day situations and events, moving from the setting of the Cold War to the Arab Spring. The production budget has clearly been set quite high, as the camera blissfully sweeps across luscious oceans, capturing every intricate and scenic detail of gorgeous mountain tops and stunning villas: a true testament to the drama’s grandiose nature. It’s certainly an incredibly cinematic and artistic TV drama, and it knows it. Full of riveting drama, sex, and mystery, the series may as well be a prolonged TV film for its careful construction of every artistic element of its production and editing, but you’d expect nothing less, considering the magnitude of its actors.

They see me rollin', they hatin'.

Television is perhaps a more suitable medium for an adaption of a le Carré novel, and the six part mini-series has plenty of time to fully explore the elements of the thrilling espionage plot. This therefore guarantees a better chance at success, and for the most part, the first palpable taste of The Night Manager is satisfying and offers up a juicy and easily digestible piece of television gold.

Jonathan, I think you have lupus ~it's never lupus~

Tom Hiddleston stars as the notorious ‘Night Manager’, Jonathan Pine, who is recruited quite suddenly by Angela Burr (Olivia Colman), an intelligence operative who has made it her life’s mission to take down arms dealer and ‘worst man in the world’, Richard Roper (Hugh Laurie). In order to do this he must assimilate himself into Roper’s world through unconventional methods, whilst also trying not to be uncovered by any of Roper’s group, including his girlfriend Jed (Elizabeth Debicki), and suspicious associate Major Corcoran (Tom Hollander). As suspected, Hiddleston is utterly convincing in his role, able to show the darker, more committed side to his character that comes with his need to infiltrate big business, whilst also switching between the smart and more faux-courteous side of the role.

#jine4eva

Laurie also flexes his villainous side, proving he doesn’t always have to be the good guy. Laurie manages to embody every characteristic of the ruthless Roper, despite not being on screen for more than a few minutes at a time, which is quite a feat for even a seasoned actor. There is something utterly commanding about his screen presence that is captivating if only for every few fleeting seconds before he saunters off no doubt to orchestrate another crime or two.

Did I leave the stove on?

If you want to read more about my thoughts on Olivia Colman's impressive performance, and the Laurie/Hiddleston play-off then you can do, here.

The Winner's Kiss (The Winner's Trilogy #3) - Marie Rutkoski [Review]

Book: The Winner's Kiss

Author: Marie Rutkoski

Published: 29th March 2016

Publisher: Farrar, Straus and Giroux (BYR)
Source: eARC provided by publisher via NetGalley

Pages: 496

Rating: 5/5 stars

The last in the Winner's trilogy of books, I was well and truly zazzed for this book (I know, who says zazzed anymore?) - but seriously, I was freakin' excited. 

However, I was slightly cautious because, as I had loved the first two books, I didn't want to be disappointed - so it's fair to say I had high hopes. 

Having now finished this book, it brings me so much joy to say this is THE BEST of the series. Hands down. Seriously, go read the series just for this final book. 

Firstly, for fans of Arin and Kestrel, you can be satisfied that they spend a good portion of this book together, and there's no love triangles or anything like that. Their relationship is played out nicely throughout the book and left me feeling content when I had finished (trying not to give too much away). I think fans will be happy with their story development.

Kestrel is very likable in this book and I was really interested to see how her character developed after the initial events at the start of this book. She has been through A LOT (I mean, girl has had some trials) and she's definitely had a rough go of it, and her character really grows and changes a lot in this book, which I appreciated a lot. 

The sections of the book that focus on Arin are super interesting, and his story-line is very engaging and his character is given a lot more depth in this book, which makes his decisions and actions far more believable. I couldn't predict where his story was going, which I personally enjoyed. 

Rutkoski brings such a poetry to her writing, it truly is a pleasure to read and I wish I could start all over again and read the series for the first time. 

The plot is very engaging and action-packed (with some nice moments for reflection, too) which left me frantically reading through the pages as, boy, I was gripped. Definitely some edge of the seat moments too. 

Ultimately, I am thrilled with how the series has finished, and I would love more stories with some of the secondary characters (and some of my personal faves) like Roshar, or Risha, and I feel like there could definitely be more to find out about the Dacran Queen too. 

So if you're wondering whether to pick up this book, I would thoroughly recommend it, and if you've never started the series (why??) then definitely get cracking, they make a wonderfully written and thoughtful trilogy. 

Foxes - All I Need [Review]

Southampton sweetheart Louisa Rose Allen – stage name Foxes – has been performing professionally since 2011 and has garnered a lot of attention in recent years following her Grammy Award winning ‘Clarity’ collaboration with Zedd. She’s come a long way since her Youth days, and this is evident in her most recent music, which is far more emotional and raw than any of her previous Glorious works, which were almost pristine in their production and a little too glossy on occasion. Her latest album, All I Need, combines pure pop splendour with emotional lyrics to create songs that possess style and substance; when it comes to making a catchy track that still maintains its meaningful nature, very few people do it better than Foxes.

Whilst her previous album was quite ethereal and wistful, All I Need is a far more serious take on her life and her heartbreak, showcasing the darker sides of relationships in devious ‘Devil Side’, a dramatic and edgy ballad that breaks the formula the singer has so dutifully followed before. The raw emotion continues on Scar, a meaningful song where we get to hear Foxes’ impressive voice crack and waver a bit as she truly immerses herself in the music, inviting us in to see a different side to the seemingly upbeat singer.

There is plenty of variety in Allen’s intriguing album, and the calypso-esque Cruel is a tropical tune that is a clear stand-out, while Feet Don’t Fail Me Now shakes things up with a jazzy banger complete with rhythmic clapping and piano beats that make you want to get up and dance. Rather than sticking to what works for her, Allen takes noticeable risks – some pay off, some don’t – especially with ‘Wicked Love and Money’. The former starts off in typical Foxes fashion (melody similar to Youth) but then does a complete switch, changing the tempo and producing a more candy-coated track that is juxtaposed with the harsher nature of the lyrics, making for a thoughtful and overall effective tune. The latter unfortunately does not have the same effect. Is it more than a bit ironic that one of the few songs that doesn’t really have an impact is the eclectic track where Foxes sings dutifully that “Money can’t love you/ Money can’t hold you”. Perhaps Foxes is proving her point a bit too well. This track does absolutely nothing and lacks almost any personality and sense of self.

Despite this, it would be appear Allen has managed to create a new album that, for the most part, has ‘all you need’. The upbeat songs with melancholy undertones are still there of course – but they are presented far more brutally and bare, not overpowered by sweeping synths or powerful percussions. All I Need highlights Allen’s ability as a personable songwriter and also utilizes her infectious vocals to its advantage, resulting in a collection of songs that show just how you produce pop that is both meaningful and conscientiously catchy.

Sia - This is Acting [Review]

Exploding into the mainstream music scene in 2014 with 1000 Forms of Fear, after simultaneously performing and writing songs for years, Sia has become an unstoppable force in the industry. Penning several successful tracks for other artists including Rihanna and Beyoncé, Sia made the transition from behind the scenes to centre stage – despite the fact that she isn’t all too fond of fame itself, and chooses not to show her face during performances, opting instead for her signature silver crop wig. What does a successful song writer do when the tracks she creates are turned down by their intended artist? Fuse them all together to create an interesting new album, of course!

This is Acting is all about the different ‘roles’ Sia is playing by taking on songs designed by her for other artists, and in this way, she is toying with different personas, and acting her way through their ‘style’. In some songs this is quite literal, as she puts on slight accents and adjusts her vocal delivery to give a convincing performance as that star – ‘Move Your Body’ is a prime example of this, as Sia puts on an uncanny Shakira impersonation that the Colombian would be proud of. This is acting at its best, and Sia is a seasoned professional.

A risky venture, Sia manages to pull it off for the most part, and in some cases we get some unexpected gems from the singer. ‘Cheap Thrills’, an exotic EDM mash-up that is very ‘Pon De Replay’ – it’s almost an exciting game in itself to guess who each song was written for – and full of good old summer fun. If you’re on the look-out for the next ‘Chandelier’ then you may find it in the form of ‘Alive’, a powerful anthem that stretches Sia’s vocals to their limits; the end result is quite something. ‘Unstoppable’ is an invigorating delight that is a cheat-sheet for how to make the perfect pop song, whilst ‘House On Fire’ will surely add a bit of spark back into your life with its passionate simplicity.

Of course, for every success there are usually a few missteps, and Sia is not without fault, as tracks like ‘Reaper’ fall flat and don’t possess the same power or acting prowess to see them through to a sturdy finale. Similarly for ‘Sweet Design’ which sounds like a disappointing tribute act to some jazzy pop singer.

While This is Acting is almost like parody, and far from her most personable album (after all, that is kind of the point), it is actually rather clever in the way in which it manipulates songs written for other singers and gives them the ‘Sia effect’. What this means for her future is uncertain, but Sia’s latest album is a testament to her impressive ability as a songwriter and most importantly, her versatility as an artist.

Agent Carter [Review] - Feminist Marvel

Peggy Carter hasn't got time for your shit. Credit: ABC/Marvel.

What’s a girl to do when you’re a secret agent living in the 1940s and you’re seemingly not needed post-war anymore? Go it alone of course! Agent Carter (or Marvel’s Agent Carter) follows the ambitious and smart-talking Peggy Carter. Once known as Captain America’s right-hand girl, she has now been relegated to lunch-getter and phone-answerer. In this post-war society, Peggy’s role as seemingly the only female agent in the Strategic Scientific Reserve (SSR) has her at a bit of a loss. That is until Howard Stark recruits her to help clear his name, and Peggy is thrust back into the field as a double-agent, finally getting the chance to utilise her skills. After all, disguise, danger, and destruction seem to be this gal’s thing.

While season one focused on this, and Peggy’s attempts to get back the deadly weapons that Stark had been accused of selling while also uncovering who was actually behind the sales. Season two starts off rather amicably in L.A. Leaving the hustle and bustle of New York City behind, Peggy is called in to sunny Los Angeles to help solve the case of The Lady in the Lake – and predictably, atomic weapons seem to be involved (seriously, can they just stop making them? That would solve everything).

One of the most appealing elements of Agent Carter is its focus on Peggy Carter as an independent working woman, highlighting her struggles of character and emotional attachments post-‘Cap’, as well as her ambitions as an agent not content to sit on the side-lines. Hayley Atwell captures Peggy brilliantly, and she has an infectious, and endless energy that can’t help but overwhelm you, breaking down any trepidations you may have had about the casting. Atwell has described her character’s superpower as being that of underestimation, and that she “often uses that to her advantage”, and this is interesting as it offers a view on women in the workplace in that era, and shows how Peggy adapts and manipulates it. Agent Carter is a remarkable woman, who can kick, talk, and think her way out of any scrape, even when an assassin comes to kill her in her humble abode. Fluent in Morse code and filled with feisty back-sass, Peggy is the Marvel Agent we all deserve (and seriously handy in a brawl).

Read the full review filled with Peggy sassiness, here.

Also, just for the hell of it, here's some classic Peggy-goodness: 

the SASS. 

Also, this would be where we chuck in a trailer, but seriously - the trailer isn't accurate for the series at all and really doesn't do it justice - BAD MARVEL. Just go watch the programme instead. Trust us. 

Pride and Prejudice and Zombies [Review]

Lizzie Bennet knows what's going on. Credit: Lionsgate.

If there’s something strange, in your country estate, who you gonna call? Zombie slayers. Seth Grahame-Smith’s parody novel of the legendary Austen classic is a mashup of romance, comedy, and of course, the undead brain-eaters. If it seems an utterly ridiculous choice of novel to give the big screen treatment that’s because it is. To say otherwise would be to entirely fool yourself. The rather self-explanatory nature of Pride and Prejudice and Zombies is one of its best features; you know you are going to get some pride, a dash of prejudice, and a militia of zombies, and that’s all you can really ask for.

Taking a bite out of Austen’s original plot, the film centres on the Bennet sisters who are caught in an undead epidemic in Regency era England, where a plague has turned local aristocrats into carnivorous cretins. Trying to maintain the line of defence against this disease is legendary slayer Mr. Darcy (Sam Riley), who visits stately homes and executes anyone who shows symptoms, by using his trusty flies. In this alternate universe, the sword-wielding Bennet sisters, headed up by Elizabeth (Lily James), are trained martial artists who are adept in all manners of combat. Charles Dance and Lena Headey also star as Mr. Bennet and Lady Catherine de Bourgh, respectively.

After being whisked off her feet in Cinderella, Lily James is firmly grounded as ‘Lizzie’, the feistiest of all the sisters, who prides herself on her warrior abilities. James is the bad-ass, knife slashing, zombie-kicking heroine you didn’t even know you needed in your life, until now. Commanding attention on screen, but still able to roll with the cheeky humour, James is effortless in her performance alongside Riley.

Read the rest of the review (including thoughts on Matt Smith's hilarious Parson Collins): here.