Bogowie  (2014)    63/100

Rating :   63/100                                                                     120 Min        15

Polish language film documenting the work of maverick surgeon Zbigniew Religa, as he attempts to lead the way in helping pioneer heart transplant surgery from within the confines of his desperately hard fought for clinic in Zabrze in early 1980’s Poland. There is a distinct Frankensteinian air to the core of the debate as to concerns over the morality of the surgery that the bulk of the medical profession raise (as well as in the very notable portrayal of Religa himself by Tomasz Kot) as we see the man bombarded with accusations of egotism and we witness the increasing toll that stepping into the dark against the odds takes on him.

To an extent, the film unfortunately gives credence to these accusations – we are never given the appropriate information to see how the story fits into a wider global or medical context. Almost nothing is said of the work going on elsewhere, and yet any audience has a reasonable chance of knowing the first successful human heart transplant was carried out by doctor Christiaan Barnard in South Africa in 1967 – as we see Religa struggling for success we are thereby unsure if the rest of the world has hit a roadblock, if the first success was short lived/a one off, and if this is then one man determinedly setting out to advance medical science and save lives, or if he is motivated by ego and there is a wealth of other research from elsewhere that he is ignoring. At one point he comes in and announces a solution to a part of the problem they have been experiencing – and yet it appears to have simply come out of thin air one day, inviting more questions than it answers.

Similarly, we do see some graphic images of surgery (which some viewers may find difficult), but we are never really given much in the way of scientific information about the medicine of transplants specifically nor generally, which is disappointing and denies us historical context from a medical progress point of view. Indeed, what transpires is a fairly traditional ‘hero’ film that is interesting and well acted, but is so linear that it feels almost attached to an artificial pump of its own, with the same music continually droning in trying to force the tension as our hero struggles on with nary a moment of sunshine in sight, leading us to potentially doubt the authenticity of all but the most well documented of events.

More flair was definitely needed, and although it makes sense to show that Religa wishes to remain detached from his patients, for the audience adding more emotional connection may have been a better idea as we know next to nothing about the people that are wheeled through the doors of his clinic, their lives very much in his hands. Similarly, showing most of the characters smoking fits the time period, but there was no need to take it to the ridiculous degree that it does – miring the entire movie in a nasty cliche that the industry has moved on from, as we see the main character smoke in virtually every single scene he is in, and if he isn’t smoking he’s drinking. Even if that is historically accurate (and since he was a heart surgeon, one can be forgiven for considering it a little dubious) on film it’s overkill and symptomatic of a movie trying to create a certain style that we’ve seen many times before, rather than a story that feels more real and balanced.

Still, this is a very reasonable film, it’s just a shame that the filmmakers didn’t dare to be more original and take more chances with it, or put more humanity in there to make it feel more authentic. The ending is also delivered with an anticlimactic abruptness that highlights what could have been, as we walk away reasonably sure that we’ve learned about someone of importance, we’re just not entirely sure to what degree. Interestingly, the ending also pointedly omits the fact that Religa, who sadly passed away in 2009, went on to become a very prominent figure in Polish politics, even campaigning for president before eventually giving his backing to Donald Tusk (Prime Minister of Poland from 07- Sep14, and due to become President of the European Council in exactly one month’s time) and instead becoming the minister for health – his successor, Ewa Kopacz, herself a doctor too, is currently the reigning Polish Prime Minister.

The Happy Lands  (2012)    85/100

Rating :   85/100                       Treasure Chest                     108 Min        12

A Scottish film from Edinburgh based production company Theatre Workshop, focusing on the 1926 Miner’s strike in Fife (the East coast region between the rivers Tay and Forth), which was in itself part of a larger worker’s strike throughout the United Kingdom playing a hugely important role in the Labour and trade union movement in the 20th century. The film manages that most difficult of things for any historical drama – balancing the importance of the event from a socio-political standpoint, and also relating the events to us in a believable and human way, evoking genuine emotional empathy for the characters onscreen.

The cast seems to be comprised of a mix of experienced and new actors alike, but they all unanimously do a great job – Jokie Wallace in particular as both the local magistrate and the principal organiser of the strike. In fact, for anyone wanting to gain more exposure to the Scots language, this is a very good film to practice with as a lot of the vocabulary that features is in common usage throughout the land and here both the pronunciation and the sound quality are excellent (the film is subtitled in English, much like ‘Trainspotting’ 96 was for American audiences).

Initially, and for the close of the film, we are shown interviews with the cast, talking about the impact the events told had on their forefathers and how they, by extension, have had an effect on their own lives and their shared heritage. The dramatisation that forms the movie’s heart focuses on the friendly local community that brings the strike to the fore, a community where nobody felt the need to lock their doors and who immortalised the slogan ‘Not a penny off the pay, not a minute on the day’ after mine bosses attempted to squeeze them for all they were worth.

It’s a story that is incredibly relevant for today, with the right wing eroding worker’s rights up and down the country once again, all in the name of their own profit with the ‘economic crisis’ the perfect excuse for a carte blanche attack on civil rights and liberties, and the continual extension of privatisation allowing the few to abuse the many who enjoy worse public services charged at ever higher rates, although this is something that Scotland has the opportunity to end in tomorrow’s independence referendum … Films like this are wonderfully educational with regards to the long fight people had for the rights that we now take for granted, the same principals that the Tory party in Britain, and the right wing further afield, are doing their best to obliterate. I don’t really understand why this didn’t get a much bigger general release when it came out (political reasons?) but for very good companion pieces to this see Ken Loach’s wonderful ‘The Spirit of ‘45’ (13) and the recent Polish film ‘Walesa – Man of Hope’, and to be honest there were moments in this that brought me uncomfortably close to actually shedding a tear.

The Hundred-Foot Journey  (2014)    73/100

Rating :   73/100                                                                     122 Min        PG

A feel good film to watch before you go for dinner rather than after, featuring as it does many shots of sumptuous food being prepared – both French and Indian cuisine mmmm (if you are ever in Edinburgh, be sure to visit the Mosque Kitchen for awesome and affordable curries). Based on Richard C. Morais’ 2010 fictional novel of the same name, this tells the story of one Indian family who leave their home after the personal tragedy of the loss of their mother in a fire, and seek to put down roots somewhere else, eventually settling in the picturesque French village of Lumière (French for ‘light’ but a fictional town, Saint-Antonin-Noble-Val in the south of France was used as the primary shooting location). The only trouble is, they set up their Indian restaurant directly opposite the town’s only other one – a very well to do establishment that already has one Michelin star (France’s highest critical honour) and its owner Madame Mallory (Helen Mirren) is absolutely determined to achieve another. War ensues. Mirren is wonderful as always, as is her adversary, Om Puri, playing the head of the Indian family, as both sides are forced to reconcile their differences and appreciate what each has to offer, even including the possibility of romance. Also with Charlotte Le Bon and Manish Dayal, pictured above, produced by Steven Spielberg, Oprah Winfrey and Juliet Blake and directed by the legendary Lasse Hallström (‘My Life as a Dog’ 85, ‘What’s Eating Gilbert Grape’ 93, ‘The Cider House Rules’ 99, ‘Salmon Fishing in the Yemen’ 11) it’s an endearing film charmingly infused with picturesque surroundings and an abundance of food to salivate over whilst you enjoy them.

If I Stay  (2014)    45/100

Rating :   45/100                                                                     107 Min        12A

Another teen WEEPY, hot on the heels of its sister film this summer ‘The Fault in Our Stars‘, and it is equally without any worth, featuring as it does universally poor acting and trashy writing. Based on the 2009 novel by Gayle Forman, we watch as Chloë Grace Moretz’s young naïve and virginal Mia falls in love with the older about to graduate from high school front man in local band Adam (Jamie Blackley), all before a brutal car accident sees her spend the rest of the film on a bed in hospital as we watch her ghost debate whether or not to completely kick the bucket or to re-enter her material form, using flashbacks to fill in the interim romantic details and help her decide. Unfortunately, the medical staff at the hospital seem to be particularly inept as the other members of her family appear to be in a better state when they first arrive compared to several hours later in their care and she is continually given less incentive to return to the mortal coil, not to mention the fact they threaten her boyfriend with imprisonment for no good reason when he tries to visit her.

Conceptually, it is very, very typical of the dire literature aimed at young teenage girls and it suffers from one of its biggest pitfalls – setting up this ‘idyllic’ boyfriend without any realistic consideration as to his character, leading scores of young girls down the garden path when the man in question is never in a million years going to be faithful to her. In fact it’s painfully obvious he doesn’t care that much about Mia here, as she continually waits around twiddling her thumbs whilst he completes his latest gig, and then he drops her off at home before going out on the lash with his mates – this person has multiple, equally naïve girls dotted around the place that he rotates, meanwhile showing off to his band members with regard to the latest hottie he has duped, and yet he will be just as incapable of scoring with a girl his own age who is a little wiser. In the second half it is more convincing that he actually cares about her, but then she is after all literally at death’s door (the hospital exit it seems).

The music is the completely banal T-Mobile-advert-esque twonk for the first half, and then the expected repetitive couple of piano notes for the second, with a few songs sung by Adam although they all sound pretty much the same and are a far cry from doing the film any favours. Mia is trying to get into an exclusive music school to specialise in playing the Cello, a school which is on the other side of the county wouldn’t you know it, and some of the Cello playing is actually the only decent thing in the film. A soft glossy sheen has been applied to most of the images throughout the movie which, together with the constant toing and froing that the timeframe is held hostage to, continues to grate, and it’s chock full of silly moments – like the two splitting up because Mia says she can’t guarantee she’ll be able to spend the following New Year with Adam, despite the fact she doesn’t even know if she’s even going to get into this school (the letter is opened whilst she’s comatose and they read it out to her – will she have made it, or will it be another reason to kiss her teenage life goodbye?) and it is pretty normal for all students everywhere to be going home for the festive season, and indeed there is nothing really stopping Adam from visiting her at uni either. The predictability level of this will probably make you feel sick, and if you have ever lost anyone under tragic circumstances, twaddle like this will probably just leave you feeling slightly angry too.

Million Dollar Arm  (2014)    55/100

Rating :   55/100                                                                     124 Min        15

This had a lot of potential – the true story of baseball coaches and sales reps starting a reality TV talent competition, the eponymous ‘The Million Dollar Arm’ tryouts, in India in 2008 to find two cricket players that could potentially make the transition into playing for a major league baseball team in the States. It was the brainchild of main character J. B. Bernstein (Jon Hamm) largely borne out of struggling finances as he fails to sign anyone of any significance to his sports management firm. Unfortunately, it feels too much like a Sunday afternoon live action Disney film with a far, far too traditional character arc for Bernstein (actually, this is a live action Disney film, maybe it’s about time they updated their formula … ), he will put money first but then realise what’s in front of him with regard to his friends, the hot girl next door, and the youngsters he takes from India back to America, before putting money first again and giving everyone else a hard time, promptly getting slapped around by the aforementioned, once more forced to acknowledge what really matters at heart etc. etc.

Nothing that happens as this see-saw continues is particularly interesting, and attempted comedic moments with the likes of grumpy baseball scout Alan Arkin never really work as intended. It’s yet another hopelessly contrived drama based on a real story that, if given the few base facts required, you could probably storyboard yourself in ten minutes and do a better job, and it likely would have worked much better as a documentary given the wealth of primary footage they must have had at their disposal. The acting is fine but essentially fits the entirely humdrum nature of the whole shebang, with support from Lake Bell, Bill Paxton, Aasif Mandvi and Madhur Mittal (‘Slumdog Millionaire’ 08) and Suraj Sharma (‘Life of Pi’) as the two potential superstars Dinesh Patel and Rinku Singh respectively (neither of whom, ironically, like cricket). We don’t even get to see the pair actually play any games of baseball, it just concentrates on them learning to throw the ball the whole time and whether or not they can do it fast and accurately enough – probably not particularly exciting to do, never mind sit and watch.

Hector and the Search for Happiness  (2014)    43/100

Rating :   43/100                                                                     120 Min        15

A crummy, sentimental, almost boorishly stilted ‘life affirming’ film centred on yet another bumbling and repressed central geek character from Simon Pegg and one which will deliver no surprises whatsoever in terms of its resolution, although having said that the ending was quite nice – indeed that, a wonderful albeit too brief cameo from Christopher Plummer, and Rosamund Pike slapping her ass on Skype are the only things that saved this from incineration.

This is basically Britain’s take on ‘The Secret Life of Walter Mitty‘, with Pegg living out the same daily routine with his smoking hot girlfriend (Pike) and going through the motions with the patients at his psychiatric clinic. Essentially having a boredom induced mid life crisis he decides to go travelling, partly due to a boyhood obsession with Tintin (ironic, as Pegg also starred in ‘Tintin : The Secret of the Unicorn‘ and it was also terrible). This obsession fits the story well as it uses many racial stereotypes that wouldn’t be out of place within the pages of the comic (Tintin was one of the most popular comics of the Twentieth century for those unfamiliar with the Belgian boy detective, but initially it contained various caricatures that would never make it into print today), most notably when he goes to ‘Africa’, not a country within the continent mind, just ‘Africa’. Reason being his destination is shown to be run by drug barons and random people with guns who seem to have been educated at Cambridge and speak the Queen’s despite none of their goons knowing a word in English.

Seems a bit strange, travelling to but a single destination in Africa and yet picking one that is completely unstable and commonly plays host to Western abductions. The fudge to facilitate this is Pegg’s old uni buddy who seems to have been there the whole time and naturally as a white Westerner is the only thing stopping all of ‘Africa’ dying from disease or gunfire as the lions prowl quite literally ten yards away from the outdoor operating table, then, in a two pronged attack, this friend painfully creeps his arm around his black bodyguard revealing that he is also the man’s gay lover and that he has stayed as it’s the only place where he feels accepted as himself, despite the fact that the West has very effective and largely victorious gay rights movements and he clearly felt the need to run away and hide as far away as possible from everyone he knew to live out his repressed colonial fantasy of bumming an armed black man and was at great pains to keep this relationship hidden from everyone in the region until they and Pegg were in the middle of nowhere by themselves – I mean, that is both a politically correct and incorrect sandwich gone completely berserk, I’m surprised he didn’t have an offshore dolphin retreat for feminists recovering from troll bashing that doubled as the continent’s first pro bono transgender surgery.

Pegg’s other destinations are Shanghai, where he gets it on with a prostitute who then claims he used her which I still don’t understand, a monastery in an undisclosed location, and …. Los Angeles, that top destination to visit when you are searching your soul for a higher meaning and keeping a journal, as he is, of what makes different people happy. Alas he doesn’t ask any gangbangers, but whilst in ‘Africa’ he does get kidnapped, which at least brought a level of consideration into things, but then he gets out of it via another hopeless fudge.

Although the ending was done quite well for what it is, the fact that the girlfriend he leaves in limbo whilst travelling is both a nice person and very beautiful means there was only ever going to be one outcome to his ill conceived meanderings and one inevitable conclusion to what it means to be happy – sex with Rosamund Pike, and a considerable amount of money that allows you to live in posh splendour in London meaning you never, ever have to think about the hellholes you foolishly decided to travel to and get kidnapped in and where you can quickly turn a blind eye to the problems in the rest of the world as your near death experience has finally convinced your lady to accompany you whilst you engage in your hobby of flying remote controlled planes. Watch ‘Mitty’ instead.

The Rover  (2014)    47/100

Rating :   47/100                                                                     103 Min        15

Continuing Australian film’s long standing love affair with outlaws in the Bush, David Michôd’s latest directorial effort following 2010’s ‘Animal Kingdom’ lands us in a dystopian Outback ten years after the world has gone to hell (we never really learn the details as to how, why, or to what full extent) as we watch Guy Pearce stop at the surviving remnants of a bar for sustenance, his soul exhausted and heavy with despair, barely noticing the liquid he consumes as his car is nicked in the background, instigating his search for both it and the perpetrators for the rest of the film. The thieves are already making a getaway after a robbery gone awry, with the sibling, Robert Pattinson, of one of their number left inured behind, thus becoming the primary lead for Pearce to follow up on.

Ultimately this is simply a very ill conceived ‘buddy’ film, as the two leads begin to bond and look out for one another, despite it originally being a hostage situation, but as time goes on we realise that these characters are basically both scumbags with an approach to violence not justified by the setting – we learn, for example, that law enforcement still operates in the country generally and indeed in the remote settlements where the action takes place. The main point behind this post apocalyptic future is that it sets up Pearce’s character arc – when everything went south globally he committed a horrific crime and nobody chased after him for it. The idea is that his conscience has been tormented by this ever since (both the deed and the lack of ensuing consequences) to the point that now acts of brutality against anyone in his way are done almost without having to think twice about them, as if he were trying to fast-track his own way to hell for the punishment he craves, punishment necessary for the absolution that he hopes will somehow accompany it.

In this respect, the film does have some success and a few notable moments, largely due to another great turn from Pearce (he is consistently impressive, in fact he had back to back cameo appearances in two best picture winners at the Oscars a few years ago with ‘The Hurt Locker’ 09 and ‘The King’s Speech’ 10), but the difficultly lies with every other aspect of the film. I wouldn’t describe Robert Pattinson as a particularly natural actor, in fact I think his spattering of roles since Potter and Twilight have been justified not by his prior work but rather the media status that stalks him, and although it’s true that whilst watching this I did have a large internal debate as to whether or not I was being too harsh on him, I was similarly continually bombarded with the feeling that ‘something just isn’t right here’, eventually coming to the conclusion that his performance is … well, laughable actually, partly because I did laugh at it at the precise moment when the story called for a polar opposite response.

He sports what passes for a good American accent from somewhere in the South, and he is supposed to be not quite mentally handicapped but not too far off it either, but it just constantly feels like he’s trying way too hard, and why after presumably a number of years in Oz (I think he offers some explanation for their current appearance in Australia but he was mumbling so badly I couldn’t make head nor tail of it) is his accent still that strong? Not to mention the fact that his brother sounds nothing like him. Did he fail to pull off an Australian accent during the interview and this was his alternative? When one half falters the whole must suffer, especially when it’s both the character and the actor playing them – and things aren’t helped by the pace and music, which starts off by nicely setting up tension and anticipation but then just becomes monotonous and at times silly (a number of people walked out of the screening, possibly because of the gratuitous violence but likely because it is also peppered with tediousness).

I suspect writers Joel Edgerton and Michôd started with Pearce’s character and his issues as a core concept and then just contrived the rest around it, leaving a hollow feeling, as if some of the violence is in there for its own glory’s sake, and when you finally find out exactly why the protagonist is so ruthlessly hunting his stolen car, well, let’s just say it probably would have provoked more unintentional laughter from The Red Dragon if I hadn’t been beyond caring by that point.

Step Up 5 Million : All In  (2014)    47/100

Rating :   47/100                                                                     112 Min        12

Ok, so this is Step Up 5 (aka Step Up : All In) not five million, but really it’s so formulaic and derivative of its predecessors that they could rinse and repeat and get up to that number without any real effort. It has been billed as the film reuniting cast members from the other films, but what they really mean is that Moose (Adam Sevani) and Andie (Briana Evigan) are back in it – there is no Channing Tatum, for example, and although a few other semi familiar faces appear they, just as before, receive so little character development and so few lines that they might as well be new blood for all anyone is likely to care. The acting is terrible, and the screenwriting is offensive to writers everywhere, with possibly the worst element being lead male character Sean (Ryan Guzman), who does return from the previous film but who seems to have retained none of the life lessons he bored us with last time, managing to be both an indistinguishable carbon copy of all the leading male characters in the franchise as well as the least likeable of the lot.

The dancing, at least, is for the most part very good and has been well choreographed, but even the biggest fans of the series are going to struggle sitting through the garbage comprising eighty percent of the film to get to it. The story is the usual ‘some crew will try to bond in order to win a dance competition against the bad guys and the hot leads will fall for one another, even though one of these leads did the same thing a few films ago and that didn’t seem to work out too well for her and the other one would clearly rather make love to himself’ – eighty percent dancing with twenty percent story would have been far better. Evigan is by literal leaps and bounds the best thing about the film – and indeed it wasn’t until I sat and tried to remember the other four films that I realised her shaking her ass in ‘Step Up 2 : The Streets’ (08) is pretty much the only thing I remember about any of them. Bring on ‘Step Up 6 : All Out’, when Andie tires of male dancers breaking her heart and must now seduce the hottest girl in town through erotic, sweaty street dance – the girl is tempted, but what will her Republican Senator daddy who’s about to fund the state ballet have to say ..?? Only Moose knows …

Dawn of the Planet of the Apes  (2014)    65/100

Rating :   65/100                                                                   130 Min          12A

The sequel to 2011’s very successful, and very good, ‘Rise of the Planet of the Apes’ continues with the story a decade further down the line, with Caesar and his motley bunch of intelligent apes living free in the wild whilst humanity attempts to deal with the deadly ‘Simian Flu’ virus unleashed at the end of the previous film. In a nutshell, this is nowhere near as good (although it is still a country mile better than Tim Burton’s take on the story back in 2001) but it does just about enough to pass mustard as the next chapter in the franchise.

This has a significantly increased action quotient compared to its predecessor, and in terms of the script it’s much more, ahem, primitive – at times it even feels like scenes must have been omitted that were necessary to explain certain things, and at various points the characters feel a little forced and silly. The plot centers on what’s left of the human populace in San Francisco trying to access a hydroelectric dam in the ape controlled forest in order to restore power, which proves to be a diplomatic nightmare for both sides, eventually setting precedent for relations between the two species in the future.

The human protagonists are played by Jason Clarke, Keri Russell and Gary Oldman, with Andy Serkis returning to play Caesar and Toby Kebbell (who’s slated to play Doctor Doom in the Fantastic Four reboot, incidentally) giving a very good performance as the other main monkey, I mean ape, Koba. This has a similar feel to the original series of films which started with the magnificent ‘Planet of the Apes’ (68) and kind of then went steadily downhill with ‘Beneath the Planet of the Apes (70), ‘Escape from the Planet of the Apes’ (71), ‘Conquest of the Planet of the Apes’ (72), ‘Battle for the Planet of the Apes’ (73) and a couple of TV series before the eventual appearance of Burton’s aforementioned attempt which choked and died instantly. Interestingly, the original film is based on a novel by French author Pierre Boulle, who also penned ‘The Bridge on the River Kwai’, which of course then inspired another of the most famous movies of all time. This particular outing in the Apes series is reasonably entertaining, but I think it’s best to go in with pretty low expectations …

Begin Again  (2013)    75/100

Rating :   75/100                        Treasure Chest                    104 Min        15

Keira Knightley’s latest sees her as a young singer/songwriter, Gretta, somewhat awash in New York City after a break up with her long time boyfriend, played by Maroon 5’s Adam Levine, who has just been singed to a prestigious record label and whom she herself helped launch into stardom by writing many of his songs. Enter down on his luck record producer Dan, played by Mark Ruffalo, who is at the bottom of a particularly destructive curve after the break up of his marriage and the parallel nosedive of his career, when he hears Gretta play one of her songs and something in it stirs up long forgotten hope within him. This is where the film opens, as we watch Gretta reluctantly being pulled onto the stage during an open mike night to perform, and as anyone who has ever played or sang in front of people for the very first time will know – you feel like a TOTAL KNOB, and Keira plays out the scene with the perfect mixture of nerves, anxiety and the frustration of being put on the spot.

It is her actually singing throughout the film, with a combination of live and dubbed recordings (she has sung on film before in ‘The Edge of Love’ (08), and was due to play Eliza Doolittle in a modern version of ‘My Fair Lady’ before the project fizzled out), which was a tremendously brave decision and although her voice is soft and tinged with uncertainty, The Red Dragon LOVES IT – it is affectionately sweet, and it also fits her character perfectly, as we learn Gretta simply writes and sings for her own pleasure and has no real interest in putting her work on the likes of Facebook and so on for commercial purposes, preferring to simply entertain her cat with it instead.

Herein lies a central aspect of the film, and one which I really love – the idea of taking music away from the stranglehold of large record companies and back into the hands of the musicians themselves. It’s revealed that the standard rate of return for an artist is about ten percent with their label taking the rest, and a comparison is made with the publishing industry where authors get about the same. This always seemed outrageous to me – in reality I’d be surprised if it weren’t below ten percent, and it’s great that the internet and technology in general have started to dismantle this monopoly. Keira herself is uniquely placed within this scenario as she’s married to the Klaxons’ keyboardist and co-vocalist James Righton.

Gretta and Dan decide to record their own album (the latter having effectively been kicked out of his own company) using creative guile and various locations around the city as backdrops, which is a great idea, and on the way they rediscover how to enjoy themselves and what music means to them, minus the pretension that can sometimes accompany films about the industry. The acting is universally great, including from supporting players Hailee Steinfeld, James Corden, Catherine Keener, CeeLo Green, Mos Def and the aforementioned Levine. I actually appreciated this more the second time around (I admit it, I’ve seen it three times now – each time it feels like a different movie somehow), and it managed to not only convince me to dust down my guitar (it was practically white) and finally put some playlists into the ‘Song‘ section, but also consider sorting out the large digital blob which is my music collection.

Written and directed by John Carney, the creative talent behind the indie favourite ‘Once’ (06), this is an uplifting film in which it looks like the actors had as much fun as the characters themselves, further advancing Keira’s penchant for choosing varied and interesting roles, in this case one that absolutely made The Red Dragon fall in love with her just a little bit more …

(for the film’s official website click here, and you can also currently download Keira’s version of ‘Lost Stars’ for free from Amazon)

 Begin Again 2