True Blood - Season 7, Episode 1 'Jesus Gonna Be Here' [Review]

Here it is, Truebies! The long-awaited, final season of True Blood has begun, and kicked off in an especially bloody fashion with the Season 7 Premiere episode. After 6 seasons and a whole lot of crazy, the adventure has now reached the beginning of the end, with audiences keen to find out what had happened to Eric (Alexander Skarsgard) after his nude reading turned into a blazing affair in the last episode of Season 6, not to mention what fate would befall the other inhabitants of Bon Temps, as they can never seem to catch a break.

The episode opened in a particularly archaic manner, as the poor residents of Bon Temps were attacked by some remaining Hep-V vampires, who quickly chow down on the unfortunate townsfolk. So, a couple of people die no big deal for the hardened residents of Bon Temps, eh? Well, the big shocker happened in the first couple of minutes as quicker than a flash – Tara (Rutina Wesley) dies. No sooner have we seen her back in the game, she apparently dies as her mother is left grieving over her remains, all stuck to the ground. To say this was rushed, would be an understatement. There one minute, and literally gone the next, Tara’s death acted as more of a sloppy plot-device to provoke emotional reactions from her fellow friends, with Sookie (Anna Paquin) flipping out and going off on Alcide (Joe Manganiello) about it. Tara’s death was executed in such an unbelievable fashion, you’ll be left wondering whether it actually happened or not, as she didn’t even die ‘on-screen’. At this point, you can’t help but feel bad for Tara as her death was so anti-climatic and flippant that you are left feeling quite disappointed and disengaged for the rest of the episode. There are so many more directions that the writers could have taken with the character, so it’s a bit of a shame to see them kill her off in such an abysmal manner.

With that in mind, the rest of the episode was rather understated, with writers clearly wanting to tie off loose ends and have the story arc play out as Bon Temps vs Hep-V Vampires. The delightful additions to the episode came in the form of Jessica and Pam; with Deborah Ann Woll’s performance as the former vampire being the most memorable, as her character struggles to come to terms with what she has done to the Bellefleur family, whilst she also tries to protect Adilyn Bellefleur (Bailer Noble) from other infected vampires, and herself. Woll’s character is more of the more intriguing left in the series, and so far, in the absence of Eric and the breakdown of Sookie/Bill (Stephen Moyer), it seems to be the only strong arc in the episode.

Having said that, Anna Paquin puts in a plucky performance as the telepathic waitress, who finally stands up to all the townspeople bad-mouthing her and blaming her for what has happened (even though these types of events have been going on since Season 1, so you think they’d have learned to deal with it by now...), as she delivers a hopeful speech in her usual manner. In the absence of Eric, Pam (Kristin Bauer) is back, and on her hunt for Eric we get to see her engage in a silver bullet Russian roulette-style shoot-off to gain information about his whereabouts. Here we are treated to some classic sassy Pam lines from Bauer, whose performance as Pam is always a treat, as her character puts on a brave-face in the absence of her maker.

With the first episode of the final Season dishing out some dramatic events in a rather sloppy manner, but ultimately ‘tying off loose ends’, we hope that the rest of the Season will be executed in a more coherent and satisfying manner, and that the missing characters quickly make their return to the series before the whole affair gets a little stale. That being said, there are plenty offerings to keep fans enticed, and much to hope for from future episodes, such as the fate of Arlene (Carrie Preston), Holly (Lauren Bowles) and company, after their kidnapping at the hands of the infected vampires. 

Ed Sheeran - X [Album Review]

Ed Sheeran's second album, entitled X (or Multiply), comes hot off the trails of his 2011 album (aptly titled '+' or Plus), and sees the singer putting his vocal talents through their paces on his latest album. The new album shows the level of growth the singer has undergone since his début, and the new efforts of the album are greatly appreciated, as Sheeran pushes new boundaries between folk and R&B, infusing the two together to create an almost seamless album that enthrals and delights. 

Ever seeking to create something new and improve and explore into different musical territories, Sheeran has pushed himself to create a new album that varies from his usual stylings. X is an infusion of R&B, rap influences, folk and pop that actually works rather well, with energetic guitar and drum beats fusing successfully to form catchy and unique individual songs, that actually maintain their memorability. The quick-spitting and frenetic 'Nina' sees Sheeran taking influence from rap to create a track that is dynamic and hook-heavy. Relying on a key use of piano and featuring excellent guitar beats, 'Nina' is essentially Sheeran telling a woman to stay away from him.  

The third track on the album is the flawless 'Sing', which features Sheeran executing falsettos accompanied by a sultry-smooth track that has the sexiness that so many tracks aim for, but ultimately lack. In a manner to Justin Timberlake, Sheeran achieves the flirtatious nature of his counter-part, creating a song that is mesmerizing. The track, produced by Pharrel Williams, has the usual 'Blurred Lines' esque beats that you would expect from the producer, but Sheeran has enough charisma and vocal ability to carry it off as a new and exciting track, instead of an unfortunate reminder of the poorly constructed tune. We would describe this as 100% better than 'Blurred Lines', with 100% more Ed Sheeran, and genuine sexiness. Simple, eh? 

One of the gems on the track is the smooth and deceitful 'Don't', which references a girlfriend who cheated on Sheeran. The singer was initially reluctant to put the record on the album as he felt it was 'too personal', and we get why he might be reluctant. 'Don't' is incredibly personal, and the hurt and deceit is felt throughout the track as Sheeran sings; 'Don't fuck with my love/ That heart is so cold/ All over my arm/ I don't wanna know that babe'. The track is so passionate and ultimately angry, and with high emotions and an addictive chorus, 'Don't' is a triumphant addition to the album from the singer. 

Track number 6 on the album is the piano-ballad, 'Photograph'. The track features Sheeran's voice in a more fragile and tender manner, as he sweetly sings 'So you can keep me/ Inside the pocket of your ripped jeans/ Holding me close until our eyes meet/ You won't ever be alone'. This particular track is a more understated addition to the album, and it works phenomenally well, as one of the album's most endearing and exquisite tracks, that is complimented by Sheeran's soaring vocals on the chorus.  

The guitar-laden 'Bloodstream' features some fluid and sleek vocals from Sheeran, and the track sounds distinctively folky, with incorporation of r&b 'Fading out again/ I feel the chemicals burn in my bloodstream/ so tell me when it kicks in'. This particular track is quite hypnotizing and it shows how far Sheeran has come with his music, and the falsettos featured are beautiful. 

Bonus tracks from the deluxe version, also include the Hobbit-infused 'I see Fire' which features as a track from the aforementioned film (Desolation of Smaug), and as usual, Sheeran is brought to a unanimous climax by strong guitar beats and resonating violins. The majority of the album sees Sheeran triumphant and victorious in his efforts to exceed his usual comfort zone, and X is a confident new addition to the singer's discography, which emulates the singer's passion and emotion. Whilst the album can at times feel a little bit timid or tame (in comparison to some of the more triumphant and captivating songs), Sheeran is successful in his more gentle vocals that come courtesy of the more warming, powerful tracks like 'I'm a Mess', 'Bloodstream' and 'Photograph'. That being said, Sheeran has pushed the boundaries of his music so far, and X is a living example of this, infusing R&B and folk to create a solid and emotional album. 

Marina and the Diamonds - The Top 10 Songs

Continuing our 'Top 10' feature, we delve into the lands of electro-pop where we find Marina and the Diamonds (Marina Diamandis). Currently working on a third studio album (which will hopefully be released in the near future!), Marina is a Welsh singer and song-writer who has had successes with her previous two albums; The Family Jewels (2010) and Electra Heart (2012). In this addition, we'll be looking at the Top 10 Best tracks from the quirky singer to date. So, without further adieu, let us begin the countdown! 

10: I Am Not a Robot

Taken from her début studio album, 'I Am Not a Robot' was ridiculously infectious, with its indie-pop beats and Marina's vulnerable voice turning it into a recognisable hit. With such a distinctive voice, 'I Am Not a Robot' showcased Marina's talents well and the track itself is one of the more simple but still effective songs, that resonates in your mind long after you have listened to it. The accompanying music video was equally as impressive as it featured Marina in an abundance of special effect make-up that gives it an out-of-world feel. 

9: Radioactive 

Coming in hot off the Electra Heart runway is 'Radioactive', an Eurodance song, taken from her second studio album. The fusion of catchy club beats with Marina's hypnotic vocals make this an extremely confident addition to her discography, as she opts for a more popular acoustic but still with meaningful lyrics 'My Heart is nuclear/ Love is all that I feel/ Ready to be let down/ and now I'm heading for a meltdown'. We like to describe it as pop, but with a witty edge.

8: Girls 

Heading back to The Family Jewels, this one is a little bit more obscure. 'Girls' is one of the lesser known tracks from the album, but we think it is probably one of the most effective and culturally significant. Often misinterpreted as being a criticism of the 'girls' themselves, the track is more a criticism of society and its expectations of the female gender role. Pretty powerful stuff, right? Featuring lyrical gems, sung in a truly effortlessly sarcastic manner, such as 'Girls are not meant to fight dirty/ never look a day past 30/ not gonna' bend over and curtsy for you' and 'making money off your insecurities and doubt'. You can always count on Marina to stick a few societal criticisms into her songs.




7: Sex Yeah 

Whilst 'Girls' may have been a good song, 'Sex Yeah' is most definitely the better song that touches on feminism. With such meaningful lyrics that invite others to question their own perception and the stereotypes around them 'Question what the TV tells you/ Question what a Pop-star sells you/ Question mum and question Dad/ Question good and question bad', 'Sex Yeah' is more than just your average pop song. Add in an addictive hook and catchy beat and you've got an unquestionable hit on your hands. 'Sex Yeah' is pretty self-reflective and has a multitude of meanings, so we'll leave you to your own devices on this one, but it is certainly more though-provoking than your average bubblegum pop.

6: Are You Satisfied? 

Are you satisfied, with an average life? No, that's not some motivational speech I've just made up, it is in fact some of the lyrics from our number 6 song 'Are You Satisfied?'. The track is taken from Marina's first studio album, and although not one of the main released tracks, 'Are You Satisfied?' strikes quite a strong chord with us. Questioning the value of life and what it means to be happy and content with yourself, the song is pretty hard-hitting in terms of lyrical content, and features some gut-wrenching instrumentals that we haven't really recovered from 'Do I need to lie/to make my way in life?/ Are you satisfied/with an easy ride?/ Once you cross the line/will you be satisfied?'.




5: How to Be a Heartbreaker 

Get ready to amp up the satire levels to one hundred, as our next addition to the list, rocking in at number 5, is the oh so self-mocking 'How to Be a Heartbreaker'. We sure hope you don't take any of the lyrics seriously, but we do hope you take the message of the track (and indeed the video) seriously. Marina's songs are known for their wit and satire and this is no exception, as she explores the archetype of a female character who doesn't want to have her heartbroken, so she forms meaningless and detached relationships with others 'Don't get attached to/somebody you could lose/ so let me tell you/this is how to be a heartbreaker'. Featuring a video which switches the gender objectification (thereby highlighting how ridiculous it is), 'How to Be a Heartbreaker' makes a big impact both visually and audibly.

4: Buy The Stars 

A little less 'dance-y' and a little more ballad-esque, 'Buy The Stars' is taken from the deluxe version of Electra Heart. 'Buy The Stars' is a little less upbeat than previous songs, and a little more solemn and isolate, as the solitary piano plays across the track. The song is also one of the best to highlight and accentuate Marina's vocals, and of course, it features some rather poignant lyrics 'and still/you like to think you own me/you keep buying stars' and 'you know/only/how to/own me/ your mind starts to shut out the light/ we come alone and alone we die'. This track showcases a different side to the singer, and we like it as serves as a testament to the singers ability, not to mention the fact that it is rather distinctive, and musically, beautiful. 

3: Primadonna 

This may very well be the most well-known Marina and the Diamonds track, and it earns its place, rightfully, at number 3. Almost a parody of itself, Primadonna is so rife with satire that we can almost not contain ourselves. But if you think the track itself is rather hilarious, then take a look at the music video, as this compliments the song even better. Marina has a real knack for comic timing and her facial expressions and acting are on point in the video, and we love this particular female archetype that she is exploring in the video. The track centres around the notion of a 'Primadonna' (taken from the term 'Prima' as in first/main and 'donna' as in woman) a person with a temperament and an inflated view of their own self-importance and/or talents 'Primadonna girl/ all I ever wanted was the world/ I can't help that I need it all/the Primadonna life/the rise/the fall'. Marina's voice packs the punch, and the variations in pitch from the sultry lows, to the heavenly highs, make this track a universal success.

2: Power and Control 

As we draw into the home stretch, the track that was just short of the top position is the dark and deceptive 'Power and Control'. Containing an undeniable amount of sass, the electro-pop track is full of echoes and repetition that make it attractive to the ear, and we adore some of the throw-down lyrics that are used 'think you're funny/think you're smart/yeah you may be good looking but you're not a piece of art'. The track commands attention and feels rather atmospheric when you listen to it, and these are qualities that we really value in songs, as it has that element of gravitas, and indeed, power. Of course, the video is suitable in style as it takes place in a dimly lit room in which Marina and another man are having their 'war', so to speak. 'Power and Control' is considered one of the best songs from Electra Heart and it's not hard to see why.

1: Teen Idle 

So, what track managed to snag the top spot amongst our list and beat out all the other great songs from the singer? Well, it is none other than 'Teen Idle', a lesser known track from the Electra Heart album. This little gem features the immortal lyrics 'I want blood, guts and chocolate cake' and 'the wasted years/ the wasted youth/ the pretty lies/ the ugly truth', and let's face it, that is something pretty powerful stuff. Featuring relatively heavy and dark lyrics, amongst its sickly sweet tune makes for a strong juxtaposition. It sounds almost like an anthem, and a disturbing one at that, and this makes the song memorable and perplexing at the same time. There are so many layers to the song that you can't appreciate it after just one listen, so we encourage you to sit back and have a think about the song itself, and of course, enjoy Marina's voice and persona in this track.

We hope you haven't enjoyed this addition to 'The Top 10' Music addition, featuring Marina and the Diamonds, and let us know in the comments if you would have ranked them differently! Is 'Teen Idle' your favourite? Or would you have added something to the list that is not already there? 

X-Men: Days of Future Past (2014) Review

'The Past: a new and uncertain world. A world of endless possibilities and infinite

outcomes' 

Transporting us back in time to the freedom power of the 70s is Bryan Singer’s latest addition to the X-Men film series; X-Men: Days of Future Past. A sequel to both X-Men: The Last Stand and X-Men: First Class, this new venture is inspired by the ‘Days of Future Past’ comic (as part of Marvel’s Uncanny X-Men series), which sees a shift in focus from two alternate time-periods; 1973 pre-assassination, and the future, where robot Sentinels dominate and exterminate mutants (and the humans who help them or carry the gene).

In order to save both the mutant race and the humans, Professor Xavier (Patrick Stewart) locates Kitty Pryde (Ellen Page) along with Magneto (Ian McKellen), Wolverine (Hugh Jackman) and Storm (Halle Berry). Pryde’s group - consisting of Iceman (Shawn Ashmore), Bishop (Omar Sy), Colossus (Daniel Cudmore), Blink (Fan Bingbing), Sunspot (Adan Canto), and Warpath (Booboo Stewart) - have been on the run from the Sentinels, but keep surviving due to Pryde’s ability to send someone’s consciousness back into their younger past self, so as to warn the group that the Sentinels are coming. Professor X sends back Wolverine with the help of Kitty to his younger self, to stop Mystique/Raven (Jennifer Lawrence) from assassinating Bolivar Trask (Peter Dinklage), the creator of the Sentinels, as this is what kick-starts the wide-spread mutant panic, and eventual extermination. To do this, Wolverine must locate and unite young Xavier (James McAvoy), young Magneto/Eric (Michael Fassbender), with the help of young beast (Nicholas Hoult), and young Quicksilver (Evan Peters).

Where past X-Men films have wavered between enthralling and mind-numbing, X-Men: Days of Future Past makes sure to avoid the faults of its predecessors, as it offers up an almost seamless journey of action and adventure, with a suitable balance of special effects and intriguing plot to keep the viewer thoroughly engaged throughout its 131 minute running time. While some films suffer from being overdrawn due to the lengthy time span, the movie does not feel like it is adding in needless material for the sake of making it seem like an epic adventure. Whilst X-Men: Days of Future Past seems to start off on the slow-burner, it quickly progresses itself, as the momentum of the characters picks up, and the performances of the cast glide the picture to its climax in a satisfying fashion.

Keeping up with the energy of First Class, the film features some intriguing storylines that centre on Pryde’s ability to transport people’s minds back into their younger selves. Although this differs from the original storyline in the comics, (where Pryde instead transports her own mind into her younger self instead of Logan/Wolverine) this does not impact greatly on the film’s overall structure, although we would have been pleased to see Pryde in a more dominant role over Wolverine. This complex, but not overwhelming, plot makes for captivating viewing, and combined with the outstanding performances from its cast, and the overall arsenal of special effects that are thrust towards us, we can’t help but feel X-Men: Days of Future Past is probably the best X-Men film to date.

Undoubtedly, the latest film benefits from the ‘marvel-lous’ (see what we did there) performances from its cast - with James McAvoy putting in a strong performance, as the struggling young Xavier who has lost everything. McAvoy is able to truly emulate the depression of his character, as he has to reunite with the person who took it all away from him – Eric. There are some unexpected tear-jerker moments in the film, courtesy of McAvoy and Lawrence, surprisingly, as McAvoy’s Xavier attempts to get through to Lawrence’s Mystique.

Speaking of Lawrence, she is back and bluer than ever, in the infamous role as the coloured-skin mutant, who is able to change shape to suit her purpose. Lawrence is dedicated to the role, and performs confidently in a role for which she was heavily criticised by some for taking, with audiences having high expectations left from Rebecca Romijn’s performance as the older character. However, Lawrence proves that she is a perfectly capable actress, and high-kicks her way past the critics to deliver a pleasurable performance as the ever elusive character.

Of course, we also have the return of the acting heavy-weights, in the form of Ian McKellen and Patrick Stewart who reprise their roles as Magneto and Professor Xavier. The two deliver masterful performances as their characters, with Stewart embodying all the wisdom and grace that his character is famous for, whilst McKellen has a whale of a time as Magneto, whilst also uniting with Stewart to deliver some quite emotional and touching sequences of the film. X-Men: Days of Future Past also sees the return of some familiar faces, such as Kitty Pryde, portrayed by Ellen Page, Halle Berry’s Storm, and Nicholas Hoult’s Beast, to name a few. Ellen Page’s Pryde is as fantastic as ever, and she serves as a key feature to the film, whilst Berry’s Storm is as potent as ever.

The film makes sure to introduce some new characters, in the form of young Quicksilver, who is portrayed by the delightful Evan Peters, whose performance is one of the best in the film. Peters commands every (albeit brief) scene he is in, showcasing the true mutant talents of his character in all their glory, and adding a quirky and comedic edge to the film that would otherwise be lacking. Game of Thrones’ Peter Dinklage also heads up the film as the notable ‘villain’, as Boliver Trask, whose ambition is to create Sentinels that will hunt and destroy mutants. Over-ambitious to say the least, Dinklage is at ease in the role and although there is some confusion as to whom the ‘villain’ actually is, his performance is still strong enough to carry the film.

So, with all the performances and plot-lines aside, are the visuals up to scratch for a film that has the utensils (and budget) to make its aesthetic so striking? In short – yes. Whilst action films often have a tendency to go full-blown over-board with the amount of special effects included (the result of which being something that is just pure spectacle and serves no actual value), X-Men: Days of Future Past makes sure that it uses its effects sparingly, but still effectively. The big ‘fight’ sequences are daring and exciting, (without inducing multiple headaches as you struggle to keep up with everything) with particular reference to the ending sequences as the film reaches its climax. In a film rife with mutant powers, we are treated to an array of abilities (from phasing to teleportation, shape-shifting to metal manipulation) that are showcased imaginatively on-screen, and that serve as one of the best elements of the film.

Overall, X-Men: Days of Future Past is a slick, frenetic, adventure that is elevated to new heights by the outstanding performances from its cast, and the superb visuals that are to be revelled in. 

21 Jump Street (2012) Review

              "We're like, in the end of 'Die Hard' right now, only it's our actual life!"

2012 saw the unlikely unison of two actors, Channing Tatum and Jonah Hill, whose bromance blossomed in the undeniably funny and incredibly self-deprecating film, 21 Jump Street. Based off the television series of the same name (you know, the one starring Johnny Depp!) and with Lord and Miller at the helm of the production, 21 Jump Street raised the bar for action comedies, packing plenty of punch in an affectionate, self-mocking manner. With the release of the sequel, 22 Jump Street, recently we have enjoyed copious amounts of the original, going back to the place it started. 

The transition from television to film can often be a rocky one, with many productions just not managing to carry off the same level of charm that the small screen can encapsulate. In an effort to produce successful blockbuster films, it seems that the film industry is looking back to past television programs to adapt for the big screen, and with this comes an incredible amount of risk. In an age of revivals, reboots and adaptations, the main problem with these ventures is that some of them just simply don’t work and can end up offending fans of the originals with their half-hearted attempt at big screen success. Fortunately, this is not the case in the matter of 21 Jump Street.

Starring as Officer Morton Schmidt in this riveting cinematic ride is funny-man Jonah Hill, who portrays an intentionally stereotypical ‘nerd’ whose obsession with Eminem and chemistry rivals none other. Filling the role of the intentionally stereotypical ‘jock’ is Channing Tatum, whose character loves nothing more than sports and girls and is a little slow-witted. Former rivals in high school, the two unite together in their police training as each needs help from the other to pass the training courses. Fresh out of the academy and in uniform, and after a brief encounter with drug dealers (who mostly escape), the two are quickly reassigned to an old chapel on 21 Jump Street, where they are to go undercover at a local high school. Their mission is simple: find the suppliers and dealers of a new dangerous drug, H.F.S, and stop those responsible, whilst blending in with the local students.  Portraying the tough-talking Captain Dickson is none other than Ice Cube, who is so hilarious and purposely offensive that you can’t help but genuinely laugh. 

Hill and Tatum make for a surprisingly dynamic duo; the two have such a electrifying on screen chemistry that you almost start to think they are actually brothers in real life. It’s true; the bromance level is set to maximum levels, as the two cause chaos pretty much wherever they go. From bizarre drug hallucinations to wild parties and a hilarious car-chase scene, 21 Jump Street can’t be accused of not being funny. Possibly one of the greatest things about the film is that it clearly doesn’t take itself seriously. Where this meant to be a hard-hitting drama then it would be an entirely different story, but its own self-mocking nature makes you realise that this is a far more witty film than you may have first anticipated. Whereas some films can only claim to be ‘funny’, opting for the cheap gags and minor thrills, 21 Jump Street manages to achieve genuine laughs for more than its just slapstick humour.

If all this wasn’t enough for you to enjoy, then you can also look forward to a cameo of the original ’21 Jump Streeters’ as older Johnny Depp and Peter DeLuise make an appearance as their original characters, Tom Hanson and Doug Penhall. Full of in-jokes, an abundance of satire, and a few touching moments to boot, 21 Jump Street makes sure it will make a mark on its audience long after they have left the cinema.

With the sequel to look forward to (which will hopefully prove just as funny and be as cleverly written as the original) the Jump Street series looks unstoppable, and rightly so. 21 Jump Street brought us something that is desperately needed in the latest Hollywood domination – a comedy which is genuinely funny.