In the Picture - Bird Box and Peppermint

movie reviews

Bird Box, a Netflix movie, borrows heavily from several of its predecessors and seems particularly fond of genre tropes; Peppermint serves as a reminder that Jennifer Garner makes an impressive action hero

Bird Box

Starring: Sandra Bullock, Trevante Rhodes, John Malkovich, Vivien Lyra Blair, Julian Edwards, Danielle Macdonald, Lil Rel Howery, Jacki Weaver, Rosa Salazar, BD Wong, Tom Hollander, Sarah Paulson, and Colson Baker

Directed by: Susanne Bier

Tagline: Never lose sight of survival.

Hollywood’s department of post-apocalyptic thrillers currently seems very intrigued by the human senses. Just a few months after A Quiet Place took us to a dystopian world where making a sound would lead to death, we now have Bird Box, where seeing equals suicide. Unlike A Quiet Place though, Bird Box is neither exciting nor compelling.

With a premise that is somewhat akin to the aforementioned John Krasinski film as well as the M. Night Shyamalan thriller The Happening, the Netflix movie borrows heavily from several of its predecessors and seems particularly fond of genre tropes.

As the film begins, a woman (Sandra Bullock) directs two children – a boy (Julian Edwards) and a girl (Vivien Lyra Blair) – to do exactly as she says and not to take off their blindfolds under any circumstances, before setting out on a dangerous journey down a river in a boat.

A flashback swiftly takes us back five years, where we find out that mysterious, supernatural entities are causing people who see them to commit suicide. A ragtag group of survivors – among them, a heroic Trevante Rhodes, a grumpy John Malkovich, a weary Jacki Weaver, and even Machine Gun Kelly for some reason – eventually find themselves holed up in a house, trying to figure out what is going on and how best to navigate the impending doom.

We go back and forth between the river journey and the flashbacks, but swinging between the two timelines takes away whatever little suspense the story possesses. The writers never coherently detail (or stick to) the rules of their apocalypse, nor do they seem very adept at creating three dimensional individuals, settling instead for using archetypical characters to populate their tale. The always bankable Sandra Bullock isn’t given much to work with here, while the terrific Sarah Paulson is completely wasted in her small role; the biggest mystery the film leaves you with is how the project even managed to attract such an impressive cast.

While dystopian dramas often explore the human condition or some deeper underlying meaning, Susanne Bier doesn’t bother with any such effort. Instead she throws around a couple of vague thematic elements here and there, and leaves viewers with the errand of imagining some allegorical depth in the shallow narrative. The film might be trying to say something about the powers of motherhood and there is perhaps a vague look at mental health, although, without giving too much away, the movie’s portrayal of mental illness is either ignorantly dangerous or offensively clumsy, or quite possibly both.

As it stands, Bird Box is a little too bird-brained for its own good. The filmmakers could have easily spun the story a different way, but the direction they decided to take is so tepid and hackneyed that it simply isn’t effective as a thriller and just ends up squandering a fairly decent premise.

Rating: 2 out of 5

*****

Peppermint

Starring: Jennifer Garner, John Ortiz, John Gallagher Jr., Juan Pablo Raba, and Tyson Ritter

Directed by: Pierre Morel

Tagline: The system failed. She won’t.

Hell hath no fury like a woman whose family has been murdered, at least according to Peppermint, an action thriller that finds a bereaved woman seeking revenge for the assassination of her family.

Jennifer Garner portrays the protagonist Riley North, who has a young daughter, Carly (Cailey Fleming), with her husband Chris (Jeff Hephner). When the financially struggling Chris agrees to be part of a robbery, he incurs the wrath of the intended target, powerful drug lord Diego Garcia (Juan Pablo Raba), who orders his men to make an example of the would-be thief. Chris and Carly are gunned down in a drive-by shooting, while a severely wounded Riley ultimately survives.

When the corrupt justice system fails to punish the men who killed her family, Riley takes matters into her own hands and sets out for revenge against the cartel that destroyed her life.

Things unfold exactly how you’d imagine. There is no subtlety, no complexity, no nuance. The movie basically plays out like a comic book vigilante has been dropped into a video game, which probably wouldn’t be as big a disappointment had the proceedings been original in any way. You are continuously reminded of past projects – John Wick, The Punisher, and director Pierre Morel’s own Taken – only this time the (anti)hero just happens to be female.

The film could have still delivered an exciting action outing despite the unoriginality of its premise had the filmmakers bothered to give their characters some depth and detail. There is precious little we know about Riley outside her tragic ordeal, and there is next to nothing we know about the perpetrators (who, problematically, are mostly Latino); she is basically there to do the asskicking, and they are there to receive brutal endings.

The main problem here is the lazy screenwriting which refuses to come up with interesting layers for the characters to explore. Plus Riley is put in such a bleak position that her actions don’t deliver the exhilarating effect that is generally intended with such vigilante thrillers.

To her credit, Jennifer Garner brings both strength and vulnerability to her role, and holds her own throughout the proceedings. Peppermint serves as a reminder that the actress makes an impressive action hero, but ultimately just leaves you wishing her talents had been put to use in a better action movie.

Rating: 2.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 13th January, 2019 *

In the Picture - Aquaman and Bumblebee

movie reviews 

Aquaman very desperately wants to be epic but doesn’t quite have the right ingredients; not an ounce of originality appears to have been expended in the creation of Bumblebee’s storyline

Aquaman

Starring: Jason Momoa, Amber Heard, Willem Dafoe, Patrick Wilson, Dolph Lundgren, Yahya Abdul-Mateen II, and Nicole Kidman
Directed by: James Wan
Tagline: Home is calling.

After wallowing in darkness for far too long, DC embraces some relatively lighter fun in its latest superhero adventure, Aquaman.

Rooted in fantasy and sprinkled with (attempted) levity, the first outing of the titular character finds its half-Atlantean/half-human protagonist reluctant to become king of Atlantis.

Jason Momoa portrays the superhero who is forced to embrace his role as the heir to the undersea kingdom when his half-brother, Orm (Patrick Wilson), tries to start a war between the underwater world and the surface world. It may not be the most intuitive casting choice but it works nonetheless. The actor is striking in the main role and makes his character feel like the Thor of the DC universe.

Momoa is supported by an impressive cast. Most notably, Amber Heard plays his love interest and sidekick, a fierce warrior who refreshingly holds her own in the midst of conflict. And the terrific Nichole Kidman portrays his mother, the Queen of Atlantis, who is shunned for falling in love with a human.

Unfortunately though, the script and storyline of the film don’t do these fine actors any justice. The movie’s problems partly stem from the fact that under its overambitious visage lies a very run-of-the-mill origin story that keeps the proceedings from being truly exciting. Aquaman very desperately wants to be epic but doesn’t quite have the right ingredients to achieve its desired magnitude. The script is in severe need of polishing and a thorough edit. The story is downright predictable; you can anticipate any attempted twist about an hour before it happens. Some of the attempts at humour work; many don’t. Even its visuals aren’t as impressive as they should be; in the underwater scenes, the actors mostly look like they are suspended from wires instead of actually swimming in water.

Perhaps the project was just too big in scope for horror movie maestro James Wan to handle. The director seems a little out of his depth here. He does imbue his work with flavours of action, fantasy, and horror which, at times, come together in an entertaining way, but his effort also ends up being more scattershot than riveting. The film lacks the imagination that would have made the first outing of Aquaman truly special. Parts of it may be fun, but overall the movie is tonally uneven and too long for its own good.

Rating: 2.5 out of 5

*****

Bumblebee

Starring: Hailee Steinfeld, John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, and Pamela Adlon
Directed by: Travis Knight
Tagline: Every hero has a beginning.

For their sixth big screen outing, the Transformers take a step back from Michael Bay’s bombast and embrace a more emotional arc in Bumblebee, a prequel that frames the franchise in a noticeably different light.

The film explains how the Transformers ended up on Earth by telling the story of B-127 (voiced by Dylan O'Brien), a young Autobot who, amidst a war with the Decepticons, is sent to Earth by Optimus Prime to establish a base on the planet. After getting injured in a skirmish with Sector 7 agents – including Jack Burns (John Cena) – and Decepticon Blitzwing upon his arrival, B-127 disguises himself as a yellow Volkswagen Beetle. The seemingly dilapidated car is eventually acquired by Charlie Watson (Hailee Steinfeld), a teenager (with convenient mechanic skills) who is struggling with the death of her father (Tim Martin Gleason) and resentful of her mother (Pamela Adlon) for moving on and remarrying.

Charlie soon discovers the vehicle’s true form and starts to bond with the damaged, amnesiac Autobot, giving him the nickname “Bumblebee”. But when danger arrives on the planet in B-127’s wake, the duo find themselves on a perilous quest on which the fate of the world relies.

Revelling in ‘80s nostalgia (mostly by way of pop music), Bumblebee is built around the bond between its main characters and adds heart to its adventure. The reins this time have been handed to director Travis Knight (who is best known for his animation work), which is a suitable choice since this instalment feels more like a Disney movie than a high-adrenaline blockbuster. The film’s action is accompanied by warmth; the performances by its cast are decent enough, if not altogether remarkable; the action sequences are enjoyable; and the titular character is easily lovable.

And it would all have been a whole lot of fun if the film wasn’t so distractingly, disappointingly derivative. Bumblebee feels like The Iron Giant meets Herbie by way of E.T. Not an ounce of originality appears to have been expended in the creation of Bumblebee’s storyline. Clichés abound and the reliance on familiar story arcs serves as a let-down.

It could have been a good movie if it wasn’t so heavily and obviously inspired by better films. It’s hard to enjoy a tale when it is downright unoriginal and predictable, which is why this chapter might be better suited for younger viewers who aren’t as jaded and who will find the cheesy, calculated teenage drama less corny.

Still, while it may not get all its elements right, Bumblebee is a definite improvement over its recent predecessors, and nudges the series in the right direction. If the filmmakers can come up with a more original story for its successor, then we might finally have the film that long-term fans of the franchise have been eagerly waiting for.

Rating: 2.5 out of 5

- Sameen Amer

Instep, The News on Sunday -  6th January, 2019 *

In the Picture - Mary Poppins Returns and Spider-Man: Into the Spider-Verse

movie reviews

Mary Poppins Returns is an enjoyable revisit to a familiar world; Spider-Man: Into the Spider-Verse almost unexpectedly manages to be fun, exciting, amusing, and affecting

Mary Poppins Returns

Starring: Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Dick Van Dyke, Angela Lansbury, Colin Firth, and Meryl Streep
Directed by: Rob Marshall

It may have taken her more than 50 years but everyone’s favourite magical nanny is finally back in cinemas with Mary Poppins Returns, a pleasant revisit to the fantastical world that was originally conceived by writer P. L. Travers (who, incidentally, thoroughly disapproved of such cinematic adaptations).

Created in the image of its beloved predecessor, the sequel stays true to the style and spirit of the 1964 classic and offers another enchanting, family-friendly adventure, exuding joy for kids and nostalgia for grownups.

Set in 1930s depression-era London, the film picks up 25 years after the events of the original. The Banks kids – Jane (Emily Mortimer) and Michael (Ben Whishaw) – are now adults and no longer believe in the magic Mary Poppins brought to their lives when they were young.

Michael, who has three children – Annabel (Pixie Davies), John (Nathanael Saleh), and Georgie (Joel Dawson) – is struggling with financial problems while coping with his wife’s death. Unable to pay back a lone he took from the Fidelity Fiduciary Bank – which is being run by new president William Wilkins Jr. (Colin Firth) – Michael risks losing his home unless he can produce a missing certificate that proves his father left him and Jane shares in the bank that can cover the loan.

When things start to look grim for the family, Mary Poppins returns to, once again, take care of the Banks children, even the ones who have now grown up, and bring some magic and wonder into their lives.

Bright, colourful, and full of whimsy, Mary Poppins Returns is powered by a cast that is downright charming. Blunt is practically perfect in every way as the protagonist; while she doesn’t surpass Julie Andrew’s iconic performance, she is certainly a worthy successor to the role. Lin-Manuel Miranda, who plays a cheery street lamplighter, impresses whenever he’s onscreen, bringing mirth to the movie with his singing and dancing. Wishaw’s emotional performance adds poignancy to the drama. Meryl Streep plays a short but memorable part. And seeing Dick Van Dyke make an appearance in the film is an absolute treat.

But even the strong performances cannot hide the fact that the storyline is predictable. The film follows a rather unimaginative path; it is perhaps a little too dependent on the template of Mary Poppins and often feels like it is trying to recreate the classic. The musical numbers aren’t quite as catchy or instantly memorable as they were in the first instalment, and some of the musical material slows down the proceedings.

That said, however, the movie is certainly still very entertaining. In the fairly sturdy hands of director Rob Marshall, Mary Poppins Returns is an enjoyable revisit to a familiar world. The film is visually spectacular. Plus there is enough humour in the script to keep you amused and enough tenderness in the story to keep you emotionally invested. It may not be as supercalifragilisticexpialidocious as the original, but this nostalgic, joyful sequel is just as likely to leave you with a smile on your face.

Rating: 3 out of 5

*****

Spider-Man: Into the Spider-Verse

With the voices of: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, John Mulaney, Nicolas Cage, and Liev Schreiber
Directed by: Bob Persichetti, Peter Ramsey, and Rodney Rothman

Spider-Man sure seems mighty busy lately. Over the last few years, the popular superhero has been helping the Avengers in their quest to defeat supervillains while starring in his own arc in the Marvel Cinematic Universe. And now one of his alternative versions is helming his own Sony animated adventure, with a little help from various versions of himself from parallel universes.

Presenting the first non-white screen portrayal of the famous web-swinger, Spider-Man: Into the Spider-Verse revolves around the character of Miles Morales (voiced by Shameik Moore), a teenager who acquires spider-like powers and soon finds out that there are many other people with similar abilities in other dimensions.

When the nefarious Kingpin (Liev Schreiber) activates a particle accelerator to access parallel universes, five different Spider-Men and -Women (and -Ham, because why not) end up in Miles’ world.

The youngster must step up and learn to control his powers while helping the Spider-Gang turn off the collider, save the multiverse, and return to their own dimensions.

It would be easy to be a bit weary of this revisit to the world of Spider-Man, seeing how this is yet another reincarnation of a character that has seen numerous reboots and reimaginations already. Surprisingly though, what we get here not only feels fresh but is an utter delight.

Developed with the help of Phil Lord and Christopher Miller and directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman, this animated adventure (almost unexpectedly) manages to be fun, exciting, amusing, and affecting.

Free from the weight of having to adhere to a larger cinematic universe, Into the Spider-Verse takes the opportunity to explore its protagonist with warmth and wit, creating what is perhaps the most interesting cinematic take on the character while both celebrating and gently poking fun at its many incarnations.

Its basic storyline isn’t particularly exceptional, but the film still finds new thematic territory to explore, even as it adheres to the overall good-versus-evil template, and adds emotional depth to the proceedings with its family-related elements. The movie also entertains by using an inventive visual style, joyfully capturing comic book aesthetics. Plus the snappy retorts and fast-paced action make sure that the film remains enjoyable throughout.

The animation is terrific, as is the well-picked soundtrack. And the voice acting is impressive across the board. Some of the less-utilized alternative versions of Spider-Man could have been given a more integral part in the story, but other than this minor gripe, Spider-Man: Into the Spider-Verse is a diverse, funny, poignant adventure that makes for a rewarding cinematic experience.

While the MCU is still focused on Peter Parker, Into the Spider-Verse is likely to make you glad that Sony decided to tell the story of Miles Morales and leave you looking forward to the sequel(s).

Rating: 4 out of 5

- By Sameen Amer

Instep, The News on Sunday - 30th December, 2018 *

Carol of the bells

album reviews

Every holiday season brings with it a slew of festive releases, with artists putting their own spin on popular standards and carols, and, on the rare occasion, creating their own Yuletide tunes. Here’s a look at some of this year’s musical offerings that have especially been made for Christmastime.

Artist: John Legend
Album: A Legendary Christmas

John Legend impresses by creating a well-rounded Christmas album that features eight classics as well as six original tracks. Produced by the artist with help from Raphael Saadiq, A Legendary Christmas effectively uses horns, strings, and pianos to create lush backdrops for Legend’s smooth vocals. The classics are mostly well-picked; instead of going for overplayed tunes, the singer has chosen to cover songs like The Jackson 5’s ‘Give Love on Christmas Day’ and Marvin Gaye’s ‘Purple Snowflakes’. And the crooner has also invested effort in creating impressive originals – like ‘Bring Me Love’, ‘Waiting for Christmas’, and ‘By Christmas Eve’ – for which he deserves props. The old and new material fits well together and creates a cohesive record that fans of soulful R&B are likely to enjoy.

Highlights: ‘Bring Me Love’, ‘Waiting for Christmas’, ‘Please Come Home for Christmas’
Rating: 4 out of 5

*****

Artist: Pentatonix
Album: Christmas Is Here!

Pentatonix return with their third holiday season-themed album, Christmas Is Here!, another collection featuring the group’s a cappella arrangements of Christmas, faith, and winter themed songs. Beautiful harmonies and impressive vocals adorn this interesting selection of 12 tracks. You’ve got bright and joyous versions of Yuletide staples like ‘Rockin' Around the Christmas Tree’, ‘It's Beginning to Look a Lot Like Christmas’, and ‘Here Comes Santa Claus’. And then there are emotional versions of songs from movie soundtracks, including ‘Where Are You, Christmas?’ (from How the Grinch Stole Christmas) and ‘When You Believe’ (from The Prince of Egypt), as well as the non-lyrical ‘Waltz of the Flowers’ (from The Nutcracker) and a suitably eerie rendition of ‘Making Christmas’ (from The Nightmare Before Christmas). Kelly Clarkson (‘Grown-Up Christmas List’) and Maren Morris (‘When You Believe’) stop by for guest appearances, but the album ultimately impresses because of Pentatonix’s vocal talents, although a delightful, offbeat version of ‘Jingle Bells’ also shows how lovely the group sounds when they are accompanied by an orchestra. Not all the songs are equally essential, but the overall record is enjoyable, especially for fans of the group that want to add a dash of a cappella cheer to their holiday celebrations.

Highlights: ‘Grown-Up Christmas List’, ‘Where Are You, Christmas?’, ‘Jingle Bells’
Rating: 3.5 out of 5

*****

Artist: Ingrid Michaelson
Album: Songs for the Season

Ingrid Michaelson beautifully captures the poignance of Christmas classics in Songs of the Season, taking a more traditional, nostalgic approach for the holiday record. With 12 mostly mid-tempo tracks (11 of which are covers), the album is more suitable for soundtracking a relaxing evening than a festive get-together. Michaelson’s lovely voice drapes these melodies in warmth and tenderness. And on occasion, her smooth covers show these well-known songs in a different light. Her take on Mariah Carey’s ‘All I Want for Christmas Is You’ may not be as bright and cheery as the original, but it adds another layer of sentiments and depth to the Christmas favourite. It’s also nice to hear some of the singer’s famous friends – Christina Perri, Will Chase, Grace Vanderwaal, Allie Moss, Bess Rogers, Leslie Odom Jr. – join her for some of these tunes. Songs for the Season may not be the most energetic, upbeat Christmas album you’ll ever hear but it’s a joy to listen to nonetheless; this comforting set is very likely to win listeners over with its warmth.

Highlights: ‘I'll Be Home for Christmas’, ‘Happy, Happy Christmas’, ‘Rockin' Around the Christmas Tree’, ‘All I Want for Christmas Is You’
Rating: 4 out of 5

*****

Artist: Jessie J
Album: This Christmas Day

Backed by beautiful orchestrals and impressive production, Jessie J oversings her way through an unexciting selection of the most obvious Christmas songs – ‘Santa Claus Is Comin' to Town’, ‘Jingle Bell Rock’, ‘Rudolph the Red-Nosed Reindeer’, ‘Silent Night’, and other usual suspects – on her new album, This Christmas Day, without bringing anything particularly special to the set. Big names like David Foster, Babyface, and Darkchild have been recruited to helm some of this material. But these jazz and R&B flavoured covers sound like someone with an indistinctive voice and style trying too hard to impress listeners. Her Christmas stylings work better in smaller doses since there isn’t enough variation in renditions here and monotony quickly sets in. Attempts at shaking things up include guest appearances, like Boyz II Men who appear on ‘Winter Wonderland’ but sound misplaced on the track which seems to be suffering an identity crisis. The only original, ‘This Christmas Day’, is pretty but not particularly memorable. If you like your Christmas music sans subtlety, then this is the album for you.

Highlights: ‘Santa Claus Is Comin' to Town’, ‘This Christmas Day’, ‘Silent Night’
Rating: 3 out of 5

*****

Artist: Eric Clapton
Album: Happy Xmas

Eric Clapton adds a touch of blues rock to Christmas with Happy Xmas, offering a nice mix of popular songs along with some more interesting choices plus one new track (‘For Love on Christmas Day’). It basically sounds like what you’d think Eric Clapton singing Christmas songs would sound like – retro, earnest, a little gloomy. What feels downright bizarre though is the jarring, electro ‘Jingle Bells (In Memory of Avicii)’ that inexplicably sits in the middle of this set; creating something in Avicii’s remembrance is a touching sentiment, but the track is so sophomoric that it makes no sense for this song to be on a professional musician’s album.

Highlights: ‘For Love on Christmas Day’, ‘Everyday Will Be Like a Holiday’, ‘Christmas in My Hometown’
Rating: 3 out of 5

*****

Artist: Goldfinger
EP: The Goldfinger Christmas EP

Goldfinger + Travis Barker + Christmas? Yes please! The rock band join forces with the terrific Blink 182 drummer for a vivacious four-song set of punk renditions of Christmas classics. The thoroughly enjoyable EP features a joyous punk version of ‘Rudolph the Red-Nosed Reindeer’; an energetic take on ‘Santa Claus Is Comin' to Town’; an awesomely bizarre cover of ‘12 Days of Christmas’; and a laid-back ska version of ‘White Christmas’. It’s all too brief (perhaps wisely?) – the whole thing wraps up in around 9 minutes – and sadly includes no new material, but this collection of offbeat covers is bound to add a blast of fun to your holidays.

Highlights: ‘Rudolph the Red-Nosed Reindeer’, ‘12 Days of Christmas’
Rating: 4 out of 5

- By Sameen Amer

Instep Today, The News International - 26th December, 2018 *

British pop music's hotshots drop new records

album reviews

Rita Ora’s Phoenix marks her return with a new set six years after her debut; Zayn Malik continues his post-One Direction journey with his new release, Icarus Falls

Artist: Rita Ora

Album: Phoenix

“I don't want to hear sad songs anymore, I only want to hear love songs,” Rita Ora sings on ‘Your Song’, the lead single off her new album Phoenix. And it appears that the singer has made exactly the album she would want to listen to, as there is no shortage of love songs on the Yugoslavia-born British artist’s sophomore release.

Phoenix marks her return with a new set six years after her debut, although it hardly feels like it has been that long given that the entertainer hasn’t really been absent from radio or screen in the interim. The singer released a slew of singles and featured on a handful of collaborations in the last few years. In fact, six of the 12 tracks on Phoenix came out before the album; a couple of them – ‘Your Song’, ‘Anywhere’, ‘Lonely Together’ – even came out more than a year ago. That may be why Phoenix doesn’t feel very fresh and seems more like a compilation of singles rather than an artistic statement.

Phoenix doesn’t serve as a vehicle for musical exploration. Instead, each track on the disc was clearly made with commercial aspirations, designed to seamlessly fit into the mainstream. Which it does. But while these well-made R&B-tinged electropop tunes are catchy and chart-ready, they don’t often venture into exciting, inventive directions. The generic musings about love also keep the material from feeling lyrically distinctive.

Some of the song selection is also a bit curious. Ora relegates herself to a featured appearance on her own album by including Avicii’s ‘Lonely Together’, and she has also chosen to include the much-criticised ‘Girls’ (which features Cardi B, Bebe Rexha, and Charli XCX), despite having apologized for the offense caused by how she expressed herself on that track. (Both these collaborations could have easily been moved to the deluxe edition and replaced by newer songs from the extended version, like the standout ‘Falling to Pieces’ which deserved to be a part of the main set.)

Phoenix certainly is pleasant, enjoyable dance pop, but it would have been more rewarding if the artist had been willing to take more risks, create more interesting musical textures, and come up with fresher material for the record.

Highlights: ‘Anywhere’, ‘First Time High’

Rating: 3 out of 5

*****

Artist: Zayn

Album: Icarus Falls

Zayn Malik continues his post-One Direction journey with his new release, Icarus Falls, sailing smoothly with another set of sublime mid-tempo R&B balladry.

Comprising of a whopping 27 tracks and nearly an hour and a half in length, the English singer’s second solo LP focuses mainly on sentimental songs well suited to his voice. Zayn, who co-wrote each of these tracks with the help of a number of contributors, unsurprisingly, sings about love and relationships in the safety of his sonic comfort zone. It’s the sound of a singer who has found his niche; it’s not a particularly unique niche, as it is shared by everyone from The Weeknd to Nick Jonas, but it’s fairly enjoyable nonetheless.

Effectively a double album divided by an interlude, the record offers moody tunes with a backdrop of often sparse R&B beats. But while Icarus Falls is remarkably coherent, it doesn’t present enough variety to justify its length. Variation in tempo and bolder musical choices would have helped make the material more exciting. Other than ‘There You Are’ – perhaps the strongest chorus on the set – nothing really stands out in the first half; the second half is sonically and thematically more interesting and also includes both of the record’s featured appearances (Nicki Minaj on ‘No Candle No Light’ and Timbaland on ‘Too Much’).

It’s easy to see why none of the album’s singles have found any traction. But while the material may not be very immediate, with 27 tracks on offer, there is a lot to explore here; you have to give the individual songs repeat listens to get acquainted with them. If you enjoy mid-tempo R&B-flavoured pop, then Icarus Falls is the album for you. Fans will certainly enjoy this selection and appreciate the singer’s progression. For everyone else, there are several good pop songs here; you just have to look for them.

Highlights: ‘There You Are’, ‘No Candle No Light’

Rating: 3 out of 5

- Sameen Amer

Instep, The News on Sunday - 23rd December, 2018 *

The 1975 return with an ambitious new record

album review

Artist: The 1975

Album: A Brief Inquiry into Online Relationships

English pop rock outfit The 1975 have come a long way since the release of their 2013 self-titled debut, overhauling their image and converting detractors with 2016’s eclectic I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It. The band continue to impress with their ambitious third studio release, A Brief Inquiry into Online Relationships, the first full-length instalment in the “Music for Cars” era (to be followed next year by Notes on a Conditional Form).

Written almost entirely by the band themselves and co-produced by frontman Matty Healy and drummer George Daniel, the album finds The 1975 commenting on the issues of our social media-driven times in a record that simultaneously sounds modern and nostalgic. The group have spliced genres while employing guitars, drums, trumpets, flutes, pianos, and synths to variously create joyous, hopeful, melancholy, and affecting tunes.

What might divide listeners, though, is the contentious use of excessive autotune for artistic purposes. It’s an aesthetic that won’t work for everyone. You will either love the vocal effects on A Brief Inquiry into Online Relationships or it’ll make you rue the day The 1975 discovered autotune.

Either way, you’ll find it hard to deny the fact that the standout tracks are terrific. The irresistibly catchy ‘TooTimeTooTimeTooTime’, the Kanye-esque ‘I Like America & America Likes Me’, the synth-pop ditty ‘It's Not Living (If It's Not with You)’, and the poignant album closer ‘I Always Wanna Die (Sometimes)’ showcase the group’s talent at creating enjoyable pop melodies while keeping their sound unique.

Despite the occasional stylistic incline that makes them seem a bit self-indulgent, A Brief Inquiry into Online Relationships is another interesting addition to The 1975’s discography and leaves you eager to see what they have to offer in the next instalment.

Highlights: ‘TooTimeTooTimeTooTime’, ‘I Like America & America Likes Me’, ‘It's Not Living (If It's Not with You)’, ‘I Always Wanna Die (Sometimes)’

Rating: 3.5 out of 5

- Sameen Amer

Instep Today, The News International - 22nd December 2018 *

Not slicker than your average

album reviews

Caution is a step up from Mariah Carey’s recent releases; Michael Buble revisits well-known classics in Love; Origins is just another set of electronic-flavoured arena pop that simply isn’t as slick

Artist: Mariah Carey

Album: Caution

On her fifteenth album, Caution, Mariah Carey hasn’t gone for reinvention, nor has she tried to expand her sound palette or appeal to a wider audience. Instead she has made music her fans enjoy listening to and that she clearly enjoys making. It’s not a very exciting direction, but it does allow the singer to create some solid pop tunes within her comfort zone.

The album mostly offers sultry, mid-tempo R&B, thematically revolving around the topic of relationships, from being enamoured with a lover (‘With You’, ‘One Mo' Gen’) to getting rid of someone who has done her wrong (‘GTFO’, ‘A No No’). And while the songs aren’t as immediate or timeless as some of her biggest hits from the ‘90s, they do seem inspired by the output from her heyday, and some even contain nostalgic references to the era.

The singer has worked with a host of writers and producers on these ten tracks, creating songs with the help of names as varied as Skrillex and Timbaland. But while these collaborators supply suitable beats or add their subtle touches to the tunes, they don’t often leave a very distinctive imprint on the tracks they helm. Instead, Carey – who has co-written and co-produced every song on the set – seems very much in control of the overall sound, seemingly comfortable in her established niche with no need to chase modern trends.

Mariah’s delivery is often soft and understated, and is just as effective whether she’s being dismissive on the sassy ‘A No No’ or enticing on the sultry ‘One Mo' Gen’.

Caution may not be entirely unique or inventive or offer much versatility, but the album is smooth and cohesive, and certainly a step up from the American singer’s recent releases.

Highlights: ‘A No No’, ‘One Mo' Gen’

Rating: 3.5 out of 5

*****

Artist: Michael Bublé

Album: Love

How many albums of covers can an artist possibly release? Well, if the artist is Michael Bublé, then, as far as his fans are concerned, the answer clearly is “never enough”. Because he has released yet another album of (mostly) covers and it has immediately landed at the top of the charts. Because of course.

The crooner’s tenth studio release, Love (stylized as the red heart emoji ❤, because why not) features 11 tracks, nine of which are covers. The Canadian singer has, once again, revisited well-known standards and classics, offering his renditions of other artists’ hits with his smooth vocals backed by lush strings and grand orchestrations.

His take on the classics is sonically inoffensive and benefits from David Foster’s immaculate production. But while some of Bublé’s versions – like the playful ‘Such a Night’ – are fun to listen to, it’s hard to deny the fact that we have already heard better renditions of these oft-covered songs before. Bublé may be a skilled vocalist but he can’t match the tender beauty of Kris Kristofferson’s ‘Help Me Make It Through the Night’, Édith Piaf’s ‘La Vie en rose’, or Nat King Cole’s ‘Unforgettable’.

It’s the two originals on this set that really shine. With its wry lyrics and sparse arrangement, the Charlie Puth co-penned ‘Love You Anymore’ immediately stands out when you listen to Love, as does the touching piano ballad ‘Forever Now’ – the only song on which Bublé gets a writing credit – an ode of unconditional love and support to a child, which is even more poignant given what the singer has been through in the last few years. You can tell that the latter comes from the heart, and the album needed more of that emotional resonance.

To the record’s detriment, the artist doesn’t take any risks on Love. The new material ends up being the most memorable part of this disc, and given how the singer has proven over the years that he can come up with compelling original songs – ‘Home’, ‘Everything’ ‘Haven't Met You Yet’, ‘It's a Beautiful Day’ – it’s a shame that he doesn’t create his own music more often. But the renditions he has offered here are, as always, pleasant, and if you are in the mood for some easy listening, especially if you are a fan of his covers, then you are bound to enjoy Love.

Highlights: ‘Love You Anymore’, ‘Forever Now’, ‘Such a Night’

Rating: 3 out of 5

*****

Artist: Imagine Dragons

Album: Origins

While it has never been easy to reconcile Imagine Dragons’ mindboggling commercial success with the critical revulsion they have received, you could still make sense of the divide by acknowledging that despite their formulaic blandness, the band has, from time to time, managed to create the occasional catchy pop earworms. But whatever limited charm they so far possessed has completely run out on Origins, another set of electronic-flavoured arena pop that simply isn’t as slick as their initial work was.

Listening to the record from start to finish is a bit of a chore. Origins seems like it is coming from a band that is desperate to maintain their ubiquity but not very certain of their own identity. It’s as repetitive and derivative as ever, but also scattershot and disjointed. You’ve got the typically bombastic ‘Natural’, the industrial ‘Machine’, the folksy ‘West Coast’, and the synth-driven ‘Cool Out’, and next to no traction along the way. Frontman Dan Reynolds’s voice is completely ill-suited for ‘Zero’, which sounds like raspy vocals have wandered onto a teen pop tune.

The group has made their fourth album with a number of songwriters and producers, most prominently Mattman & Robin and Alex Da Kid. But seeing the speed with which they are creating this material (Origins comes one a half years after its tepid predecessor Evolve (2017)), Imagine Dragons seem to be in a hurry to release more music and unconcerned about its quality (or lack thereof). Sadly what they have come up with this time around is tediously repetitive and utterly forgettable.

Highlights: ‘Only’

Rating: 2 out of 5

- By Sameen Amer

 Instep, The News on Sunday - 16th December, 2018 *