Stronger Trailer Boston Marathon Drama
Lionsgate had released the first official trailer for Stronger starring Jake Gyllenhaal, Tatiana Masley, Miranda Richardson and Clancy Brown.
Based on the true story from the New York Times best seller, Jake Gyllenhaal stars as the working-class Boston man whose iconic photo from the 2013 Boston Marathon bombing captured the hearts of the world. Stronger is the deeply personal account of the heroic journey that came after that photo – defining a man’s inner courage, a community’s pride, a family’s bond and an unexpectedly tenacious love.
First look below:
Transformers The Last Knight Review
The Plot
Optimus Prime searches the cosmos for the creators of the Transformers while back on earth mankind wages an increasingly desperate battle against both the heroic Autobots and evil Decpeticons. As hidden secrets of Transformers history are revealed it sets Earth and the planet Cybertron on a collision course that threatens the survival of both worlds.
The Good
Toy loving youngsters and die hard older fans will enjoy the typical promotional push that comes with another big screen instalment of Transformers. Even if the film almost inevitably doesn’t live up to the hype it’s still another huge public celebration of the much beloved franchise. Young audiences will obviously at least enjoy the loud carnage of fighting robots. While critics and more mature fanboys may once again be left vocally disappointed, in truth many young fans will be oblivious to their concerns and instead merely delight in seeing Bumblebee and Optimus Prime back on screen. While some franchises have consciously matured with their core audiences over time, Transformers remains committed to securing the giddy excitement of 6 year olds. Regardless of any other failings the film at least offers fan a scale of spectacle befitting a budget of hundreds of millions of dollars. Against that vast canvas of generic blockbuster grade destruction the film also offers a few rare treats such as a welcome Stanley Tucci cameo and a bigger dose of Robot Dinosaurs and Dragons.
The Bad
The Transformers film series under Michael Bay’s disappointingly persistent control continues to repeatedly make the same mistakes, ignoring consistent criticisms with a stubbornness fuelled by the sagas seemingly bulletproof financial success. The guaranteed box office returns delivered by global audiences hoping to finally see a film which delivers on the vast potential of the enduringly popular franchise merely emboldens Bay to carry on regardless. Once again leaving dejected anyone not seeking the most mindless explosion drenched CGI distractions.
Summer blockbusters can and arguably should be crowd pleasing fun, unfortunately there’s a vast array of shortcoming and obvious problems which largely prevent Bay’s Transformer’s saga from delivering that.
Bay’s myopic focus on CGI intricacies and excessive pyrotechnics at the expense of basic elements of storytelling remains a fundamental problem. As usual, human and robot characters alike are treated as disposable props moved clumsily through a story designed solely to facilitate a series of predetermined action set pieces. Mark Wahlberg still feels noticeably misplaced as the series leading man, bumbling through extraordinary adventures with mundane Bostonian bravado. Former Oscar winner Anthony Hopkins phones in a paycheck performance as an eccentric old plot device, while Bay’s latest token eye candy Laura Haddock struggle valiantly to maintain Oxford professor credibility in a bust boosting cocktail dress.
A serious criticism of Bay’s past Transformers films was that the robots were frequently based on heavy handed racial stereotypes. Bay himself has previously acknowledged these concerns and had vowed to ensure some of the most ‘offensive’ characters didn’t feature in future instalments. Unfortunately the new robots introduced in this film include a snooty British butler and the arrogant Hot Rod complete with an embarrassingly exaggerated French accent. They join a team of robots that already includes a sword wielding Samurai, a cockney hard man and a blustering big gutted American gun nut voiced gregariously by John Goodman.
Bay might offer the defence that it’s just a way of injecting identifiable personality into the alien robots and making the film more internationally accessible for global audiences. But like much of the film’s humour it’s hard to ignore the reality that it often feels lazy and perhaps even a little inappropriate. It would be easier to ignore these choices if the rest of the human cast wasn’t equally two dimensional and consistently drawn from cliché stereotypes.
Ironically for a franchise built almost exclusively around showing off the latest polished special effects wizardry the fact that the film was only partially shot for IMAX means that the aspect ratio changes frequently during scenes. Not everyone will notice this technical quirk but for anyone who does it’s an annoying distraction that worsens already surprisingly messy editing. The action sequences often feel noticeably disjointed as cameras cut between badly mismatched shots trying frantically to capture the practical effects of never-ending explosions, CGI of wildly varying quality and also advance the frequently jumbled narrative.
The film attempts to expand and rewrite the “mythology” of Transformers by integrating it with the overly familiar Arthurian legend of the Knights of the Round Table. Sadly it ultimately takes the franchise even further away from the winning original premise of the good Autobots fighting the evil Decepticons as ‘robots in disguise’. The ultimate result is a painfully long 150 minute mess packed with embarrassingly muddled subtext and woeful dialogue that fails utterly to be funny or dramatic with alarming consistency. The film lurches constantly between Bay’s trademark vacuous lingering shots and horrible shaky cam urgency both equally lacking in meaning or any hint of genuine emotion. There’s something innately hurried and seemingly half-finished about almost every aspect of the plot and production, producing an experience so mindless and joyless that it actually manages to become unforgivably undeniably boring.
The Ugly Truth
Anyone left disappointed by the past Transformers films will almost certainly leave cinemas yet again regretting the price of admission. If you truly want to see a different kind of Transformers film the only real alternative is to stay away this… It’s time to take the camera away from Michael Bay.
Review by Russell Nelson
Bat Out Of Hell The Musical Review
The Plot
In a dystopian future wild teens wander the apocalyptic streets, mysteriously never aging past 18 years old. The tyrannical Falco rules high above them with his wife and rebellious daughter Raven trapped in a luxurious skyscraper. Until a forbidden romance between Raven and Strat, the rock and roll leader of the Lost youth, threatens to tear both worlds apart.
The Good
Meatloaf’s epic musical collaboration with composer Jim Steinman remains one of the highest selling and most iconic albums of all time. Originally created with the intention of being a theatrical production, after over 40 years Steinman finally realises that dream to the delight of long term fans and new audiences alike.
As crowd pleasing ‘jukebox’ musical Bat Out of Hell draws upon a truly unique collection of songs, made even more powerful by audiences existing familiarity. Few West End productions can boast soaring power ballads with even half the power of I’ll Do Anything For Love. It’s simply an enjoyable embarrassment of musical riches to parades hits like Dead Ringer For Love, Two Out Of Threes Ain’t Bad and the titular Bat Out Of Hell.
Meatloaf is one of the most instantly recognisable and powerful vocalists in rock history, so it’s a massive compliment to the entire West End cast that they are able to fully match that note perfect power and collectively reimagine his popular back catalogue. Aided by elaborate production value and the grandeur of one of London’s most lavish Theatre spaces the musical fully succeeds in avoiding ever feeling merely like skilful karaoke. There’s genuinely electrifying atmosphere to these live performance that gives audiences so much more than watching a YouTube medley of Meatloaf music videos ever could.
Bat Out Of Hell has assembled a talented cast of seasoned theatre veterans and undaunted newcomers. The shows core quartet of Rob Fowler, Sharon Sexton, Christina Bennington and Andrew Polec all deserve considerable praise for vocally flawless performances and for bravely tackling some of the more cringe inducing dialogue. The show often nods to self-awareness of its more ridiculous elements and the cast’s consistently earnest and enthusiastic performances carry audiences through those moments with a confident smirk.
Though the first act lurches often from the sublime to the ridiculous an indisputably stronger second act sees the show deliver a steadier stream of musical spectacle less often interrupted by silly narrative elements. Uncertain audiences are likely to be won over entirely as the show finds its feet and struts through a succession of iconic power ballads with their rapturous support. Having adjusted to the somewhat weird and wonderful world of Bat Out Of Hell The Musical audiences are ultimately left with the simple truth that these songs are uniquely entertaining and meaningful in the way only rock anthems truly can be.
The Bad
Meatloaf’s unique brand of gothic rock opera is widely appealing, but there are still some who are of course less enthralled by its kitsch charms. Those reluctant to embrace the ostentatious vocal theatrics of Meatloaf and Jim Steinman’s elaborate compositions are unlikely to find that opinion altered by the transition to stage. Indeed those that specifically object to the self-indulgence of 10 minute long power ballads will only be left more exhausted by a series of them tied together by sparse dialogue and a frequently bizarre narrative.
Shamelessly gothic production design and a near constant use of heavily stylized video projections may also divide audiences between those who love the camp fun factor and those left unsure how seriously to take anything. Likewise while Steinman’s lyrics have always been elaborate and wildly melodramatic, without the swooping support of symphonic guitar riffs that same language risks becoming outright laughable dialogue during the connecting scenes. Though of course that bare chested crudely poetic silliness is an entertaining guilty pleasure in its own right.
Though the show undeniably captures much of what millions of fans love about Meatloaf, amplifying those distinctive traits won’t win over everyone and especially those who find endless rock opera more draining than delightful.
The Ugly Truth
Bat Out Of Hell soars onto stage with triumphant performances of the most beloved rock ballads. The show pays loving tribute to the unique charms of Meatloaf while equalling his legendary live performances, especially in a relentlessly spectacular second act. After 40 years this new musical is a unique addition to the West End and essential viewing for existing fans and those discovering these song for the first time alike.
Review By Russell Nelson
The Odyssey Official Trailer
THE ODYSSEY, directed by Jérôme Salle and starring Audrey Tautou , Lambert Wilson and César Award winning actor Pierre Niney is set to open in the UK and Ireland on 18 August 2017, by distributor Altitude (Moonlight, Lady Macbeth).
The film examines the life of ocean-explorer and adventurer Jacques Cousteau, one of the iconic figures of the 1960s, with a screenplay co-written by director Jérôme Salle and Laurent Turner. The film also features a score from Oscar-winning composer Alexandre Desplat.
Taking audiences back to 1948 the film finds Jacques Cousteau, his wife and his two sons are living in paradise, in a beautiful house overlooking the Mediterranean. But all Cousteau can think of is adventure. Thanks to his invention, an independent aqualung allowing divers to breathe under water, he has discovered a whole new world. Now all he wants to do is explore this world. And he is willing to sacrifice everything to achieve this.
Check out the official trailer below ahead of the UK premiere on 5th July with a special screening at Cine Lumiere:
Metal Hammer Golden Gods Awards Winners 2017
For more than 30 years, Metal Hammer has been the biggest heavy metal magazine on the planet, and after a turbulent end to 2016, and their resurrection in 2017, they threw the party of all parties for their readers at this year’s Golden God Awards 2017 in association with Orange Amplification.
Taking place at IndigO2 at The O2, London on Monday, June 12, WWE megastar Chris Jericho hosted this unique and special night, which was, like all Golden Gods shows, all about the fans. There are no tables, no sit-down dinners, no industry backslapping – this is a room full of genuine fans who have voted in their hundreds of thousands to see their favourite bands be victorious. The night celebrated the best of heavy metal from the past 12 months as well as performances from some of the world’s most exciting bands.
“After a difficult end to last year in which the future of our magazine looked uncertain, we couldn’t have thought of a better way to celebrate our comeback,” says Metal Hammer Editor Merlin Alderslade. “From the one and only Chris Jericho returning to host our awards for a record-breaking third time, to seeing legends like Tony Iommi, Tom Morello and Chuck D walk out on stage, to honouring the contemporary names who make our scene great, it was the kind of evening that only the Golden Gods can provide. As always, though, the most important thing was the metal community coming together again – and we salute everyone who has supported us in the last year and beyond, be it by coming to the show, buying our magazine or simply spreading the good word of heavy. Horns up!”
The godfathers of metal, Black Sabbath, collected the evening’s main honour: the Golden God award presented by Roadrunner Records. Founding member and metal legend Tony Iommi was on hand to collect the gong in the year that saw the end of the band’s final, 81-date world tour and glittering 49-year career.
Mastodon headlined the evening’s ceremony with a blistering live set in what was one of their most intimate performances in years. Following the release of their acclaimed ‘Emperor Of Sand’ album in March, the band’s stock has risen monumentally to become one of the world’s must-see live acts, proven by them winning Best Live Band presented by Monster Energy.
Opening the show were riff veterans Orange Goblin, one of the UK’s most vital and important metal bands. Frontman Ben Ward, along with his partner Sandie Soriano, were behind the incredible campaign to raise money for TeamRock (Metal Hammer’s then parent company) staff following the closure of Metal Hammer, Classic Rock and Prog magazines – and rightly the team behind those magazines felt that Ben and Sandie deserved the Defender Of The Faith award presented by Orange Amplification.
Sweden’s Avatar brought their catchy ‘circus metal’ and enthralling theatrical live show to the proceedings. This truly unique band were also voted Breakthrough Band Of The Year presented by World Of Tanks, proving they are a band on the up. Completing the live line-up were blues rock legends Clutch, simply one of the greatest live bands heavy music has ever seen!
One of the evening’s most sought-after awards is Album Of The Year and this year it was awarded to ‘Magma’ by Goijra. The follow-up to 2012’s critically acclaimed ‘L’Enfant Sauvage’, ‘Magma’ was one of the most hotly anticipated albums of the past 12 months and also topped Metal Hammer’s end-of-year critics’ poll.
Exodus are true legends of the game. Founded in 1979 in California, they were one of the pioneers of thrash metal. A mainstay in ‘Greatest Thrash Metal Bands Of All Time’ lists, they inspire and influence bands to this day and were rightly crowned 2017’s Inspiration presented by Spinefarm Records, an award presented on the night by fellow thrash icon Mille Petrozza of Kreator.
This year’s Icon presented by uDiscover Music award went to The Dillinger Escape Plan. Currently on a world tour, the band announced earlier this year that they will be disbanding following their Tokyo date in October. In their 20-year career they’ve released six acclaimed albums and are regarded as the pioneers of mathcore.
Best International Band presented by Nuclear Blast went to Avenged Sevenfold, who continue to sell out arenas around the world, pushing the boundaries of rock and metal. Best UK Band went to Architects, whose 2016 album ‘All Our Gods Have Abandoned Us’ broke the Top 15 of the UK charts and capped off a significant and difficult year for the band.
Rap metal supergroup Prophets Of Rage picked up the Spirit Of Hammer award. This is an award for those who hold the principles and passion of metal and what Metal Hammer stands for in their daily lives. The group consists of three members of Rage Against The Machine and Audioslave (bassist and backing vocalist Tim Commerford, guitarist Tom Morello and drummer Brad Wilk), two members of Public Enemy (DJ Lord and rapper Chuck D) and rapper B-Real of Cypress Hill. On announcing the band, Morello stated, “We’re an elite task force of revolutionary musicians determined to confront this mountain of election year bullshit, and confront it head-on with Marshall stacks blazing.” Need we say more about them collecting this year’s Spirit Of Hammer gong?!
Iron Maiden’s role-playing mobile game, ‘Legacy Of The Beast’, took the Best Game accolade, with Eddie himself making an appearance via VT to collect the award.
Formed in 2015, UK death metallers Venom Prison have been making a serious impact on the scene and beyond, and they picked up Best New Band. Doom metallers Pallbearer, who released their third album, ‘Heartless’, in March, have received huge critical acclaim since their inception in 2008 and picked up the Best Underground award.
Once again the guitarists got the plaudits that they deserve – after all, where would music be without the incredible axemen and women we love to worship?! This year, Airbourne’s kamikaze guitarist Joel O’Keeffe picked up the Dimebag Darrell ‘Shredder’ award, and tour de force Devin Townsend was rightly awarded Riff Lord presented by Century Media.
The Metal Hammer Golden God Awards in association with Orange Amplification winners are…
Best New Band: Venom Prison
Best Underground Band: Pallbearer
Best UK Band: Architects
Breakthrough Band presented by World Of Tanks: Avatar
Best Live Band presented by Monster Energy: Mastodon
Best International Band presented by Nuclear Blast: Avenged Sevenfold
Best Independent Label: Nuclear Blast
Dimebag Darrell ‘Shredder’: Joel O’Keeffe
Best Game: ‘Legacy Of The Beast’ by Iron Maiden
Riff Lord presented by Century Media: Devin Townsend
Inspiration presented by Spinefarm Records: Exodus
Best Album: ‘Magma’ by Gojira
Icon presented by Udiscover Music: The Dillinger Escape Plan
Defender Of The Faith presented by Orange Amplification: Ben Ward & Sandie Soriano
Spirit Of Hammer: Prophets Of Rage
Golden God presented by Roadrunner Records: Black Sabbath