Hottest Disc: Out of Control (A Commentary)

OK, so I couldn't really let Girls Aloud's new album, Out of Control go by without commenting on how insanely amazing its collection of tracks is. I proclaimed Tangled Up as my favourite album of last year but this is a markedly better effort, laced with pop classics and packed with attitude.

Here's a vague commentary:

Leading single The Promise, which I'm still not sick of after weeks of radio airplay (which is saying something) is interestingly not really representative of the album at all, which has a lot more going for it musically. The Loving Kind, which was written by the Pet Shop Boys (!) follows it and acts as an opium-style antidote to the sharp, addictive sound of the first track, numbing and captivating -- kind of like a more chilled out version of Call the Shots.

Rolling Back the Rivers in Time wakes you up, with its fierce vocal introduction and curious, plucky rhythm. I like it (especially in its latter stages) but it still remains one of my least favourite tracks on the album, and feels like one of the more generic 'pop' songs. Not a ballad but the closest you're gonna get to one on this particular CD. I also feel it should be towards the end of the album. But then the religious choir intro of Love is the Key adds yet another dimension to Out of Control, and the "oh oh oh, oh oh oh" backing (which I could literally sing to forever) and sassy, cutting beat provide one of the highlights of the album. "I'm mocha choco latte, you're more espresso shot" is also classic Girls Aloud.

Turn to Stone follows. It's at this point in the album where the electro really kicks in, and it quickly turns from a great, exciting effort to something seriously world class. Prickly, popping and with a lingering, gorgeous vocal tone it sets up the near seven-minute Untouchable, which is not a moment too long. "And in my dreams it feels like we are forty storeys tall" the girls swoon, and the track as a whole acts as the intoxicating, punch-drunk confession of love, even if seemingly flanked by songs which have the word in its title. But just as we're adapting the electro cuts out and we're treated to a fun, provocative R n' B number, Fix Me Up, which feels so horned-up. The delivery of the line "I got the bug. Feverish in the mornin'. Night or noon or evenin." is HOT.

The girls return with what is probably the best track of the lot, Love is Pain. Probably because the vocals are integrated so effectively within the song. The almost withdrawn, reluctant use of the line "It don't matter to me" catchy but (with the absence of any ballads) one of the most emotional moments of the album. It also ends with a resonant, fading chant of "Love is pain". Gorgeous.

If you think the five are broken by love though you're wrong, as track 9 is Miss You Bow Wow, and represents the parts of Girls Aloud we already love. Love Machine-esque with a lively beat and punchy, funny and inspired lyrics such as the hilarious, "I remember livin' the dream. Twenty minutes in a hotel bar, then I slip into your girlfriend's jeans". Who writes this shit? Love it. Revolution in the Head is next, a song I'm warming to but still don't enjoy that much. Its opening is undoubtedly very cool though. The last two songs are catchy. We Wanna Party has the lyric where "Out of Control" originates and is a fitting end to the album, but eleventh track Live in the Country is better, with the sound of bees buzzing, pigs snorting, and a chorus that ranks among the best Girls Aloud have ever produced.

Rating: A

You can listen to all of the tracks here

YAY

It's just been made official. Obama is president.

I won't pretend that I think the world is going to be an amazing place after this but it is undoubtedly a step in the right direction, and something I'll always remember as a significant part of history.

You Know It Makes Sense

Actress Profiles: Talullah Bankhead in A Royal Scandal (1945)

As the figurehead of any imperialist nation the monarch is supposed to be the person you live for, fight for, and die for. The role of the monarch, an increasingly less productive and passive one if you consider history, has seen its fair share of victims. Talullah Bankhead, as Russian Czarina Catherine the Great, is indeed one of those people worth living, fighting, and dying for, but is certainly no less ambivalent than your average Kaiser, Emperor, Queen, or otherwise and a great deal more honest in articulating just how little she does know (or really care) about her empire and the people in it. A Royal Scandal depicts an often trashy and frivolous comedy within the confines of an adorned part of Russian heritage, and refuses to show what life is like outside of this campy madcap palace. What it does do, however, is introduce an outsider, soldier Alexei, who proceeds to really shake things up, both through his strong political beliefs and his devilishly good looks, which make more than an impact upon the restless monarch.

It's twenty minutes before Bankhead makes an appearance in A Royal Scandal, the first portion of the film dedicated to Charles Coburn's absorbing, charismatic Chancellor, William Eythe's plucky and eager Liutenant, and Vincent Price's hilarious scene-stealing performance as a French ambassador. It's a smart move, because without these early exchanges there simply wouldn't be the sense of politics or cohesive network within the palace that is vital to the film's final act, and it would diminish the anticipation and subsequent satisfaction of being introduced to a woman that makes such a lasting impression with every flail and quip that it's almost a punishment when she's not on-screen.

If you've seen Lifeboat it's easy to guage that Talullah has a real gift for rattling off one-liners and being deliciously dismissive of people in bitchy diva-esque fashion. As a morally-questionable Russian leader she gets the opportunity to be this diva, and as in Hitchcock's wartime tale, not an infallible one. It's interesting though that A Royal Scandal flourishes so well as a piece of political satire despite exhibiting many of the hallmarks of the screwball style. Love triangles, sexual innuendo and a lot of farce litter this film, and if made ten years earlier the master of the screwball idiot, Ralph Bellamy, would surely have made a beeline for the role of Alexei. For Bankhead, however, it's something to think about.

The very nature of A Royal Scandal's approach to Catherine the Great -- portraying her as a rather willing damsel, swallowed by her own power and inability to utilise it effectively -- gives Bankhead a lot to work with, and she doesn't disappoint. The nature of her Catherine is strong, stubborn, charismatic, but rather insecure in herself (something contradictory of a true screwball heroine) and seemingly entrenched in a behind-closed-doors existence. She wants so desperately to perch herself on an incomparable pedastal but doesn't put this into practice, getting involved in silly trivialities in her court, unable to tear herself away from what she's supposed to be better than. It's rather sad in a way but Bankhead makes the Czarina such a flexible character; a very component of the rasping infrastructure that makes her position vulnerable in the first place, and someone whose bark and bite seem separated by a wave of intrigue. It works.

Rating: ****

Live Blogging: Strictly Come Dancing and The X Factor (2)

I'm signing out. It's been fun.

10.47pm: You can already see them thinking up the "I can't be in the bottom two again this week" video for Scott. Simon sends Daniel home. Cheryl sends Scott home. What is she doing?! I feel like she's fallen hook, line and sinker for this wife thing. Danni votes Scott out. Louis sends Scott home as well. And cried in his explanation. Daniel wins on emotion but as a talent competition you really have to wonder. It won't be long before Louis is calling Daniel a pub singer once more. Sad and exploitative.

10.40pm: Scott's up first. I thought they'd leave Daniel's slushy memoriam to last. It'll take an amazing performance to sway one of the three though. Scott's giving a creditable showing. It's funny that I preferred him the first week when he was completely out of his depth. He at least had a bit of character whereas tonight it's all been plain and pedestrian.

Daniel's on. I have difficulty taking him seriously after they've caked him in such copious amounts of make up. I hope he doesn't cry. Oh, he did.

10.30pm: Here are the results... First through is Eoghan. Meh. Next: Alexandra. Two of the gazillion acts the judges championed. Ruth is through! Woohoo! I wasn't sure after last week but she must have solid support after all! JLS next. Excellent. Rachel is through. Was there ever any doubt after she closed the show and arguably stole it? Diana!!!!!!!!! Need I offer elaboration? Laura goes through. She wasn't good but she's popular. Scott, Austin or Daniel? It's Austin! Scott and Daniel in the bottom two. I got one out of two anyway. I hope Daniel goes.

They're singing again. Daniel's singing a Josh Groban song. He mentioned his dead wife. Call me a cynic but MEH. It's going to be cheese central. Scott's opted for George Michael's I Can't Make You Love Me. Like it. There's no way Daniel will survive this. Simon and Louis can't stand him and Cheryl has voiced her doubts already. He's toast but these final two performances will be interesting. Let the sing-off commence...

10.25pm: They were totally miming. I wasn't sure until Laura came on and really let the side down. Maybe she skipped the coaching session.

What kind of example is this setting?

10.20pm: So they just did the slushy war hero tribute and now they're singing Hero. How they can ever expect to top Mariah's version is anyone's guess. It looks like they're miming, actually. Eoghan was in tune anyway. Yes, I'm a bitch.

My X Factor Scores

Diana - 8/10
Rachel - 8/10
JLS - 8/10
Ruth - 7/10
Austin - 7/10
Alexandra - 6/10
Scott - 6/10
Eoghan - 6/10
Laura - 5/10 (!!)
Daniel - 5/10

9.20pm: Simon says it's the best performance of the night. He may well be right (for once) but it's for the public to decide. She should be alright this week. Lol. Rachel is so funny. I love her humility. Her outburst of "rock on Nigel" reminds Simon to thank the orchestra who performed much better than the contestants. On Strictly Bruce thanks them before they've touched an instrument. Go figure.

So the night is over and it's been mediocre. The last three performances were way the best and rescued a disappointing night. Something tells me that Ruth may not have done enough to win over the people who seemingly neglected her last week. Scott went first and didn't make much of an impact, so as much as it pains me I predict that Ruth and Scott will be in the bottom two. Results show is at 10.10pm and includes a performance of Hero by the final twelve. Wonders never cease.

9.15pm: Rachel is last. She's singing Feeling Good. Major parallels to Beverley, who sang this last year at the end of the night and walked away with the plaudits. Her dress is hideous. Very reminiscent of the aquamarine one thingy wore earlier... *scrolls down*... Erin. She's got attitude singing this. A knowing look and a little wink. Love it. 8/10.

9.12pm: She gets rave reviews. Cheryl is right. She's mesmerising. I'm beginning to wonder, however, that it might be better if she doesn't win this. She's better than a recycled ballad that's number one for three weeks over christmas. I adore her.

9.09pm: She's on a swing with the cutest hat on that you've ever seen. Singing Smile her tone of voice suits it. Somehow they've made this work. I like that her voice is fragile and seems to linger with you for so long. 8/10.

9.06pm: Diana next. Love this girl. She reminds me of Kate Bush. I'm a bit worried for her this week. She's not a big band type.

9.00pm: Simon has a nerve to criticise JLS for their vocals after Eoghan's occasionally shambolic effort. The urge to chant "You don't know what you're doing" is getting ever more prominent.

8.57pm: They're singing. Finally. Aint That a Kick in the Head. Good song. They're singing it well. The lil' guy is good. Bags of style. I like the choreography as well. It's been a long time coming but the night is finally alive. 8/10.

8.55pm: JLS are next. One of their mothers has multiple sclerosis. Quite frankly I don't care. Are people incapable of saying "no" to these emotionally manipulative techniques?

8.51pm: He gets rave reviews. I said there was a pattern. He was good though so it isn't that much of a travesty. As long as he doesn't speak or cry I'm down with it.

8.48pm: Austin's singing Mack the Knife. I've heard it a million times. Great suit. I feel like even Gareth Gates did this better all those years ago (seven now, can you believe it?). He's sat on the judges desk. Hmm... He's animated enough. Vocally it's better than all of the other boys. 7/10.

8.40pm: She gets raves. It's become a pattern tonight, despite none of the performances impressing me in the slightest.

8.35pm: Cheryl never seems to say anything that isn't on the fence. She's supposed to be more feisty than this. Alexandra next. She's singing Candyman. Another XTina. It's hardly a vocal showcase but they've gone the whole hog with the set design. She looks good but is it enough? Maybe. It just feels a bit like karaoke. 6/10.

8.33pm: Ruth warns Simon not to forget her name. He says it's her best performance. Bar Purple Rain he's right.

8.30pm: She's singing Summertime. They're compensating for the refusal to sing in Spanish by dressing her like a flaming senorita. It works. Sexy hips! Her sultry tone works well with the style. She's got guys in berets alongside her. Spain and France amidst the classic American swing. Not sure it works. Don't love the song but she did it well. 7/10.

8.27pm: Is it me or does Dermot feel like such a sell-out these days? I'm glad he doesn't take the whole thing as seriously as Kate Thornton seemed to but this primetime slot has swallowed a lot of his personality. Still a cutie though.

It's Ruth next. Her performance of Purple Rain last week was AMAZING. She's not singing in Spanish so Simon will probably slate her again. I don't think it really worked anyway. Here we go...

8.24pm: He gets rave reviews. Eh? I honestly think these four have no idea what they're talking about. Something tells me Simon may have picked up on the vocal problems had it not been his own guy up on the stage.

8.22pm: Eoghan's singing L.O.V.E. He's flat on a fair chunk of the song. I hope they notice. His performance of it is pretty good. 6/10.

8.20pm: Laura gets rave reviews from the judges. Eh? Maybe they could actually hear it in the studio. I didn't get it. Eoghan next. His rendition of Ben last week was like sandpaper grating at my eardrum, but then again it's probably the worst song ever written. The build-up says he's doing an up-tempo number this time. I'm glad. This could be good.

8.10pm: Laura's turn and she starts lying down on a white rug. She looks lovely. Hot shade of lipstick. Her vocal is kinda dodgy. I can't tell what she's singing and I don't recognise the song. The band is too loud for her. In the build-up they were talking about the note at the end having to be great and it is. That vocal woman is so annoying though. I didn't like it. 5/10.

My Strictly Scores

Rachel and Vincent - 9/10

Austin and Erin - 8/10

Cherie and James - 8/10

Tom and Camilla - 7/10

Lisa and Brendan - 7/10

Heather and Brian - 7/10

Jodie and Ian - 6/10

John and Kristina - 5/10

Christine and Matthew - 5/10

Andrew and Ola - 5/10

Mark and Hayley - 4/10

8.00pm: Daniel is singing The Lady is a Tramp. I find him so bland. His voice is average. I think old people are voting for him. He has a nice smile at least. This week was always going to suit him more, with it being non-contemporary. Am I being too harsh? 5/10. Jodie and Ian get 26 out of 40.

7.56pm: Scott got a bit of a grilling. Jodie and Ian are doing the Paso Doble. She's in a white sequined dress that rivals Lisa's earlier. They're dancing to Blur's Song 2. It's grungy so I'm not sure why they're wearing white. Too much revolving and a bit ragged. 6/10.

7.53pm: Oh. John got 21 by the way. I think he'll make it through again tomorrow. People love him. Rachel and Vincent's waltz is gorgeous. But not as gorgeous as her prom dress. I can't believe she's 30. It makes me feel so old. 9/10. Scott is first on The X Factor. He's singing That's Life. Cute suit. He's quite charming but I'm not sure he's got enough confidence for this. Big Band night will suit the boys but I'm not sure it's gonna suit anyone else. I'll give him 6/10 for singing it well. Generally a bit of a damp opener.

7.50pm: The X Factor just started but we've got a couple minutes. Rachel and Vincent must be doing the waltz. I think they're the final couple. I hope they are. This is getting hectic.

7.46pm: He's stomping around quite a lot. Her dress is fun. I don't think he has the gumption for this dance but it was a decent effort. As usual she did all of the work. 5/10.

7.43pm: Oh god. John and Kristina are doing the Paso Doble. If this is good I'll run naked around the block. It's bound to be excellent comedy value, though.

7.42pm: Camilla is my favourite of the female dancers. I think she's beautiful. I can't believe Brendan dumped her. The fiend. They get 32 altogether and will surely return next week.

7.38pm: Tom and Camilla now! He got married last weekend. I sound like such a horny teenager but he's so dishy. I saw yesterday that they've trained the least amount of hours this week, so I hope they've managed to get this Viennese Waltz somewhere near decent. They're dancing to Elvis. His hair has too much gel. She's wearing cute pink ruffles. His head is bobbing around a bit. He reminds me of Marty Mcfly's dad in Back to the Future. Not a good look. I wasn't blown away. 7/10.

7.34pm: Craig called him a stick insect on acid. Lol! He's also been called a geek and "grotesque". Not a night to remember, I'm afraid. I feel a bit sorry for him. Len says he has body shape. A token comment. You know things are bad when even he hasn't got a good word to say. This is ominous.

He's promising to wear swimming trunks if he gets to the final. Salivate is too mild a term.

They get 16, including a 2 from Craig. I think he could be out this week.

7.30pm: Mark really needs to do well this week. He's on a bad run. He and Hayley are doing the Paso Doble. Woohoo! We might get to see Mark being powerful and aggressive. Bonus points for the pecs being out again! They're dancing to the crazy choice of Kelly Clarkson's Since You Been Gone. He hasn't got the presence or the moves for this. Pretty dreadful, actually. This is what pause buttons were created for. 4/10. For the pecs.

7.27pm: Everyone liked it but Craig. The other judges give him evil looks. Heather isn't Ginger Rogers but she doesn't deserve a 5 for that. They get 27. Her highest score yet. A little Moving On Up reference there. Love that song! She's slightly less sassy than I remember at the time though. Maybe that goes with age.

7.24pm: Heather and Brian now. She was horrendous last week so if this isn't good she might get a bit of a grilling. She's opted for hot pink, which seems both brave and odd since she's dancing the waltz. She's a ragged dancer but I didn't mind the routine. 7/10.

7.19pm: If given the chance to spend a night with any one of these dancers James would be totally the top of my list. He's fiery. Yummy. She says she went all wrong at the beginning of the dance. I didn't have a clue. I suppose that's my judging credentials extinguished. They get 31. Pretty average by Cherie's lofty standards but I'm sure they'll be back next week.

7.16pm: Cherie and James with the Paso Doble. It feels much more authentic than the others. I really like this. 8/10. Cherie looks a bit like a gypsy though.

7.12pm: I do love Len. A bit kind with his scores at times but he's so no-nonsense it's funny. He looks really smart tonight as well. Austin and Erin receive 34 points. Top of the leaderboard but there's a few to go. I'm gonna need some wine soon.

7.08pm: Austin and Erin's turn. They're doing the Viennese Waltz. Erin's wearing a horrendous aquamarine colour. Points for the shoes though. It's lovely and fluid. Unsurprisingly much better than Andrew's effort. Cute. I'll give it 8/10.

7.05pm: Loving Christine's eye shadow and the whole green theme, although they're a long way away from Lisa and Brendan, undoubtedly the best-dressed couple so far. A three from Craig. Ouch! 22 altogether and they're dead last so far.

7.01pm: Christine and Matthew now. They're dancing to Christina Aguilera's Fighter, sung very shakily it has to be said. Calum, behave. It's not The X Factor yet. It's not dramatic enough. Disappointing. Although Christine's dress rivals some of XTina's outfits in that particular video. 5/10. I didn't like it at all.

6.58pm: I already feel guilty about the ice cream. Tess is really pushing the cleavage tonight. Andrew gets 24. Probably enough to get through on all the votes he gets from lusty housewives. He's the wrong side of clean for my liking but I can't deny he's very pretty.

6.55pm: Andrew and Ola next. Ola always picks the worst outfits. She either looks like a prostitute or a Hungarian bride -- depending on whether she's doing latin or ballroom of course. I was bored. 5/10. He stumbled halfway through it as well.

6.51pm: Lisa and Brendan get 29. About right, I'd say. A word on Merlin, which was on before this. Does anyone actually like it? I don't get it at all. But then again I don't get Doctor Who either. Does it pay to be ambitious and fail? It just all looks so cheap and amateurish. Camp and fun but hardly awards-worthy.

6.47pm: Lisa and Brendan were first. Lisa looks stunning. Dare I say "George, eat your heart out"? The dance itself was very 'style over substance'. Am I wrong for fancying Brendan? I give them 7/10. Oh I've just noticed Lisa's earrings. Lush!

6.44pm: Great joke about The Generation Game. The old codger hasn't lost it yet. So The X Factor starts at 7.45pm and Strictly ends at 8, so there'll be a bit of a crossover. Not as bad as last year thank god. I'm armed with bananas, chocolate and baked alaska ice cream. Oh, the guilt! No alcohol as of yet but I'm not ruling it out.

6.40pm: Am I wrong for loving Bruce and Tess' little dance every week? She looks so uncomfortable with him in it but I still don't care. They're discussing reports Bruce was to quit Strictly. It wouldn't be the same without him, would it? Can't wait for his dodgy jokes. Tess rarely gets her outfits right but she's having a good week. Lovely purple colour.

Glutton For Punishment

Point #1

I'm in the middle of watching The Happening when I realise that a) Mark Wahlberg should never be a protagonist, b) Nobody knows how to make characters in action films convincing anymore, and c) M. Night Shyamalan is one of the most over-rated people the world of cinema has ever welcomed into its hearts. It's now paused at 38 minutes and 43 seconds and features Wahlberg's wife (whoever the Actress is she needs shooting) and best friend's daughter, who I suspect is going to be involved in some suspect plot twist in the next ten minutes. On the bright side, it's unintentionally quite hilarious.

Point #2

I'm going to be live-blogging Strictly Come Dancing and The X Factor tonight. Yes, I did this last year and burned my fingers out switching between the remote and keyboard, and almost drunk myself to death on Magners. Looking back though, it was fun.

Coming Soon @ Ultimate Addict:

A Post on Talullah Bankhead

First Oscar Predicts of the year

Hottest Track: Grace Jones - Williams' Blood

Hottest Track: Sneaky Soundsystem - UFO (Van She Tech Mix)

Mo Ga Mbo

Mogambo (1953)

Directed by John Ford

Starring: Ava Gardner, Clark Gable, Grace Kelly, Donald Sinden

Grade: B -

While Gone With the Wind saw Clark Gable's Rhett Butler enjoy an emphatic sparring of hard-to-get with Southern Belle Scarlett O'Hara, in John Ford's Mogambo his safari leader, Victor Marswell, has to make significantly less effort to hold a woman's gaze. The years may have piled on but Ava Gardner's Eloise Kelly is infatuated with him a mere twenty minutes into the romantic adventure, and it's an infatuation that does not die down. But if ever you found yourself torn between the talons of two women (a frightening thought in itself), you'd be hard pushed to find two better birds than the fiery Gardner and the precious Grace Kelly, who find themselves consigned to the bottom end of a truly memorable love triangle.

Eloise and Victor's early chemistry and brief clinch are halted by the introduction of animal-lovers Donald Nordley and his wife Linda, to whom Gable's familiar insensitive brute takes more than a fancy to. The attraction is mutual, but with Eloise stranded on the wildlife range indefinitely, and increasingly left out in the cold by the besotted Victor, her sharp wit and bold outspokenness threaten to escalate the situation further. Ava Gardner, who I'd only previously seen in Stanley Kramer's drone, apocalyptic On the Beach, is one of the few reasons the film is enjoyable. Her charisma, executed wildly in head-flicks, eye-rolls, and the occasionally cheeky smirk, reveals the dark and daring incisiveness to a dangerous and exciting character. Her brashness is apparent -- humour spearheaded, red lipstick smeared, bosom ablaze -- and so Eloise is the passionate, tarnished harlot to Linda's graceful, wouldn't-say-boo-to-a-goose purity that makes them counterparts in both love and life.

As Mogambo presses on it becomes clear that Eloise is really the only interesting character in the film (or at least Gardner's is the only performance that digs deep enough into her character), but that doesn't stop the love triangle from keeping your attention, or indeed from encouraging you to draw conclusions from it. The confrontation of such an awkward group dynamic feels in itself rather cavalier, and as the plot unravels further Mogambo acknowledges that sex, passion, deception, can manifest itself in the strangest and most unpredictable of eventualities. The limited number of characters in the film, and its compact setting, makes the infidelity all the more lewd, absurd, but dare I say it naturalistic; a flicker of nature within the midst of nature, if you will. But that really is as far as Mogambo endeavours to explore the reasons for its African wilderness, which become ever more isolated as a part of MGM's fanciful, technicolour extravagance. A word of thanks to the Kenyan government precedes the film (a self-congratulatory pat-on-the-back if ever there was one) but there's minimal exploration of African culture, showcasing a plethora of wildlife but very little else, and the use of Kenya as a base for Mogambo's action translates as disingenuous theatre.

The entire debacle may come across as a misogynistic venture, and this is an accusation largely warranted. Gable has all the power and authority, stemming from his position as leader of the safari and superior knowledge of this outdoor setting, and so his ease of assertion in the film, particularly in terms of his relationships with the two women, are understandable to a point. It's interesting that both Eloise and Linda (different as they are) emerge as rather daring characters, both willing to spurn their Western world for a holiday romance. Kelly's Linda is bored and repressed, and convincingly swept away by a man and climate relatively alien to her, but Gardner's Eloise is a different proposition altogether. Oozing with confidence, sex appeal, and general worldliness her loose cannon struggles to accept Victor's feelings for Linda, but confusingly ends up sanctioning his predatory behaviour at the end of the film.

Mogambo ultimately feels like a bit of a cop-out. With snippets of culture and bites of common sense, too much of the film feels token and frivolous. And when attempting to make light of its moody, jealous, contemptuous relationships, it just doesn't cut it. But for a story that never needed Kenya the women in it need this elder Rhett Butler like a dog needs a bone, and their cravings make for mighty juicy viewing.

Hottest Track: Britney Spears - Womanizer

Were the Nineties Really That..... Gay?

Just a few words about BBC's brand new sitcom, Beautiful People, which aired earlier tonight on BBC2 at 9.30. It tells the story of Simon, a thirteen-year-old gay kid living in Britain in the late 1990's, and his dysfunctional Northern working-class family. I'm not sure how it worked on a gay-level. I personally didn't really register with his character (perhaps cause I was a relatively late bloomer in that regard), but I do think that it has such a wonderfully nostalgic feel about it. I'm already loving the soundtrack (Baccara, Katrina & the Waves, Spice Girls, D:Ream and Jolene in just the first episode), and the emergence of Labour and Tony Blair is undoubtedly a part of history that I register with and acknowledge the importance of. The History Boys' Samuel Barnett plays an elder, successful, New York-dwelling Simon, looking back on his British childhood. I'm still unsure as to whether this is a necessary element of the setup but it does crucially add to the retrospective glimpse of the nineties and the liberation that girl power and people power really provided. Things can only get better for Beautiful People.

Hottest Track: Janelle Monáe - Many Moons

This tune is banging!

Out of the Water and Into the Groove

On Thursday I saw Lina Wertmüller's steamy, sensuous Swept Away, several months after watching Madonna and Guy Ritchie's 2002 attempts to revive it. A skewed approach, I know, but in an attempt to illustrate how the two compare, I've split the films up into six elements and given my opinion on which film has the edge. Let the bout begin!

Round One: Lina Wertmüller Vs. Guy Ritchie

In pinpointing just how beastly Raffaela is, and the contempt she generates within Gennarino, the two have different visual approaches. Wertmüller's feels much more natural in its flair, the camera almost acting as a vulture circling the boat, antagonising and constructing their relationship as politically and socially poles apart, but uniting them somehow in their volatility. The further Gennarino strays from Rafaella the easier it is to see their underlying similarities, finely orchestrated in a late-night scene in which they are alone on deck. Metres apart from each other their temperament is placid, comfortable and contented, their eye-contact good, but there is no attempt (and almost a fear) to bridge this gap, almost as if they will explode when breaching a certain level of proximity.

By contrast, Ritchie's way of expressing their mutual resentment of each other seems to rely more on rhythm and pace, using its jazzy-continental score (which reminded me a lot of 80's TV theme-tunes) to create quite a light and successfully comic tone to the first half of the film. As time goes on however, it's clear that Richie has a rather romanticised view of Swept Away, which isn't necessarily wrong but is a limited one compared with Wertmüller's attempts years earlier. Ritchie's flashy moments of direction come with beach clinches and melodramatic displays of affection, and a moment that rivals Match Point's over-the-top slow-motion ring sequence. Wertmüller is able to implore a lot more visual mood into her version, and with an extra twenty-five minutes of running time, feels much more in control of her film than Guy does.

Result: Lina Wertmüller

Round Two: Mariangela Melato Vs. Madonna

Whichever language Wertmüller's Swept Away gets dubbed in there's no way it can be mistaken for anything other than an Italian film. Mariangela Melato's Raffaela is a fiery vixen of a woman: a right wing monster, a ruthless, power-hungry socialite, a sexual inferno. Her journey from riches to emotional tatters and primordial back-to-basics is a sensational arc to behold, and that's because of Melato's unflinching charisma and passion. Her dramatics are always so watchable, and as a woman who has spent the first half of the film being horrendous, her about-turn feels convincing in the context of Raffaela and Gennarino's tempestuous relationship. A major, major feat.

But what of Madonna? Well, where to begin? I have a lot of sympathy for her as an Actress. Her daring, knows-no-bounds attitude works well with music, but when attempting to re-create a role that a) has been done so well before, b) has always been trashy, c) is completely unsympathetic, and d) is actually incredibly complex, was inevitably going to bring her a lot of stick. I'm sure the fact that she's Italian-born, and was a teenager at the time of the original release, had a lot to do with Ritchie making the film in the first place, and in theory, the rich diva role could be something she's well-suited to. But after seeing the original a lot of the performance feels more like whining mimicry than inherent power struggle. Her Amber seems more of a pouting fake, a calculating shallow shrew, than someone capable of being psychologically turned inside-out. If Madonna's Swept Away had kept to its original ending then this could perhaps be more of an understandable acting move, but as it turns out, it makes their love story a perplexing and altogether less genuine commodity.

Result: Mariangela Melato

Round Three: Giancarlo Giannini Vs. Adriano Giannini

Like father, like son. Unsurprisingly, this pair is the most difficult to separate, as essentially their genes speak for themselves, but there are a couple of crucial things the young pretender does not possess. One of these is raw, neanderthal sexual necessity. Adriano has a better body than his father did in 1974, but it doesn't matter. A clinical, chiseled physique works against Adriano in the sense that it doesn't feel like the natural, manly, uncaring brute that Gennarino is, and despite being an adonis to lust over, you don't get the impression that he'd ravage you anywhere near as lustfully as Giancarlo's predatory prowess indicates.

Result: Giancarlo Giannini

Round Four: 1974 Sex Vs. 2002 Sex

A similar story to comparing the men, really. 2002's version sees two beautiful people (perhaps too beautiful?) writhing around in sexual fulfillment, but lacks the bite of the original. What made the sex in Wertmüller's original so erotically charged was that it was both angry and lusty, whereas Madonna and Adriano's encounters, while arousing, are all a bit (for lack of a better word) pretty. What I will say for the remake is that its sex scenes are incredibly well-shot (adhering to the fervent romanticism of Ritchie to which I earlier referred) which when considering the original is high praise indeed.

Result: 1974 Sex

Round Five: 1974 Politics Vs. 2002 Politics

This is where I feel very let down by Guy Ritchie. Watching the remake before the original was in some ways a mistake, but was also quite enlightening when comparing the two. I didn't get the psychology behind the characters because Ritchie makes an effort to whittle and dumb everything down to a trashy love story, rather than showing off the attractive Italian passion evident in 1974. The characters debate communism, fascism, marxism, and really possesses a social consciousness that gives the extremes of Rafaella and Gennarino's relationship a political edge and subsequently a comprehendable dynamic. If you're planning on watching the two films, please opt for the original first.

Result: 1974 Politics

Round Six: 1974 Ending Vs. 2002 Ending

Warning: Spoilers!

The feeling you're left with after watching Raffaela fly off in a helicopter, unable to bring herself to be the Lady that runs off with the common sailor, is a wretched one. It feels natural to want a film to have this sweeping fairy-tale ending but in actual fact the film makes so much more sense (in terms of society, politics, holiday romances themselves) than riding off into the sunset ever would have done, and so I salute Wertmüller for a harsh ending that I imagine didn't go down all that well at the time. Something tells me that Madonna herself probably didn't like the idea of that ending, and creative licence sees 2002's Swept Away get carried away with romance a little too much. It can't bring itself to kick Gennarino to the curb fully, and instead kicks them both to the curb by having them both mistakenly think that the other cannot go through with the romance. A sinking ring, and frankly a sinking moment in an otherwise passable remake.

Result: 1974 Ending

Overall Score: 6 - 0 (A landslide)

Guy Ritchie's Swept Away may be inferior in every aspect but please don't let this put you off watching it. It's an alright imitation of an excellent, excellent film. Misguided but admirable, and one of Madonna's better performances, not that that's saying much I know.

1974 Version - A

2002 Version - C+

R.I.P Paul Newman [1925-2008]

Girls A-Live

However much I love Girls Aloud I wasn't expecting this to turn into a "celebrate the music of Girls Aloud" week on the blog. Not content with having them as my hottest track this week I just have to link you to the live lounge they did for Radio 1 this morning. They sing both The Promise and a cover of Apologise by One Republic & Timabaland. They're both awesome performances. Enjoy.

Here you can see a video of them singing Apologise, and listen to a recording of the entire session.

Scroll to 2:14 for The Promise

Scroll to 2:38 for interview and Apologise

Another Brick in the Wall

Eden Lake (2008)

Directed by James Watkins

Starring: Kelly Reilly, Michael Fassbender, Jack O'Connell

Grade: C -

For you non-Brits, the topic of "What to do about our pesky teenagers, and their relaxed attitude to physical violence?" is a particularly hot one in the country right now. Eden Lake, a British production, spawns from such debate, and so the basic premise of the film is that a young couple, away for a romantic weekend, find themselves on the wrong end of a violent dispute with a gang of tearaway youths. You might think I reviewed this film a couple of weeks ago but no. While The Strangers was a classy crafted genre-gem, Eden Lake has much bigger things on its mind, and isn't afraid to let everyone know it.

It's quite obvious from the outset that Eden Lake knows exactly what it wants to say and won't stop until its said it. Car-radio debates about the problems of youth in today's society fill the eerie opening credits; a precursor to the violent events that unfold, and the film's desire to confront the issue in gung-ho mode is an admirable one. But Eden Lake's bandwagon-jumping often feels like the intrusive, impetuous commentary of filmmakers with passion but little understanding of how to build a convincing narrative around this passion. Indeed, the problem is that as such a politically-divisive piece, the film is first and foremost a social demonstration and secondarily a gritty thriller. Every eventuality (whether it be a chase, hiding place, violent sequence, stumble) feels like it's been copied from, and done better in, other films.

It isn't as if Eden Lake doesn't attempt to get inside its characters, or show us why they might do the things they do. There are thoughtful glimpses into, particularly, the most volatile and disturbed member of the young group. The character of Brett (outstandingly played by Jack O'Connell) is very much the leader of events, and attempting to display and allude to the reasons behind his anger and instability works for the film's message about young people and crime. But the reason Eden Lake gave me a major headache was the treatment of its would-be protagonists (couple Steve and Jenny), who act frankly rather stupidly at times, and on more than one occasion are responsible for orchestrating their own downfall. It feels as if the filmmakers are working from a couple of plot points -- incidentally based solely around the youths and delivering the message of the film -- and the rest is left to part-cliche, part-mess, in which we have no idea as to the scope of Eden Lake as a location and its endless, tiresome expanse of forestry.

It's difficult. I agree with a lot of what Eden Lake tries to say, and ultimately cannot fail to say. But when you have a small checklist and ninety minutes of running time to fill, things can easily become bogged down. Eden Lake is predictable after the first thirty, loses grip in the second thirty, and finally falls apart in a finale that's effective, haunting, and probably plausible, but by the time it comes around feels well on the way to its second dose of overkill.

Hottest Track: Girls Aloud - The Promise

This Sex Is On Fire...

It's about time. Finally, here is the trailer for headline-grabbing, Titanic re-uniting, major Oscar buzzing Revolutionary Road. One of the most famous romantic pairings captured on celluloid, Winslet and Di Caprio, return, and the chemistry is still RED HOT. Yummy-looking love scenes littered throughout it appears that instead of a sinking ship to contend with, restless suburbia is the thing getting this particular relationship down. I have to admit that this hardly seems a jolly time at the cinema, and it's a bit of a repetitive trailer all-in-all, but I suppose trailers don't win Oscars. Let's wait and see.

The Barrymore Case

Oscar's Supporting Actress category is a funny one, isn't it? While quabbles and analyses on this topic are better left to the master of said category, two recent blockbuster rentals have collectively compelled me to lodge a few comments regarding a couple of bewildering inclusions on the Academy shortlist, both involving the same woman.

The first of these films is Robert Siodmak's The Spiral Staircase, a gothic-style thriller about a serial killer who preys on girls with disabilities. Although there's plenty of dramatic flair about the proceedings the nature of the story (six people in a house seemingly waiting for the threat of death to besiege them) reads as very uninspired. Add to that a frustratingly vague old woman and a romance that stutters but never really starts and that's pretty much that. A film much too reliant upon its thrilling aesthetics.

The other film is Alfred Hitchcock's The Paradine Case, which begins with a woman arrested for the murder of her blind husband, and eventually leads to her trial, conducted by lawyer Gregory Peck, who himself is smitten with the alleged murderess. What struck me most about the film is its resounding feminist stance -- a point which I realise is contradictory of Hitchcock's reputation in general, but one that nevertheless is undoubtedly valid. Essentially though, The Paradine Case is very predictable, and, similarly to The Spiral Staircase doesn't really have enough avenues in its narrative borough to sustain interest.

The comparisons between the two are evident. Each of their titles ends in "case", both are forties pictures -- 1945 and 1947 respectively -- and each of them are essentially about murder. But their sole Oscar nominations, both for Supporting Actress Ethel Barrymore, is the comparison I want to discuss.

In Staircase Barrymore is that frustratingly vague old woman to which I earlier referred. As bed-ridden Mrs. Warren she writhes like an elephant on a trampoline for most of the film, pausing only to utter clairvoyant-style comments about the serial killer or death in general and to spit scathing insults at her bemused staff. She plays to her status as a mysterious know-all with uncertainty and quite erratically, to the point where I started to question just why she's in the film at all. This becomes clearer in Staircase's final moments; her role in a dramatic conclusion surely the nomination-winner, even if the scene itself feels like a chilli atop a blancmange.

But for Barrymore's kick-ass moment her nomination would be for very little indeed, but there are no kick-ass moments in her Paradine Case turn, which makes Beatrice Straight's efforts in Network look titanic. As wife of Laughton's grumpy judge, she features in just three scenes (only two of which she speaks), which equates to a meagre four minutes of screen time. Her contribution in these few moments comprises mainly of a scene at the very end, in which she's berated by her husband for showing compassion towards a questionable figure. This, coupled with an earlier scene which marks her as slightly loopy (if totally unrelatable and again, erratic), tars her with the sympathy brush. But the role is such a non-statement, and the performance isn't even memorable in an over-the-top sense, altogether constituting probably the least amount of ability I've seen in an Oscar-nominated performance.

I don't intend to be so mean about Ethel Barrymore. These two performances represent my only view of a very reputable Actress, and certainly a very limited one at that, but as nominated performances they really don't cut the mustard. So how did they make the shortlist? In The Spiral Staircase Barrymore's role has a bit of bait, but not compared to Dorothy McGuire's mute lead role. Despite being lead this could easily have managed a place in the Supp Actress lineup (think Patty Duke's shocking category fraud as a disabled girl in The Miracle Worker), and is backed up by a comic turn from Hermione Baddeley which has got more going for it than Barrymore's stiff upper-lip. The only two explanations I can possibly give for her Paradine nod is that:-

• A) It was a weak year, and the fact that it ended in "case" reminded them that they'd thought her worthy before.

• B) That this piece of information (taken from IMDB Trivia) holds the key:-

In Hitchcock's rough cut and 131 minutes version, Ethel Barrymore can be seen as a half-crazed wife of Lord Horfield played by Charles Laughton. But David O. Selznick removed these scenes in the final editing and the final runtime was only 114 minutes.

Does anyone know if the Academy were screened the rough cut of The Paradine Case? Wouldn't this explain why they valued Barrymore's performance and thought it substantial enough to nominate?

Hmm....

Hottest Track: VV Brown - Crying Blood

Without doubt one of the catchiest songs I've heard in years! Enjoy!

93. They Shoot Horses, Don't They? (1969)

Directed by Sydney Pollack

Starring: Jane Fonda, Michael Sarrazin, Gig Young, Susannah York, Red Buttons

As it states at the beginning of the trailer to Sydney Pollack's They Shoot Horses Don't They?, people are the ultimate spectacle. Jane Fonda's Gloria wants to be part of a spectacle, travelling to Hollywood in the hope of becoming an actress. All she gets is a place in a marathon dance contest, offering the top prize of $1,500 in the midst of depression-era America.

This isn't the first film to be critical of the 'American dream' and it sure as hell won't be the last, but you'll be hard-pushed to find one so unevenly extreme in its treatment of an aspiring young breed of characters. The participants of the contest live through the cheapened descent that entertainment has undergone, their health, tolerance, and strength sapped with every waltz and jive. It's admittedly more suffering than you're likely to see on television nowadays but there are interesting parallels to reality-TV and talent shows that crush ambitious youngsters all too easily.

A recent first viewing of Who's Afraid of Virginia Woolf? brought this film back to the forefront of my mind. As well as both being titular questions they each feature long sequences of testing character interaction, and as such are a real acting showcase. Horses garnered three acting nominations, and a Supporting Actor win for the devilishly handsome Gig Young. Young is excellent, but the real standout is Jane Fonda, in what is my favourite performance of hers. The ever-charismatic star is the character who really gauges the political situation, and understands that the contest is indicative of this. Her character's apparent awareness of Horses' themes yet inability to rise above the entire debacle the biggest tragedy, Fonda's Gloria reads like a fame-hungry gambler that just can't stop. But the question remains as to whether her fate is a tragic one, or a perverse victory. Watch it, and decide for yourself.

Hottest Track: Laura Marling - Night Terror

The Strangers (Bertino, 2008)

The Strangers

Directed by Bryan Bertino

Starring: Liv Tyler, Scott Speedman, Glenn Howerton

Grade: B+

There are many things that can dismantle a relationship. From the moment Kristen McKay (Tyler) and James Hoyt (Speedman) fade into vision through a rain-splattered car windscreen, it's apparent things aren't too cosy at the inn. That this should come after an opening narration about the authenticity of the events on show and a recording of a frantic 911 call (effectively two immediate disruptions) unsettles without the main characters ever having spoken a word. It's a sign of things to come for The Strangers, which continually takes you out of your comfort zone. As unrelenting and merciless as the 'strangers' themselves.

As for the 'strangers', their cameo is a slow, drawn-out one, and is as much an intrusion on the couple's relationship as it is a threat to their lives. Upon return rose petals and champagne are greeted with tension and disdain; a proposal shunned, a celebration tempered, and so what's interrupted is more frosty fall-out than suburban bliss. To the film's credit, as danger is foisted upon them the couple never overtly put their issues to bed, and there's resistance to explore their tiff any further, itself perhaps serving as a statement that bad things don't always have to happen to the happiest of people.

When it becomes clear that they aren't the only ones on their wooded expanse is when The Strangers is at its level best. Containing some of the sharpest sound-work I've ever seen in a horror film it playfully and torturously terrifies; whether it be banging, scraping, shooting, vocalwork, and even the use of existing folk tracks in the film, which linger for what seems like an eternity at times. Director Bertino gets the tension all right, escaping the tedium of suspense that plagues many modern attempts at the genre, and creating a hella scary experience that on more than one occasion made me want to dive into a cushion and put my fingers in my ears. It evokes such a sickening feeling that the mere presence of weapons at all feels unnecessary; it's cold, clinical, life-sucking atmosphere an awesomely effective exercise likely to render you empty and shaken.

There are always moments in a slasher film you wish you could change, and protagonist's decisions that are frankly rather difficult to comprehend. There's never a manual about how to survive such an attack, but if there were, Kristen and James have got it at least the right way up. They don't remain exempt from queries about decision-making but crucially The Strangers acts quickly to limit their choices, and so when faced with the option of shouting and gesticulating at such stupidity, a despairing shrug seems more the appropriate option. It's fair to say, however, that Bertino does get a little too excited at times, and doesn't seem to know how accessible he wants to make the 'strangers' themselves, never showing their faces but making deliberate attempts to align them with 'normality'. I'd also like to have seen the initial 911 call pursued later in the film. There's never any reference to it in the attack, and its only purpose, as far as I can see, seems to be an aesthetic one.

I have difficulting condemning The Strangers for one or two errors/wild assumptions that horror films (especially of the slasher variety) are renowned for having, because as a dramatic sequence the movie is so wickedly punishing and wonderfully constructed. At one point in the film Liv Tyler's Kristen lights a cigarette. Stressed and terrified she potters about in the kitchen, oblivious to a masked 'stranger' standing just metres behind her. You know that the 'stranger' isn't going to touch Kristen but it doesn't matter. Time is frozen, and while our heroine numbs her tired brain in hope of rescuing a tired situation, we're no longer able to be with her. Now that's scary.

The General and I, But Why?

The Bitter Tea of General Yen (1933)

Directed by Frank Capra

Starring: Barbara Stanwyck, Nils Asther, Walter Connolly

Grade: C

They say everyone loves a badboy. The danger. The excitement. I won't disagree. But Barbara Stanwyck's Megan, an American missionary embroiled in China's brutal civil war, has a lot to answer for her romantic tendencies. Beginning with the proposition of her impending marriage to Doctor and fellow missionary Robert Strife there's little strife to be seen in their relationship, but as they rush to the aid of a bunch of orphans they're separated, and after fainting Megan is transported to the palace of the morally-questionable General Yen, where she's kept against her will.

Nils Ather's Yen is an undeniable presence, and an intimidating one at that. His glare is potent, demeaning, and if the long-term reaction of Megan is anything to go by, a bewitching one as well. The film wastes no time in setting up its stall. This man is both brutal executioner and callous imprisoner, and clearly has a narrow knowledge of women, which altogether makes for a tumultuous relationship with our fleety forward-thinking heroine.

It's a similar premise to The King and I but much darker, and politically rather negative in truth, as Megan learns to respect and dare I say, love, a man that was so irreperably condemned in the first act. It would be perhaps easier to comprehend this evidently drastic about-turn had the film been able to detail their changing attitudes towards each other through more thoughtful means, instead opting to do this through the betrayal of the General's slave girl, a plot device that itself re-enforces much of the maligned political ideology of the General himself: women/liberalism as overly-caring, indecisive and weak, and men/imperialism as wise, strong, and a ruthless necessity.

The lasting memory of The Bitter Tea has to be in its finale, which details the success (or lack thereof) of the General himself. His downfall, at the fate of two women, has both re-percussions for himself and for Megan. While it would be fair to say that the elements regarding the civil war (token to say the least) are culturally all rather disinteresting, their relationship is not, but the finale only really adds to the confusion surrounding what they feel for each other and why. While her American lover waits in the wings Megan grieves for a man she's known but a week, and I couldn't begin to tell you what it is about him she'll miss.

Hottest Track: Dan Black - Hypntz

Madonna: 50 and Fabulous

Mini Review: Caged (1950)

Caged
Directed by John Cromwell
Starring: Eleanor Parker, Hope Emerson, Agnes Moorehead
Grade: B+

Courtesy of Goatdog (thanks, Mike) I was able to catch this great film about the many failures of the prison system. I mainly wanted to see this for Eleanor Parker's oscar-nominated performance, which I was unable to judge when I rounded up Oscar's 1950 Leading Ladies more than a few moons ago. After seeing it I'd probably place her a respectable fourth, given the incredible quality of the line-up, and she weighs up at about as good as Caged itself.

The best parts of Girl, Interrupted, a film admittedly not about prison but bearing similar themes, are a) the acting, and b) the way in which it's made. This is a similar story. Caged features a great ensemble, and its noir-era melodrama always works well in the film. However, it does seem a little too eager to state its message that the prison system creates criminals rather than reforms them (an admirable one I know -- especially for the era), and presents this very baldly. Not the worst crime in the world, but because there's so much the film can be admired for (brave themes, dark sequences, unsympathetic characters) it does act as a slight let-down.

Politically speaking it also gets to the brunt of why the prison system is the way it is, but the real key to Caged is its community, which feels united by necessity (against a thoroughly hideous prison warden) rather than any token need to create characters to root for. Parker's Marie gets immersed in this community, and despite her key moral shift not as incremental a process as I would have liked, is a believeable victim of her mistakes. Thus, Caged does its job.

The Folly of a Monster Love

All the Boys Love Mandy Lane

Directed by Jonathan Levine

Starring: Amber Heard, Anson Mount, Michael Welch

Grade: B

Fans of teen slashers should look no further than All the Boys Love Mandy Lane, released earlier this year having been banded around the festival circuit since Toronto in 2006. Slasher flicks are hardly festival fare, but if Lane is to be compared to recent interpretations, such as Prom Night, earlier this year, and Rob Zombie's Halloween remake of 2007, it's with more than a degree of admiration.

Mandy Lane (Heard) is the object of randy-high-school-jock desire, turning heads with her beauty and crucially, her purity. While other girls show less grace and discretion Lane is the inpenetrable figure that everyone wants to penetrate. The good girl. The ultimate trophy. And while she glides around looking unfathomably pretty boys drop like flies at her feet (one literally, from a porch roof to a messy end) in acts of foolish devotion. So enter a boozy drug-fuelled weekend ranch party to mix things up, and in Texas Chainsaw Massacre style a Lane-obsessed psycopath to prey on her friends in typically merciless fashion.

While for a hefty chunk of its modest eighty minutes running time Lane remains a routine onslaught of teenage death below Mandy's towering pedastal of objectification, Jacob Forman's first script is both amusing and curious, linking all but Lane in a thinly-veiled high-school-clique way that does work as a group dynamic, if occasionally in a little too repetitive manner. The depiction of Lane as a shrinking violet though, as opposed to the naive Straight-A student so blatantly capable of being manoeuvred, is by far the most interesting element of the film. Heard's poutless lethargy borders on dull at times but rather than accept this as a fault of her's I think it more likely that this be part of the film's ironic twist that Mandy Lane was never worth pursuing in the first place.

In this type of film it's all too easy to iconise your title star as a person above all the others. While that may be true in terms of intelligence and beauty, Lane is not your typical heroine, and rather than scrap like your hapless female victim, it's much easier to accept that she isn't a victim at all, and someone you're probably never going to understand. In the end, Levine, who often channels the stylistic prowess of Gus Van Sant and Quentin Tarantino in the film (a curious mix, I know) creates an exciting and -- particular in its final moments -- successful re-work of the slasher. Like the classic Scream films Lane revels in its knowledge of the genre and knowing that it ultimately has something different to offer, but instead of helping us feel sorry for the objectified Mandy Lane, makes us feel like all the boys do. Powerless.