Preacher Episode Two Review

The Plot

Jesse tries to be a ‘good preacher’, unaware that a mysterious duo is after him…

The Good

Following its strong opening episode, Preacher continues in episode two (titled, See) with the same approach, feeding us bits of information but not handing it over all in one go. Just after having set up the world of the show two weeks prior, See kicks off by jumping back 135 years to 1881 with an intriguing little cold open in which we follow a cowboy in search of medicine for his sick daughter. It’s a short scene and doesn’t give too much away but it’s clear that this will be important further on in the series.

Back in the present, Preacher, having decided to stay with his parish after last episodes run in with the as-yet unexplained see-through alien, baptizes his congregants and continues to get pestered by Tulip as she tries her best to persuade him to accept the mysterious job she has lined up, going so far as to even kidnap him (sort of).

But without a doubt, the highlight this week is another fight sequence, this time involving a chainsaw and set inside the church. While it’s not as ballsy as the triple serving of fight sequences we were blessed with in the pilot, it’s just as entertaining and even more gory than we’ve already seen. Plus with Cassidy involved it’s obviously got some laughs in it.

On the subject of Cassidy, his character seems to be progressing slightly, with confirmation that his vampire tendencies are quite traditional at least in terms of his relationship to sunlight. While it’s not much, this tiny scene is ever so slightly heartbreaking.

And for the second time in a row, Preacher decides to use another Johnny Cash song for it’s soundtrack. This weeks selection being ‘Rusty Cage’ which fits in perfectly though is the only notable song in the episode unfortunately. Here’s hoping the Cash trend continues however!

The Bad

While the pilot had some issues which were too early in the show to truly have a bad impact on it, episode two continues the trend slightly and feels slow in its progression. It is only episode two, but as part of a ten episode season, See feels like it’s hitting some of the same beats of its predecessor and at times becomes even more confusing, particularly with its approach to the mysterious duo who seem to be intent on doing something to Jesse. Whether that’s killing him remains to be seen. If that is their intent they seem to be going such awkward ways at achieving it.

What also remains to be seen is  how exactly the climax of the pilot has impacted Jesse. Not only his newly discovered powers (which, lets face it, take slightly too long for him to discover) but also how they’ve already caused an incredible feat from the final scene of the pilot. The fate of Ted Ryerson is briefly mentioned so it’s clear that the news has travelled back, but it’s a shame we don’t see Jesse himself hearing of this. Perhaps had he heard sooner, the climax for this weeks episode would have happened sooner too…

The Ugly Truth

Preacher continues to intrigue, even if it feels like it’s slowing the pace a bit compared to the pilot. But now that Jesse seems to be finally realizing his powers, perhaps the show will start to gain the momentum it began with.

Review by Johnny Ellis

Han Solo Movie To Start Shooting January

While Lucasfilm and Disney continue to work on Rogue One, the first of the planned Star Wars spin-off films due to be released alongside the main saga, The Force Awakens c0-writer Lawrence Kasdan has been busy talking about the forthcoming Han Solo movie.

Speaking at the Atlanta Jewish Film Festival, Kasdan revealed that LEGO Movie directors Chris Miller and Phil Lord are ‘working on [the script] and they’re about to move to London to start shooting in January.’ while also confirming that he’s still very much involved with Episodes 8 and 9, talking to Rian Johnson and Colin Trevorrow respectively about the upcoming installments.

While no release date has been confirmed just yet for the Han Solo film, nor a title, what we do know is that Hail Caesar star Alden Ehrenreich will be taking on the iconic role of young Han Solo. Time will tell if he is worthy of filling Harrison Ford’s smuggling space boots…

Rick Astley 50 Album Launch

Cult singing sensation Rick Astley turned back time last night to deliver a sumptuous performance of vintage and brand new material at exclusive Soho Venue 100 Wardour Street. Marking the official launch of his triumphant comeback album 50, the ever young pop prince delighted the gathered crowd of lucky journalists and onlookers with an joyously intimate performance.

Moving seamlessly back and forth from his classic hits to his latest material Astley demonstrated that beyond his inescapably iconic pop anthem Never Gonna Give You, Up he possesses a truly impressive vocal power that has only grown with age. Though still sporting a boyish quiff, Astley speaks passionately an humbly about his lengthy singing career. Attributing his enduring success to literally having Angels On His Side, inspiring the title of one of the catchy up tempo additions to his widely praised new album 50.

Astley’s earnestly literal approach is consistently evident. The album title celebrates his own 50 year journey and his comeback single Keep Singing is a clearly worded hymn to the cathartic power of perseverance and expressing himself in music. Astley is the first to acknowledge that whenever he sings good things seem to happen for him. That’s just a true for the audiences that continue to enjoy his playful presence.

Aside from genuinely boasting a strong soulful voice, what most clearly distinguishes Astley from so many former pop superstars is that he is isn’t bitter, jaded  or hopelessly self deluded and clinging desperately to vain  past glories. When Astley speaks he has a self-deprecating northern wit that immediately reassures audiences that he knows exactly what year it is and how fortunate he is to still be performing to eager audiences. It’s a rare and welcome thing to have a self aware and upbeat star relishing a new lease of creative life.

50 is an album that places Astley’s vocal charms in a proper soulful context. The new tracks, particularly the recent singles, have the pulsing heat of  confessional hymnals. Again it’s simply  a relief to see a musical performer evolving in an appropriate and welcome direction, rather than watching an increasingly  forlorn Mick Jagger pouting around on stage alongside Lady Gaga or Selena Gomez. This album isn’t a cry for help or attention. It’s a piece of work crafted by a musician never perhaps given the proper respect his voice and talents demanded, thanks to having been so affectionately wrapped in bubblegum pop packaging.

It’s only fair to acknowledge that if fans are expecting to hear 13 cover versions of Never Going To give You Up, then the new album clearly isn’t that. Also if anyone wasn’t endeared to the well publicized Keep Singing then in truth the albums consistent tone and style won’t leave to much room to change your mind.

That aside seeing Astley on stage is a  pleasure everyone should take given the opportunity and 50 is a worthwhile acquisition for anyone who enjoys good music and an even better comeback story.

Sicario Sequel Gets New Title and New Director

Director Stefano Sollima has joined the planned sequel for Denis Villenueve’s Sicario. Due to Villenueve’s commitment to the upcoming Blade Runner sequel, Gomorra director Sollima, will be behind the camera for the next chapter, titled Soldado. Returning to the cast are Josh Brolin and Benicio Del Toro while Emily Blunt is expected not to return due to her commitment to the upcoming Mary Poppins film.

Soldado is due to start production later this year and will most likely be released sometime in 2017. More news as we get it of course.

Tallulah Review

The Plot

Desperate to be rid of her toddler, dissatisfied Beverly Hills housewife, Carolyn (Tammy Blanchard) hires a stranger to babysit and ends up getting much more than she bargained for.

The Good

Orange Is The New Black writer Sian Heder gathers a wonderful cast in her feature film directorial debut. With Ellen Page driving the story as the titular Tallulah, a young girl who lives out of her car. Stealing her way through life, Tallulah soon goes one step up from the food and drink when she is unwittingly roped into babysitting for Carolyn, a self-obsessed woman who would rather go off committing adultery than take care of her daughter.

It’s clear from the offset that Carolyn won’t be winning mother of the year any time soon, prompting Tallulah to do what she believes is the right thing, and kidnap young Madison in an effort to give her a better life. To do this, Tallulah enlists the help of her ex-boyfriends mother, Margo (Alison Janney) on the lie that she is Madison’s grandmother. Janney and Page work wonderfully together on screen and both bring grounded and deeply personal performances in their roles. Janney in particular has an interesting plot thread which sees her trying to come to terms with her divorce and newly single life.

Also coming into the frame as supporting characters, we get Tommar Wilson as a comic relief concierge who is just a joy whenever he turns up on screen, as well as Orange Is The New Black regular, Uzo Aduba as a social services worker. A complete opposite to the role she is most renowned for and proof if any were needed, that she is more than just a one trick pony.

Tallulah also manages to pull off an incredible feeling of tension in a strange way that doesn’t feel too over-dramatic. Instead the tension seeps in so naturally that fits perfectly with the indie feel of the film.

The Bad

Unfortunately, despite the brilliant cast, the plot often becomes a lillte too absurd. A big part of this is to do with Page’s character. It feels throughout as though we are supposed to be sympathetic for her kidnapping, but Heder’s script feels like it’s missing just one tiny element to tip us to Tallulah’s side. Without this, at best you feel sorry that she’s gotten to the point of kidnapping, at worst she comes off as a conniving, selfish young girl who has no regard for anyone else as long as she manages to stay out of trouble.

The Ugly Truth

Tallulah is an interesting if occasionally absurd story that is helped massively by it’s impressively strong cast. With just a little more time on screen Ellen Page could have catapulted the film to perfection, instead it sits neatly above average and still demands viewing.

Review by Johnny Ellis

Check out our interview with Director Sian Heder and Producer Heather Rae below: