Post-war Los Angeles was doubtless a swell place to live if you were a movie star, Hollywood mogul, business tycoon, captain of industry, political big-wig, gangster or otherwise a money-bags, cosseted by wealth, not much in life you couldn’t afford.
I’m increasingly conscious that one of the main criteria for inclusion in this column appears to be a penchant for very long tracks. When writing about The Necks, a questing trio from Australia, it is especially easy to come up with a timetable rather than a review.
In 2005’s Brick, Rian Johnson played a cute twist on the high school movie genre, importing the tropes of film noir for a murder thriller set in the halls of academe. The Brothers Bloom, last night’s premier at the London Film Festival, is a similarly knowing piece of work. On face value, it’s a movie about two con men brothers, played by Mark Ruffalo and Adrien Brody; but, more than that, it’s also a movie about the act of fiction itself.
Click on the links for Part One, Part Two and Part Three of the interview.
Is it fair to see the last three LPs of a piece? They seem to sit together as a sequence.
Yeah I think what I found, funnily enough, is sometimes you get what you want when you stop trying to get it.
A tremendous amount of proofreading this afternoon, and we haven't had much time to go through new releases, or write proper blogs. So here are the 36 songs that have just been played on John Robinson's bulging iPod. One of those shuffle sessions that turn out to work rather well, I reckon...
One of those professional obligation sessions in the Uncut office right now: we’re on Track Eight of the Panic At The Disco album, “Pretty. Odd”. Interest piqued by some frothing and slightly dubious suggestions that “Pretty. Odd” is a landmark of WEIRD! and AMBITIOUS! rock music, imagine our surprise when it seems to sound a bit like The Feeling and those shabby Beatles pastiches that Tears For Fears came up with in the ‘80s. We do, however, have new records by Paul Weller, Peter Walker and James Blackshaw.
