Does Life of the Party have what it takes to be the next Bridesmaids?

trailer review

Actress Melissa McCarthy’s cinematic collaborations with her husband, filmmaker Ben Falcone, may not have impressed critics so far but the movies have seen enough financial success to inspire the couple to continue making more comedies together. Their new project is the upcoming Life of the Party, another offering from the duo’s production company, On the Day .

The pair is firmly in charge of this vehicle – the film has been directed by Falcone, written by Falcone and McCarthy, and stars McCarthy in the lead role.

The protagonist is Deanna (McCarthy), a 40-something year old woman in the process of getting a divorce from her husband (Matt Walsh) who has already moved on and shacked up with someone else (Julie Bowen).

Trying to rebuild her life after the end of her 23 year marriage, Deanna realizes she regrets not getting her degree and promptly decides to go back to college, ending up in the same class and school as her daughter (Molly Gordon).

Vowing to have the full college experience, Deanna embraces this opportunity and ends up getting into all kinds of mischief.

McCarthy seems as charming as always in the trailer of the film, and some viewers – particularly women – might relate to her character and appreciate her predicament and decision to reinvent herself. Plus it’s always great to see a project with both a female lead and a strong female presence in the supporting cast – Gillian Jacobs, Maya Rudolph, Jacki Weaver, and Debby Ryan, along with the aforementioned Gordon and Bowen – as well. (One does hope that the focus isn’t on the female rivalries and the comraderies prevail instead.)

But while the movie seems amicable, the trailer of Life of the Party doesn’t given us anything to get particularly excited about. The jokes aren’t very remarkable or memorable. The premise isn’t very inventive and might remind movie buffs of the 1986 comedy Back to School.

Maybe Falcone and McCarthy should consider working with other writers, because from the looks of it, it doesn’t seem likely that Life of the Party will be the next Bridesmaids, which is a pity because we know how effective McCarthy can be when she has a good script to work with.

It may not seem like the most promising film of the summer, but we can still hope that the movie delivers some laughs and amuses viewers. Life of the Party will be in theatres on May 11.

- Sameen Amer

The Express Tribune Blogs - 24th April, 2018 *

Swedish DJ and producer Avicii is no more

in memory

The EDM star, who unexpectedly passed away in Oman at the age of 28 last week, had quickly risen to a level of fame that few people get to experience

From a distance it may seem like fame equals perfect happiness but in reality it is far from the panacea it appears to be. Some artists succeed – and even thrive – despite the many pressures of life in the limelight. But others struggle to adjust to the amplified celebrity lifestyle, a predicament that can take a toll on their physical and mental health, as it appears to have done in the case of Tim Bergling.

The Swedish DJ – better known by his stage name Avicii (a moniker inspired by the term for “the lowest level of Buddhist hell”) – who unexpectedly passed away while vacationing in Oman at the age of 28 last week, had quickly risen to a level of fame that few people get to experience, that too at a relatively young age, but had then tried to take a step back from it all at the peak of his success.

Stardom

Born in Stockholm in 1989, Bergling, who would end up becoming one of the biggest names in electronic dance music, entered the entertainment industry in his teens, before gaining mainstream success in 2011 when his track ‘Levels’ became a global hit. But it was with the release of his debut album True (2013) that the artist truly hit the big time, merging EDM and folk to create his distinctive country-infused sound that was showcased spectacularly in the irresistible, unescapable single ‘Wake Me Up’.

Another set of uplifting pop songs followed two years later. His second album, Stories (2015), saw him collaborating with the likes of Zac Brown Band, Wyclef Jean, Robbie Williams, and Chris Martin, but would, sadly, end up being his last.

Retirement

Riding high on the popularity of his music, Bergling quickly became one of the highest paid DJs in the world, and was reportedly making $250,000 a night on tour at the peak of his stardom, but behind the scenes, the Swede had been struggling with health problems (including acute pancreatitis) as well as anxiety issues. These concerns would lead him to unexpectedly retire from touring in 2016 at the age of 26.

“My path has been filled with success but it hasn’t come without its bumps. I’ve become an adult while growing as an artist, I’ve come to know myself better and realize that there’s so much I want to do with my life,” he wrote at the time. “I know I am blessed to be able to travel all around the world and perform, but I have too little left for the life of a real person behind the artist.”

He continued making music, releasing a final, six-track EP in August last year, and also released a documentary, Avicii: True Stories, a few months later, chronicling his rise to fame and subsequent struggles.

Legacy

In his short life, Bergling achieved a lot, making chart topping songs, producing tracks for other artists - most prominently Coldplay’s ‘A Sky Full of Stars’ and ‘Hymn for the Weekend’ and Madonna’s ‘Devil Pray’ - reshaping EDM, and inspiring countless young artists to follow in his footsteps. His tragic, untimely death may have brought his story to a premature end, but his work will continue to bring hope and inspiration to his many fans.

- Sameen Amer

Instep, The News International - 23rd April, 2018 *

A playlist for the musically curious

album reviews

George Ezra’s Staying at Tamara’s is pleasantly charming; Deb Talan’s Lucky Girl feels safe; The Fratellis’s In Your Own Sweet Time is among the most enjoyable albums you’ll hear this year

Artist: George Ezra
Album: Staying at Tamara’s

Four years after making a splash with his massively popular debut Wanted on Voyage (2014), English singer George Ezra has returned with his sophomore record, Staying at Tamara’s, a decidedly safe set of sunny guitar pop songs with rousing choruses and cheerful melodies.

Produced by Cam Blackwood and co-written by the singer himself mostly with the help of Athlete vocalist Joel Pott, the new album finds Ezra singing about anxiety, escape, and, of course, love.

When the record is at its best – particularly with the infuriatingly catchy ‘Paradise’ that will burrow its way into your mind and then adamantly refuse to leave despite all your protestations, and the potential summer anthems ‘Shotgun’ and ‘Get Away’ – it’s hard to deny Ezra’s appeal. But over the course of 11 tracks, the singer-songwriter’s formula starts to become a little too repetitive, and when the monotony sets in, it becomes evident that most of these songs by themselves would have next to no personality were it not for Ezra’s deep, rich voice.

It’s painfully clear that the artist has no intentions of surprising listeners, let alone challenging them in any way. Yet it’s so hard to dislike his output, thanks to his innate ability to come up with solid pop tunes.

Staying at Tamara’s may make you wish the singer had lent his lovely baritone to more interesting and fresh material, but the album will also leave you humming the standout tracks because while it may be sonically and thematically inoffensive and unexceptional, ultimately the album is still pleasantly charming.

Highlights: ‘Paradise’, ‘Get Away’, ‘Shotgun’, ‘All My Love’
Rating: 3.5 out of 5

*****

Artist: Deb Talan
Album: Lucky Girl

The last decade of Deb Talan’s life has been both rewarding and challenging. On the musical front, the American singer – the female half of the indie pop duo The Weepies – has found success with her group. On a personal level, she has married her life and music partner Steve Tannen, had three children, and battled and survived stage three breast cancer. Her experiences have prompted her to now “step out musically” and make a solo record that gives her a chance to express herself as “a survivor, a songwriter, and a lucky girl”.

Backed by gentle guitars, pianos, and drums, Talan reflects on her life and identity in this collection of 13 soft, soothing songs. She writes and sings about motherhood and children in the touching ‘Growing Up’, and references other musical works in tracks like ‘Joshua Tree in the Headphones’ and ‘Son Volt Came to Town’. Her music instantly sounds familiar as the singer never wanders too far from the Weepies style and doesn’t take this opportunity to explore new musical grounds.

While this set of melodious, intimate songs is always amiable, it suffers from Talan’s reluctance to try something a bit different on her solo outing, because even though individually these songs are beautiful, as an album, Lucky Girl feels safe, repetitive, and not quite as memorable as one would have hoped.

Highlights: ‘Butterfly’, ‘Joshua Tree in the Headphones’, ‘Growing Up’
Rating: 3 out of 5

*****

Artist: The Fratellis
Album: In Your Own Sweet Time

The Fratellis may have lost some of their manic effervescence in the decade since the release of their debut album Costello Music (2006) but the now-seasoned group has clearly retained its ability to deliver upbeat, catchy alternative rock songs. Their fifth record, In Your Own Sweet Time, sees the band come up with 11 vibrant new tracks that their fans will find very hard to resist.

Powered, once again, by Jon Fratelli’s wry lyrics and distinct delivery, the new album is well-crafted and gives listeners another shot of lively rock while giving the Scottish band a chance to gently expand their sound.

Reuniting with Tony Hoffer, who also produced the group’s debut, has clearly paid off. From the buoyant album opener ‘Stand Up Tragedy’ to the Indian-influenced closer ‘I Am That’ (which is also the most unique track on this set), the record captures the band’s ability to put together pop hooks with rock elements and create infectious music. Standouts like ‘I’ve Been Blind’ (which begs to be put on repeat) and ‘Indestructible’ are among the most contagious tracks the group has released of late.

In Your Own Sweet Time may not be as hyper energetic as their ‘Creepin’ Up The Backstairs’ days, but it remains fun from start to finish. And while it may not be the most interesting album you’ll hear this year, it will probably be among the most enjoyable ones.

Highlights: ‘Stand Up Tragedy’, ‘Starcrossed Losers’, ‘I’ve Been Blind’, ‘Laughing Gas’

Rating: 4 out of 5

- Sameen Amer

Instep, The News on Sunday - 15th April, 2018 *

A Quiet Place - an intriguing thriller

movie review

A Quiet Place

Starring: Emily Blunt, John Krasinski, Millicent Simmonds, and Noah Jupe
Directed by: John Krasinski
Tagline: If they hear you, they hunt you.

It’s the 89th day of a monster invasion that has ravaged the world. Fierce armoured beasts that hunt by sound have decimated the human population on the planet and are now picking off the remaining survivors. Anyone who makes the slightest sound is immediately snatched by a lethal monster. You have to stay silent to stay alive.

That is the premise of A Quiet Place, a little horror thriller that has unexpectedly become the most talked about film of the moment.

The story follows the Abbot family – father Lee (John Krasinski, who also directed and co-wrote the movie), mother Evelyn (Krasinski’s real-life wife Emily Blunt), and their children – who are trying to survive in this post-apocalyptic, silent world. They communicate by sign language, which they happen to know because their daughter (Millicent Simmonds) can’t hear. But as the film begins, a tragedy befalls the family, illustrating just how dire the situation is and how high the stakes are.

Then we jump to day 472, and – if you’ve seen the trailer, you knew this was coming – the Abbots are expecting another child. How will the impending birth and arrival of a newborn impact their chances of survival?

It’s an intriguing setting and an interesting plot, and its simplicity is absolutely mesmerising. Within minutes the tension of the noise ban has you in its grip. The silence is suffocating.

The lack of dialogues for much of the film also gives the cast an opportunity to shine. They communicate volumes with their gestures and impressions in their nearly silent roles. Blunt in particular is absolutely terrific as a mother trying to protect her children while bringing another one into the world. Plus Blunt and Krasinski’s chemistry makes it easy for viewers to care about the couple.

And it would all be very satisfying were it not for the frustrating lack of details and explanations. The film leaves you with so many questions that it becomes very hard to just ignore its implausibilities.

Horror movies – or rather movies in every genre – require a certain degree of suspension of disbelief, but it is unfair to demand the audience completely turn off their brains to enjoy the action.

There are simple things that could have easily been addressed but are instead just left to confuse and distract the audience for the film’s one and a half hour running time. Where did these creatures come from? Why did the family choose to live in a quiet place? Surely their chances of survival will be higher if they are in a noisy place? Why not live by the waterfall which masks their sounds instead of a secluded farmhouse where every noise feels amplified? Why not wear socks instead of walking around barefoot? How has someone been tending the crops silently for over a year? And just why on earth have these parents chosen to have another child in the middle of an apocalypse, putting their entire family in unnecessary jeopardy?

It also remains baffling that the civilization survived long enough to print newspapers about the devastation caused by these mysterious monsters, but a whole planet worth of scientists and defence specialists couldn’t figure out how to defeat creatures with highly sensitive hearing.

Despite every criticism though, it’s hard to deny the fact that A Quiet Place is very well made, and it is still highly recommended to everyone. It is more tense and suspenseful than scary, and while it may not be the most effective “horror” film, in many ways this is one of the best “thrillers” that have come along in a while. If you just go with it and don’t let yourself get bogged down by the minutiae, you will definitely appreciate the movie, its unique plot, fascinating setting, and stellar acting. And if nothing else, you will certainly enjoy discussing it with your friends.

Rating: 3 out of 5

- Sameen Amer

The Express Tribune Blogs - 14th April, 2018 *

The Darkest Minds - yet another derivative young adult thriller?

trailer review

The trend of turning young adult novels into films may have produced more misses than hits, but the mixed results haven’t dampened Hollywood’s enthusiasm for pursuing more such projects.

The upcoming movie The Darkest Minds is all set to join the considerably long list of these page-to-screen adaptations. Based on Alexandra Bracken’s novel of the same name and directed by Jennifer Yuh Nelson, the film is a teen dystopian episode set in the near future, and by the looks of its trailer, it will probably turn out to be yet another generic young adult thriller.

The story revolves around children and teenagers who survived a deadly plague and developed superpowers. After the government rounds them up and detains them in camps, a group of runaways – portrayed by Amandla Stenberg, Harris Dickinson, Skylan Brooks, and Miya Cech – band together to stand up against the grownups that deceived them and fight back while learning to harness their strengths.

From the looks of it, The Darkest Minds seems like a crossover between The Hunger Games and X-Men by way of The Maze Runner. If there are any original ideas in the storyline then they haven’t made their way into the trailer. It all seems overly familiar and not particularly exciting. The voiceovers and dialogues sound clichéd. And it remains to be seen how well the main cast of young actors will perform.

But there is still reason to be hopeful though, thanks largely to the fact that the film comes “from the producers of Stranger Things and Arrival” (as the trailer tells us in bold capital letters). Both those projects were inventive and unique, and hopefully some of their qualities will rub off on this movie as well.

The Darkest Minds seems to be aimed squarely at those who enjoy young adult thrillers and fans of Bracken’s book series in particular. And while this brief peek into the action probably won’t excite anyone outside that demographic, we can still hope that the final product won’t just come off as a patchwork of the many similar projects that have preceded it and will offer enough individuality to warrant a viewing.

The film will be released on 3rd August 2018.

- Sameen Amer

The Express Tribune Blogs - 10th April, 2018 *

Ready Player One - a visually dazzling bundle of clichés

movie review

Ready Player One

Starring: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, T.J. Miller, Simon Pegg, and Mark Rylance
Directed by: Steven Spielberg
Tagline: Break free.

The powers of nostalgia can be blamed for a number of recent big and small screen projects, including sitcom revivals and movie spin-offs. And nostalgia is clearly also the driving force behind the success of the cinematic adaptation of Ernest Cline’s 2011 novel Ready Player One. Directed by the great Steven Spielberg, the film is a celebration of ‘80s pop culture by way of a visually ambitious extravaganza with a paper thin story.

It’s the year 2045, and humanity has chosen to escape its dystopian reality via the virtual world of the OASIS, leaving behind real-life desolation to venture into a digital world where the imagination is the only limit.

But the fate of this simulated world is left in limbo upon the death of James Halliday (portrayed by Mark Rylance), the co-creator of the OASIS and owner of the world’s biggest company. To determine the future of his creation after his demise, Halliday set up an Easter Egg hunt, hiding three keys inside his game. The first person to finish the quest gains total control of the OASIS and inherits the programmer’s massive fortune.

Among the many people who make it their mission to crack Halliday’s code is our protagonist Wade Watts (Tye Sheridan), an orphaned teenager who goes by the avatar Parzival in the OASIS, and sees winning the quest as a ticket out of his impoverished life.

Of course a nefarious company, IOI, also wants to take over the program and has amassed an army of players focused on winning the prize.

It is thereby up to Wade and his virtual friends – including his bestie Aech (Lena Waithe) as well as Art3mis (Olivia Cooke), the protagonist’s obligatory love interest because how could there not be one – to triumph the challenges and stop IOI’s wicked CEO Nolan Sorrento (Ben Mendelsohn) from taking over the OASIS.

There are definitely seeds of an interesting premise here, but unfortunately they degenerate into a bundle of clichés overloaded with pop culture allusions. The film tries to distract viewers from the predictability of its storyline by turning the proceedings into a game of “spot the reference”. Combine this plethora of cultural nods with properly impressive – although vertigo-inducingly busy – visuals plus some very well executed sequences and you’d almost be inclined to excuse the triteness of the entire project … until you think about it and realize this isn’t quite the epic adventure it pretends to be.

Why is everyone fighting for escapism when they should be fighting to fix the real world instead? Who knows. And why should the potential disruption of a virtual world with advertising (or even the insinuation of data falling into the wrong hands) create a bigger hullaballoo than the actual killing of innocents in the real world? No idea.

The heroes of Ready Player One aren’t on a mission to fix real life issues but to preserve a fantasy that basically gives people a platform to not deal with genuine problems, and while the film makes a half-hearted attempt to dodge this criticism at the very end, its proposed solution is too little, too late, and too dumb.

To be fair, while Ready Player One is convoluted, it isn’t a complete mess. There are parts of it that certainly work. A sequence set inside a popular horror movie stands out, and T.J. Miller’s villainous henchman I-R0k is quite amusing. Spielberg’s world building is doubtlessly masterful. Plus you really can’t deny the nostalgic charm of seeing some of your favourites from the past randomly pop up throughout the proceedings.

But don’t expect depth, don’t expect layers. The heroes are the good guys; the villains are evil, scheming dirtbags. There are no real twists. It’s all very, very predictable. The dialogues are cloying. The live-action acting by the young leads is passable at best; the digital avatars aren’t very engaging (and sometimes make it seem like you’re watching someone play a very expensive-looking video game). At its core, the whole thing is straight from the young adult dystopian adventure playbook.

The film offers the same kind of escapism that it champions for much of its exhaustingly long running time. Turn off your mind, indulge in the nostalgic pop culture bombardment, and just go with the cheesy fun if you want to enjoy it. But whatever you do, don’t make the mistake of actually analysing it or you risk being underwhelmed by the utter banality of it all.

Rating: 2.5 out of 5

- Sameen Amer

The Express Tribune Blogs - 7th April, 2018 *

In the company of Jack White, They Might Be Giants, and Andrew W.K.

album reviews

Jack White’s Boarding House Reach makes for a challenging listen; I Like Fun by They Might Be Giants is another terrific collection of offbeat alternative rock ditties; Andrew W.K’s newest effort throws a bash for your spirit

Artist: Jack White

Album: Boarding House Reach

There has always been something a bit eccentric about Jack White’s music and persona, and his idiosyncrasies have indeed made his work more interesting, but his output has never been quite as esoteric as it is on his third solo album, Boarding House Reach, a wondrous cacophony of sounds and ideas that is exciting and intriguing but also rather confounding.

The musician – who has crafted a style very distinctly his own over the last two decades by creating an irresistible brand of garage and alternative rock imbued with flavours of folk and blues – has decided to wander into a more avant-garde direction with these 13 tracks, all but one (‘Humoresque’) of which were written by the singer himself.

Even the more straightforward songs – like the standout ‘Over and Over and Over’ – find White playing with sounds, leaving behind the minimalism that characterised his early work in favour of constructing more lavish arrangements.

On the less conventional tracks, White defies the traditional song structure and opts instead to experiment with styles – hip hop, rap, funk, jazz – and sonic elements. Some efforts come off as an uneasy marriage of several disparate fragments (‘Hypermisophoniac’, ‘Get in the Mind Shaft’); others seem more like ideas for songs than actual songs (‘Everything You’ve Ever Learned’); yet others take promising grooves but then stretch them into tedium (‘Corporation’).

It’s all a bit erratic, yet it’s strangely compelling as a whole, painting the picture of an artist who isn’t content with standing on safe ground and is actively working towards exploring new landscapes. But on an individual level, the pieces can seem indulgent and opaque.

Boarding House Reach makes for a challenging listen, although it is interesting to delve into the record and discover its many nuances. It is confident, daring, curious, bizarre, but ultimately not quite as satisfying as you would have hoped.

Highlights: ‘Over and Over and Over’, ‘What’s Done Is Done’, ‘Connected By Love’, ‘Humoresque’

Rating: 3 out of 5

*****

Artist: They Might Be Giants

Album: I Like Fun

Over a three decade long career, They Might Be Giants have mastered the art of creating quirky pop songs, so it comes as no surprise that their latest album, I Like Fun, is yet another terrific collection of offbeat alternative rock ditties.

The soaring melodies belie the dark sentiments at the core of the lyrics, and the group’s unique, often absurd way of looking at things never fails to be impressive.

The Johns have death on their minds on tracks like ‘I Left My Body’ and ‘Last Wave’. The ironic ‘By the Time You Get This’ is told from the perspective of a narrator who lived long ago and is offering a bleak look at his present as well as hope that the world will be a much better place by 1937. Songs like ‘Let’s Get This Over With’ and ‘When the Lights Come On’ highlight just how effortlessly the group can make music that is both catchy and complex.

With all 15 tracks written primarily by They Might Be Giants and produced by the band with the help of Pat Dillett, I Like Fun is an irresistible invitation to explore They Might Be Giants’ quirky, sweet, dark, warm, cryptic, compelling world, and it’s a journey well worth taking.

Highlights: ‘Let’s Get This Over With’, ‘I Left My Body’, ‘The Microphone’, ‘When The Lights Come On’

Rating: 4 out of 5

*****

Artist: Andrew W.K.

Album: You’re Not Alone

Nearly a decade after we last heard from him, Andrew W.K. is back to reaffirm the power of partying in You’re Not Alone, a collection of bombastic hard rock jams that are relentlessly optimistic, embarrassingly joyous, and instantly contagious.

The record throws a bash for your spirit while celebrating music’s lifesaving powers by way of a 16-track onslaught of raucous, anthemic rock music.

It isn’t exactly shocking that the album feels like a (very loud and intense) musical therapy session, seeing how vocal the singer has been about mental health issues. He encourages his audience to ‘Keep on Going’, assures listeners that ‘You’re Not Alone’, and affirms that we won’t ‘Give Up on You’. A handful of motivational spoken-word interludes have also been peppered throughout the record for some added self-worth reinforcement.

Those who enjoyed his previous work – especially his debut album, I Get Wet (2001) – will definitely not be disappointed with his new set. This might not be an experimental masterpiece or indeed show any inclination towards trying something different, but it does prove that a good pop hook goes a long way and that pure exuberance can indeed be contagious. In the company of Andrew W.K.’s music, you’re definitely not alone.

Highlights: ‘Music Is Worth Living For’, ‘Give Up on You’, ‘Keep on Going’

Rating: 3.5 out of 5

- Sameen Amer 

Instep, The News International - 1st April, 2018 *