Mr Holmes (2015) Review

"I've decided to write the story down; as it was, not as John made it. Get it right, before I die."

The fictional character of Sherlock Holmes, conceptualised by Sir Arthur Conan Doyle, is one of the most recognisable literary figures and the tales of the notorious detective have been adapted for stage, screen and radio, spawning over 200 films in total – the most recent instalment being Mr Holmes.

The film stars Sir Ian McKellen in the titular role, and commences long after Sherlock Holmes has retired, based upon the novel A Slight Trick of the Mind by Mitch Cullin. The film follows Holmes as he spends his later years in an isolated farmhouse in Sussex, with his only companions being his housekeeper, Mrs Munro (Laura Linney) and her young son, Roger (Milo Parker). Now older, Holmes finds his memory deteriorating, and struggles to recall the events of one case in particular, in which a young man came to him to seek his expertise in understanding the recent behaviour of his wife. The film approaches the character of Sherlock Holmes from a different angle than recent screen adaptations that focus on a younger portrayal of the infamous detective, such as the BBC’s Sherlock. Rather, in Mr Holmes the tone is more melancholic, with Holmes retrospectively reviewing his detective career, relationships, and the public’s interest with a version of Sherlock Holmes that may be incredibly dissimilar to the reality. In one particular scene Holmes goes to view a film adaptation of his investigative tales, and comments on the portrayal of himself to be ‘pantomime’.

But if you are expecting a fast-paced plot and hard-hitting action, you will be disappointed. Mr Holmes meanders along at its own pace, presenting itself as more of a limited memoir of the life of the infamous detective, following the thoughts and feelings – namely regret – that haunt Holmes as he nears the end of his life. However, this is not necessarily a bad thing; the film caters to an audience interested in the character of Sherlock Holmes at a deeper level, beyond his ability to read facts and follow logic to solve a case. It focuses on Holmes as a person, facing deteriorating physical and mental abilities, and the legacy he may leave behind. The cinematography is indulgent, with the white cliffs of Dover and the bright, flowering countryside providing an idyllic backdrop, which helps to mediate the sometimes solemn tone of the film.

Enjoying this review? Read the rest on Concrete, here.

Years & Years - Foundation

With only a few weeks left to go until the release of their début studio album, entitled Communion, English trio Years & Years are at it again, releasing the music video for their track 'Foundation'. With a seemingly never-ending beat, the track is haunting and always feels as if it is building (a foundation) to something bigger.

 It makes perfect sense that this is the opening track of the album, and can really only be listened to in that context as otherwise it sounds a bit odd. If you however know that is the beginning to the album, everything seems to slot perfectly in place. There is a certain ominous nature of the song, whether it be the mysterious echoes in Olly's voice or the dark nature of the instrumentals, which is combined with the even creepier music video. 'Foundation' runs the risk of leaving listeners confused or wanting more, but this seems to be the very exact purpose of the track itself. 

Watch Olly get resurrected and team up with Emre and Mikey in the music video below:
We have also covered Years & Years' other tracks, which you can read about and listen to:
Years & Years - Take Shelter 
Years & Years - Desire 
Years & Years - Shine 

Ian McKellen: The Essentials

There are few people as adept at acting across a variety of mediums as Ian McKellen (Sir, if you’re doing it right). Whether it be theatre, television or indeed film, McKellen proves his talent and wins over the hearts of audiences (as well as numerous other awards) time after time. The release of the great actor’s newest feature Mr Holmes, has afforded us an invaluable opportunity to look back at some of his most memorable roles.

Richard III 

Considering McKellen’s particular talent and aptitude for theatre, it seems only fitting that one of his most memorable performances came from a movie adaptation of the Shakespeare play of the same name. Playing the distinguished title character, McKellen truly took his place on centre stage and proved that he is an acting force to be reckoned with. This impressionable performance managed to garner a BAFTA award nomination and a Golden Globe nomination, although McKellen did not win (sacrilege).

Gods and Monsters

1998 saw McKellen assume the role of James Whale in a drama about the troubled film director of the same name, entitled Gods and Monsters. Centring mainly on Whale’s World War I experience, and featuring reconstructions of the filming of the Bride of Frankenstein, McKellen assumed the form of the troubled Whale. Earning himself his first Academy Award Nomination for Best Actor, McKellen’s performance as Whale was truly inspired, and his on-screen presence undeniably electrifying.

But, what's that I hear you say? What other Ian McKellen films make it onto our list? Well you can go see what our other 3 essential Ian McKellen movies are, over at I'm With Geek. Let us know your thoughts in the comments! 

Rising Star: Britt Robertson

There comes a time when, watching a film, you see someone on screen that captures your attention and you are left wondering who they were. Sometimes there is a certain sense of star quality to them, that you can’t help but feel like one day they will be a big hit. Maybe it’s the same thing people saw in Jennifer Lawrence when she starred in Winter’s Bone. Whatever the case, Britt Robertson has been lighting up screens recently with her charismatic and adorably goofy performances.

Britt Robertson may not be a name that is known well, but she is more than making up for that with her delightful on-screen persona. Having starred in big sci-fi Disney blockbuster Tomorrowland, where she portrayed a passionate optimist who had a penchant for technology and the universe, she seems like an emerging force to keep an eye on in the industry. It is notoriously difficult to hold your own in a film which is so littered with notable actors and talent, and Robertson has her work cut out for her, being cast alongside Hugh Laurie and George Clooney. Still, Robertson proved to be one of the most memorable characters, giving an incredibly likeable and dedicated performance as the ambitious and slightly rebellious teenager. A role that has been cast many times before, Robertson made it her own and managed to shine as bright as the diverse galaxy she was trying to protect.

If you'd like to read the rest of this article about the fabulous Britt Robertson, then you can do, over at I'm With Geek.

Muse - Drones [Album Review]

(For a track-by-track review, scroll down) Incredibly back with their seventh studio album are English heavy-rockers Muse, whose return ushers in a familiar sound from previous albums (guitar-bass-drums anyone?). The album, entitled Drones, deals with a protagonist who goes through indoctrination and throughout his struggles on the album, eventually defects. Matt Bellamy has described the concept of the album as "a modern metaphor for what it is to lose empathy", whilst commenting on the stripped-back nature as necessary in order to "reconnect and remind ourselves of just the basics of who we are". But can Drones live up to such high standards for such a raw concept that is quintessentially Muse? 

Up first is ‘Dead Inside’ which takes the classic relationship track and puts a particularly dark spin on it. It is the beginning of the album’s journey and a provides a suitably dramatic start. The song highlights the toxicity of a rather horrific relationship with significant lyrics: “Your lips feel warm to the touch/ You can bring me back to life/ On the outside you’re ablaze and alive/ But you’re dead inside”. Incorporating the elements of horror with incredible bass line simultaneously mixed together with Bellamy’s vocals, there is all the components of a great authentic track - that actually delivers. ‘Dead Inside’ lays a solid foundation for the Drones album with an over-lining theme developing and becoming increasingly apparent. It is indoctrination for the potential Muse fan at its most infectious. You can also read our full review of this song, here. 

A 'Drill Sergeant' interlude follows this up as track 2. ‘Psycho’ shows that Bellamy has lived by his word, with this 'back to roots' style being ever apparent. It is a stripped down performance that incorporates the album’s base themes whilst also adding a psychotic edge, structured by Bellamy’s vocal delivery. It’s sharp, it’s bold and it’s sometimes frightening. This is definitely going to be the marmite track for listeners. You heard it folks, we’re calling it. ‘Mercy’ follows with some emotive lyrics: “Help me/ I’ve fallen on the inside/ And all the men in cloaks/ Trying to devour my soul”. Powerful stuff from Muse, and a more angelic addition especially towards the latter part, no doubt trying to emulate the feelings from the main protagonist as he begins his journey into self-discovery and rebellion against untold forces. If you had the pleasure of seeing Muse live at BBC’s Radio 1 Big Weekend then this was quite the crowd pleaser and the acoustics were incredible. This one has the addictiveness that you look for in a more humanistic Muse track. There are no gimmicks here.

Track 5 is ‘Reapers’ and this one is chocked full of solid riffs and chaotic sounds, with a distinct element of disconnect that supports the overall concept of the album. This is very much an immediate track grounded in a sense of emergency, danger and brutality. Up next is the surprising ‘The Handler’. We're going to come out straight and say that this is a particularly notable song from the album, with its heavy conceptual lyrics about war, indoctrination, submission and rebellion all wrapped up nicely with heavy guitar and drum solos that are trademark 'Muse'. Bellamy’s tenor vocal range is used to full effect, guiding listeners across this triumphant middle-track that is both haunting and familiar. The 'JFK' interlude follows. 

#8 is ‘Defector’ and now we have reached the full rebellious vibe of the album, where the protagonist has fully recognised his situation and has chosen to ‘defect’ and is now “Free/ Yeah I’m free/ Free from society/ You can’t control me/ I’m a defector”. Hang on until 2:40 from a melodic episode that’s particularly notable. ‘Revolt’ follows and considering the strength of previous tracks, this one is a little lacklustre. Whilst Bellamy may be on form, the components just do not work as well together and it’s a bit of an easily forgettable track. The drones may have won on this one. Fortunately, ‘Aftermath’ is here to pick up the pieces. Possessing nostalgic instrumentals, this is something you’d expect to find in a film. With the track depicting the events after rebellion and war, it’s an odd mix of angelic guitar beats and sweet vocal deliveries. However, there is a strange sense of comfort that surrounds this song, which makes it really sticks out, having a strong impact on listeners. 

In at #11 is ‘The Globalist’ and we are going to keep it short and sweet with this one. We thoroughly recommend going to listen to it for yourselves to fully understand. Yes, we know that’s a bit of a cop-out (go listen to it anyway). ‘Drones’ concludes the album, and ok, now we’ve officially lost the plot. This almost-3-minute-venture may as well come straight off a Christmas carol list. Except it’s essentially depicting severe mass murder: “Killed by drones/ My Mother, my Father/ My sister and my brother/ My son and my daughter”. It’s all very apocalyptic and resounding, something you’d find from a movie soundtrack, no? Overall, it’s suitable for the type of album Muse is going for even if it is a bizarre addition.

Overall verdict:

Drones has Muse going back to the basics (how many times have you heard that before?) but this time with a political edge, and although the political message and lyrical content is sometimes not that sound or well-structured, the vocals and instrumentals are on point. All in all, Muse have created a whole mound of songs that range from the bizarre to the haunting with a few gems churned in for good measure. Whilst the lyrical content will no doubt be up for debate, you can’t deny that Muse hit some extremely high notes across the album, with ‘The Handler’ being an undeniable winner, along with ‘Mercy’, ‘Dead Inside’ and ‘Aftermath’. Muse have certainly proven they work best without the sci-fi gimmicks of past albums, with Drones being a more comprehensible and competent album.