F•USIC – SEPTEMBER 2017

F•usic is a section I do at the end of each month in which I pick (F)ilms and M(usic) that I’ve consumed and loved over the period and pretty much just recommend and gush about them for a little while.

I’ve done a whole lot of nothing this month. I listened to a couple of great albums but I mainly revisited films I had already seen before so the majority of what’s written below are the few films that were new to me.
Also, I saw “mother!“, but I couldn’t find anything to write that hadn’t already been shouted about on Twitter. So, short paragraph shorter: you should see it, and then shout about it. I thought it was great.

It – Andy Muschietti

itteaser38The most fun I’ve had in a cinema in a long time, the record-breaking “It” remake is a summer twilight tour through Stephen King’s most endeared adventures as if through the lens of a middle-schooler’s nightmare. Funny, smart, actually scary and tonally spot on: Muschietti takes his own turn to prove that since “‘Fury Road“, we’ve been on a highway to a new blockbuster golden-age; one that takes not taking itself seriously, very seriously. The movie is straight up, brilliant fun, and worth every penny(wise!) of your overpriced ticket to the silver screen. Also, everyone try to keep Finn Wolfhard away from heroin in the coming years: they’re on to something with this guy. 

Yesterday’s Gone – Loyle Carner

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Some music is just as rewarding whether you engage with it or don’t, and that is no knock to Loyle Carner’s debut LP “Yesterday’s Gone”. Music for dimmed lights and rainy days, the young London rapper’s candid flow and mellow beats almost tells you that it’s okay to drift off and you probably will. It’s so easy to get lost in the jazzy haze of the record’s atmosphere and allow it score your own philosophies, and this is okay, because when you return you will find the artist doing the same: articulating low-key, honest and similarly introspective thoughts on uncertainty, love and his mum. An album that inspires you to get up and do something as much as it makes you feel so at home, I can’t believe it has taken me this long to get around to it: one of the best of 2017 by a long stretch.

The Wolf of Wall Street – Martin Scorsese

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An absolute Juggernaut of a movie. “The Wolf of Wall Street” is surely one of the most outstanding, outrageous comedies of all time – it’s definitely up there with “Taxi Driver” as one of the Director’s greatest for me. Razor, razor sharp dialogue fuelled by uproarious performances sent from cinema heaven itself. The energy is about as addictive as the substances that the characters shovel into their bodies, and that’s the point. I’m honestly angry at my past-self for thinking that this film was indulgent or that it glorified greed. Scorsese has presented an overwhelming array of carnage: apes in suits that run the world off of thin air and if it had the aesthetic of a Gilliam film or more winks to the camera then it would be heralded as a scathing satire. I mean, just watch the film, what more do you need to understand these people are wholly debauched?

Lost In The Dream – The War On Drugs

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I’m aware that The War On Drugs released an album very recently, but due to a potent concoction of laziness and music streaming services, new releases tend to serve more as a reminder of an artists back-catalogue to me – but I’m so glad I was spurred to listen to this. “Lost In The Dream” is the perfect soundtrack to the end of summer, beating on with a yearning for the past in a series of grand autumnal anthems. Although band front-runner Adam Granduciel has often referenced his love for Dylan, calling this album an homage would miss the point: it’s something closer to “Highway 61 Revisited, Reformed, Remastered, Revised, Revamped…”  Emotionally and especially vocally it is so similar, but where the band falls short in comparison to Dylan’s poetry, they speed ahead in scale as the record supplies a tapestry of big, beautiful walls of sound, tumbling and stretching as far as the road will take you. It’s certainly worth the ride.

American Honey – Andrea Arnold

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One of the reasons cinema is so special is because it is the only medium that can truly, deeply touch on how humans experience time. We experience film the only way we can, one moment after another, but peer into worlds in which often these rules are warped, broken and shifted. I mention it because at face value, the idea of Andrea Arnold’s “American Honey” will be enough to turn some people off by itself: an 162 minute road-trip movie shot entirely in 4:3 aspect ratio starring Shia LaBeouf in braces and a pony-tail. But although the film is long, the window you’ll look through is so strongly crafted, with such dignity and reality and warmth that everything beyond those 4 lines fades away – so much so that when it’s over it’ll be a shock to the system. You will have forgotten where you were, you’ll have forgotten how much time has passed at all. I also just like that Migos and Rae Sremmurd feature on the official soundtrack to a Palme d’Or nominated film.

Written by Caleb Carter

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