Tune Tape Tuesday #33

Here in Britain, we seem determined not to rest on the laurels of last Summer's Olympic Golds. What with Andy Murray winning Wimbledon, the Stones playing Glastonbury, and the sun shining for more than 4 consecutive days, it's set to be a Summer of just as many impressive firsts. Not wanting to feel left out, I've decided to break a little personal best of my own: this Tune Tape will be the BIGGEST yet, with 30 massive tracks to accompany your Summer. In light of the gargantuan size of this collection, I've decided not to blurb each track; I'll just do a paragraph outlining the best (just in case anyone gives a crap what I think). So with no further ado; I give you the Soundtrack to your Summer...

One of the stand out tracks of this week, if only for originality, is Sombear's Love You In The Dark. It's chillingly sexy, with a haunting, grinding, bassline wobble providing a backbone to some electrically altered vocals. Not quite Dubstep, not quite Electro, and not quite Chillwave, I've put it in its very own category of 'SexDrop'. Maybe it'll catch on, who knows.
Next up is Lane 8, who have been gaining a lot of exposure these past few weeks with some truly great Progressive House tracks - including, but not exclusive to, Be Mine. Prog House has got to be the best genre for the Summer months - none other would be at home in cars with the windows down, at barbeques, picnics, or sunbathing on the beach. Just invest in some good speakers.
For those that like their Drum'n'Bass served straight up, check out Seba with Identity, who mixes some classic DnB basslines and beats with other-worldly robotic lyrics. "This is my sound."
For some more of what I'm pioneering as 'SexDrop', have a listen to Stwo's Lovin U, which layers some beautiful female RnB lyrics on top of a wobble that makes you want to procreate. Alternatively, just switch on your subwoofer and let the bass make love to that.
I've talked a lot about the 'New Indie' sound, and The Night VI's exemplifies the female-led strand of the genre. With echoes of bands like The Jezabels and Camera Obscura, Thinking of You has a sadness and a strength about it; a vunerability that comes from the nature of the lyrics and a solidarity from the confident vocals. Good stuff.
I've been banging on about London Grammar for ages, and it would seem that at last they might get some global recognition: they've teamed up with Disclosure on their new track, Help Me Lose My Mind. As usual, Disclosure have guaranteed that you won't be able to get this song out of your head for weeks, but good on the boys for choosing such great artists to do collabs with. For a second serving of London Grammar, they've also released a solo track, Strong. With a distinctive 90's-inspired, feminist feel (take your cues from Alanis Morisette, No Doubt, Garbage, Madonna's Frozen), it really is a beautiful showcase of lead singer Hannah Reid's vocal range.
Right, hands up who likes saxophone solos? That's everyone then. This week I'm giving you double doses, first with Postiljonen's Atlantis, whose 80's sounding solo gives way an ethereal Chillwave number; secondly with Klingande and their Prog House track Jubel (think along the lines of Klangkarussell's Sonnentanz).
If you'd rather some Electro with your House, stick on Vicetone's remix of Matthew Koma's One Night. A total guilty pleasure, but hey, everything in moderation, right?
Seeing as you've nearly strayed into the world of Pop, why not jump right in and check out Urban Noize's remix of the utterly fabulous Lana Del Rey's new track, American, which features another chart heavyweight: Jay-Z. This is possibly the American equivalent of that collaboration Florence & The Machine did with Dizzee Rascal at Glastonbury. Legendary? You decide.
T'wouldn't be a Tune Tape without a cover or two. This week it's split between Parra for Cuva's cover of Chris Isaak's classic Wicked Games (a song I now have three different cover versions of on my iTunes. Apparently it never gets old.), and Alice Jemima taking on Blackstreet's No Diggity (of which, if you were paying attention, I featured Bondax's remix of last week - yay for continuity!). Parra for Cuva puts a groovy little salsa beat onto Isaak's original, as well as using female vocals to give it a different edge. I think it works. As for Alice Jemima, I still prefer Chet Faker's cover of the same song, but hey, good effort gal.
Jai Paul, after the success of relatively underground anthems like BTSTU and Jasmine, has returned with his new track, Track 3/Zion Wolf. It's a slightly different sound for him, perhaps a little more commercial, but no less catchy or enjoyable. Have a listen and see if you agree.
If you're up for a solo boogie (who isn't), stick on Figgy's track, Can't Hide, who, in a Giraffage style, mixes up the CeCe Peniston (lol) classic, Finally, in a totally awesome way. Forget tragic Dad-dancing on a wedding discofloor, this track comes with bags of street cred. Wig out, man.
Whenever I find a good mashup, I try to include it in the Tune Tape. This week's is Blood Orange's mix of Kendrick Lamar and The Sugababes. And who doesn't love the Sugababes? No-one? Well, let Blood Orange change your mind with this mashup - there's no guilt in this pleasure.
As we're on Pop, Panic City have remixed Maroon 5's new track, Love Somebody quite successfully. Although I have no idea what the original sounds like, they've laid down an Electro House pulse onto it, and come out with something that a DJ like Tiesto would be pretty proud of. Totally Euro, totally naughty, totally worth it.
On the back of their huge hit, 100%, Duke Dumont has released its new offering, Hold On, which is a bit more introspective and deep than their previous track. 'Hold On' to your hats, this one's gonna be big.
Finally for some Chillwave (swiftly turning into the signature genre of Tune Tapes), have a play of Brothertiger and Gallant, who serve up some self-searching music with In Mind and If It Hurts, respectively. Perfect for all my 'Rants' on here, but hopefully they'll provide some chilled-out contrast to your Summer playlist.

 

 

 

Whichever part of the Northern Hemisphere you're in, enjoy the Summer Sunshine!

 

Love,

Belle x

Wish List Mondays #16 - Oscars 2013 Special

Well, it was kind of inevitable, wasn't it. In case you live on the moon, The 85th Academy Awards - or The Oscars, to you and I - was held last night in *Hollywood* (yes, the stars are necessary.). Those who were awarded a little gold man included Jennifer Lawrence for Silver Linings Playbook (at only 22!), Anne Hathaway for her role of Fantine in Les Mis (for around 15 minutes on-screen...), Daniel Day-Lewis for Lincoln (his THIRD Academy Award) and Quentin Tarantino for best screenplay in Django Unchained. This being a fashion post, I won't go into a debate on whether I think the awards were given to the right people as that always sounds quite pretentious and boring. Instead, I'm going to give a low-down on the Red Carpet hits and misses of this year's Academy Awards, tell you how to emulate the A-Listers, before moving on to a normal weekly Wish List. Lately, I've had a few people saying that my Wish Lists are too expensive (in my defence, they're a WISH LIST, not an actual shopping list...), but to prove to all you Doubting Thomas's that I can do style on a budget, I've set myself the challenge of only using High Street stores, so you can go out and buy it all! For anyone that wants to watch it, you can download the Red Carpet coverage HERE, and watch the Awards Ceremony itself HERE. Thank you please. 

(All Red Carpet photos sourced from vogue.co.uk.)

Best Dressed

This years Oscars saw two big trends on the Red Carpet: Nude Tones & Navies. Led by Oscar Winners Anne Hathaway and Jennifer Lawrence, nude is effortlessly classic and super-flattering. If you prefer darker tones, navy - as seen on Nominated Actress Helen Hunt - is much less boring than black, and doesn't drain your skin tone...

Get The Look

1. Sequinned-Shoulder Gown, Mango, £120. Buy it here.
2. 'Tizian' Earrings, Swarovski, £100. Buy them here.
3. 'Nanette' Shoes, KG Kurt Geiger, £130. Buy them here.

1. Chiffon Maxi Dress by Wal G, Topshop, £40. Buy it here.
2. 'Filippa' Chain Mail Box Clutch, Reiss, £125. Buy it here.
3. Chandelier Crystals Necklace, Mango, £23. Buy it here.
4. Dinner Jacket with Satin Collar, The Kooples, £415. Buy it here.
5. Jacquard Dress Suit Trousers, The Kooples, £175. Buy them here.
6. Navy Silk Knitted Tie, Reiss, £55. Buy it here.
7. 'Anton' Black Shoes, KG Kurt Geiger, £110. Buy them here.

Worst Dressed

Obviously, the most fun you can have on Oscars night (besides finding yourself trapped in a closet with Ryan Gosling), is slating the people who made epic fails in their outfit choices. The theme of disasters this year seems to be 'Dancing on Ice', with gowns that wouldn't look out of place on a competing ex-Hollyoaks actress. Here come the Fashion Police...

Alright, that's enough bitching - time for this week's Wish List!

1. Short-Sleeved Panel Shirt, Topshop, £34. Ask the panel, here.

2. Crystals and Chains Necklace, Mango, £43. Be part of a chain gang, here.

3. Stripe Fishnet Underwire Bra, Topshop, £16. Bras and Stripes, here.

4. Grey Cotton-Blended V-Neck Sweater, Uniqlo, £20. 50 Shades of Grey, here.

5. Knitted Zip-Back Jumper, Topshop, £36. Zip it, here.

6. Jacquard-Patterned Carpet Handbag, Zara, £80. No magic carpets were harmed, here.

7. Black Imitation Leather Shorts, French Connection, £50. BDSM-Chic, here.

8. Sparkle Earrings, H&M, £7. Add a bit of sparkle, here.

9. Two-Tone Round Sunglasses, Topshop, £14. Hold the tone, here.

10. Two-Tone Sandals, H&M, £30. Lower the tone (to your toes), here.

11. Nail Polish in Valley, Topshop, £6. Down in the Valley, here.

12. Lip Paint in Peach, Barry M, £5. Just peachy, here.

13. 'Amore' Black Court Shoe, KG Kurt Geiger, £110. That's amore, here.

Love, 

Belle x 

Film Fest Fridays #4

Back in the Christmas holidays, my mum and I watched the BBC film The Girl, starring Sienna Miller as Tippi Hedren - the actress plucked from obscurity by Alfred Hitchcock to play the lead in his iconic film The Birds. In this film, which focuses on what we would now recognise as sexual harassment from Hitchcock (played by Toby Jones) to most girls under his directorial jurisdiction, we are given a glimpse of the flip-side to the 'glamour' of 50s' Hollywood. The Girl centres around the filming of the 1963 film The Birds, whereas the forthcoming film Hitchcock is concerned with the story behind Psycho (1960). This week, I was lucky enough to see an advance screening of the latter - which is due out in cinemas in the UK next Friday. Inspired by The Girl and Hitchcock respectively, I decided to watch the infamous Psycho a few days later - which ticks off another movie I hadn't seen on IMDB's Top 100. Here's what I thought of them...

Hitchcock (in cinemas February 8th)

IMDB Rating: 7/10
My Rating: 6/10

Set in the last few months of the 1950's, Alfred Hitchcock (played by Anthony Hopkins) is already renowned for being 'The Master of Suspense'; a cinematic genius with the respect and adoration of Hollywood. As we know, 'behind every great man, there's a great woman' - in Hitchcock's case, this is his steadfast wife, Alma (Helen Mirren). From the beginning, we are made aware that marital relations between the pair aren't exactly conventional - especially for the period. It's essentially a working relationship - Alma jokes about Hitch's wandering eye whilst proof-reading potential scripts for upcoming projects, Hitch hides wine in the magazine rack...it's the stuff of comedic duos. Which is one of my many problems with the film - it's all a bit too slapstick. Hitchcock waddles across the screen; his bloated-bellied silhouette more like a cartoon character than a real person, and the accent Hopkins has employed is over-the-top and laughable. Rather than having any real 'stage presence' (as the real Hitchcock and Toby Jones's depiction do have), Hopkins pouts his way through the film in an over-inflated fat suit, whilst licking his lips at the pretty young things that totter by. He's a sneaky fat pervert - but more Michelin man than Jimmy Saville. This portrayal of Hitchcock - especially vis-a-vis his penchant for blondes - is in total contrast to the dark, menacing figure we see in The Girl. It's comparing a predator to a pest, and I think that is dangerous. This having been said, both films put Hitchcock in a fairly bad light. Neither one doubts his genius, but both show a darker side - varying from 'spoilt brat' (Hitchcock) to 'merciless sexual harasser' (The Birds). Whilst Hopkins's performance falls a bit flat, Helen Mirren gives a great portrayal of Hitchcock's long-suffering wife, Alma. Obviously a genius in her own right, she is forever eclipsed by her husband and his voracious ego. She is the thankless understudy that never gets to play the part. The main problem with Hitchcock is its lack of focus. The film tries to split your emotions and interest between two storylines; that of Alma and her laborious marriage to the director, and the story behind Psycho. Unfortunately it doesn't do either of these well enough for you to really care. Hitchcock's 'visits' from the real-life psycho Ed Gein (upon whom the adapted book and subsequent film is based on) are out of kilter with the rest of the film; desperately trying to clutch hold of some straws to hammer home the point of 'art mirroring life'. While the film touches upon some interesting ideas and situations, that's all it really does - touch upon them. All in all, it's an enjoyable, but blasé, look into the life of Alfred Hitchcock c.1960 with a vague background to the making of Psycho. Speaking of which...

Psycho (1960)
IMDB Rating: 8.6/10
My Rating: 8.5/10

Psycho was the first movie to take the Horror genre out of the gutter of 'B' movies and elevate it into a cinematic artwork. There was only one director who was capable of turning such a 'low-brow' form of entertainment into a sophisticated classic: Alfred Hitchcock. Based on the true-life events of a serial killer in the 1950's, Psycho centres around the disappearance of Marion Crane (played by Janet Leigh), and the hunt to find out the truth surrounding her vanishing. Psycho, however, refers not just to the deranged murderer responsible, but also to the film's defining aspect - it's psychological. From the first scenes of the film, the viewer is made to feel like a voyeur - like we are spying on the main characters, rather than them being 'shown' to us. It's almost like we don't have permission - which is a pretty unnerving feeling. Yet we can't look away. It's only in hindsight that we realise Hitchcock has given us the perspective of the psycho - Norman Bates, owner of the sinister off-road 'Bates Motel' - who looks through his peep-hole at Marion Crane, and is 'watching, always watching'. Bates, who looks more like a frat boy than a serial killer, is given a extra dose of disturbance through the film's dramatic use of shadows. The high contrast between light and dark (which changes after the 'shower incident') emphasises not just the physical, but also the mental, characteristics of the 'psycho'. Even more than 50 years on, Psycho still manages to make you jump. You also realise just how influential this film has been. Just a few references I noted were horror films centred around deserted motels (eg.Vacancy), cross-dressing psychopaths (eg.Silence of the Lambs), and South Park's City Sushi episode, which I watched last night and realise they copy the end scene of Psycho. Not to mention the use of atmospheric music signalling when to hide behind your popcorn. I have a feeling Psycho's one of those films that keeps giving - that every time you watch it, you see something new, or pick up on something different. It's truly timeless, and that's what makes a film a classic. Just don't take a shower afterwards.


Love,
Belle x

Week 3 - The Top 100 Film Challenge

Getting in just under the deadline of midnight today - right up to the wire. That's how I roll. There's been a serious theme of the '50's this week; three out of the five films (that's 60% for all you mathletes) I've watched have either been filmed in, or are set in, this 'golden era' of cinema. Guns have also featured prominently - first with The Departed on Thursday, continued in the film noir Sunset Boulevard on Friday and topped off with Full Metal Jacket and LA Confidential yesterday and today. I think next week I'll plump for a little less violence before I need to be treated for shellshock, but before I do, here are my reviews for this week:

Film: The Departed (2006)
Recommended by: Joe & James
Deserves its place in the Top 100?: Yes.

Why?: Wow. What a film! I have to admit, when I read the summary for this on IMDB, I was slightly dreading it. Cop dramas have never been my bag (baby), so it was with a begrudging sigh that I bit the metaphorical bullet and turned this on. Well, folks, the lady has been turned. For those who haven't seen it, it's a drama centred around two police trainees - one who graduates (Matt Damon), and one who doesn't (Leo 'my future husband' DiCaprio). Essentially, it's a story about a good guy in a bad place, and a bad guy in a good place - Damon gets hired as a big dog into the Boston police department, and DiCaprio gets hired to go undercover and work for one of the most violently twisted gangsters (Jack Nicholson) - who we know is in leagues with Damon. Neither DiCaprio or Damon knows each other's links to Nicholson, and the film turns into a winding game of 'cat and mouse' with enough twists to make your head spin. An interesting angle Scorsese uses in this film is the mental torture that DiCaprio goes through when undercover - his paranoia of being found out drives him almost to the brink of insanity. I won't spoil it for you, but there is one epic twist I did not see coming (for those who have seen it: the lift) which made my mouth hang open for a good five minutes. No joke. I looked more than a little demented. This film has definitely given me a new-found appreciation for the police drama - which I'm sure my boyfriend will thank you for.

Film: Singing in the Rain (1952)
Deserves its place in the Top 100?: No.

Why?: On Friday it was raining, so, rather aptly, I thought I might try to watch Singing in the Rain. Let me just say: I'm not a big fan of musicals. Last week I tried to watch Rock of Ages and couldn't make it past the third chord. Call me a party-pooper, but all those people - who seconds before were minding their own business, cleaning their cars and selling their groceries - suddenly bursting into song and dance really grinds my gears (Family Guy. High five.). To make it worse, I hadn't heard great things about Singing in the Rain. More specifically, I'd heard it was really gay. And no, I am not meaning that in the way they do in the film - I mean totally homosexual. However, what I watched (dare I say it), was, actually, quite enjoyable. It's set in the period of cinema which sees the conversion from silent films to 'talkies', and the problems this created for the actors (in this film one actress) and their accents which weren't fit to be heard. Warner Bros brings out the first of these 'new' films, and, to prevent both their careers and the studios they work under from going bust, the three characters decide to make a musical. Although there's enough cheese in this film to sink a ship, there was a noticeable absence of cringe-worthy group song and dance numbers; rather, they focused on solos or duets (which made it a lot easier to bear). The 'Make 'Em Laugh' song features an amazing comedy dance performance which looks a little like breakdancing (although obviously minus the flatcaps). And the scene where he's singing in the actual rain is a cinematic classic. They certainly don't make 'em like this any more. This having been said, I still can't believe this beat The Sound of Music to #84. Unforgivable. So in light of this atrocity, I am going to make a stance and state that it shouldn't be in the Top 100. I shall prepare myself for the backlash I will undoubtably receive from the gay community. Bring it bitches. 

Film: Sunset Boulevard (1950)
Deserves its place in the Top 100?: Yes.

Why?: Sunset Boulevard is film noir - but with a twist. Rather than a young and beautiful femme fatale, the deadly female in this movie is a washed-up silent movie star, living 'Miss Haversham-style' in a dilapidated old villa in the Hollywood Hills. The leading man is Joe Gillis, an exasperated screenwriter with chronic writer's block and mounting debts, who accidentally stumbles upon this time warp whilst running from his debt collectors. With the premise of 'tidying up' her script, the ageing and excessive Norma Desmond essentially imprisons him in her house, showering him with expensive gifts and the full five-star treatment. Slowly but surely, this insecure dame falls in love with the young writer, and attempts a come-back to the silver screen. Unfortunately for Norma, Joe isn't as comfortable as the previous inhabitants of this mansion (most of whom, we gather, have used the poor lady for her money) and starts to prepare himself for his own comeback, with the help of his friend's fiancé and fellow writer (Betty Shaefer). The cinematography is everything you expect from a film noir - contrasts of light and dark; soft focus shots, and dramatic pauses; with a plot so saturated with suspense you are almost driven as mad as Norma herself. It's a beautiful film - in a slightly eerie, gothic way - and a real testament to 1950's cinema. It's a movie that stays with you and still manages to be 'current' - over 60 years after it's creation. Best to watch when you're in one of those melodramatic moods.

Film: Full Metal Jacket (1980)
Recommended by: Sophie
Deserves its place in the Top 100?: Yes.

Why?: On Tuesday I got invited to my first ever film club. Picturing a room full of skinny film students with crazy haircuts and a penchant for black, I had my fears about attending - especially when I rocked up in an outfit that had been given approximately 3 seconds of thought. I needn't have feared, as apparently film clubs in t'north do things differently. Held in a lecture theatre, it was a refreshingly laid-back affair, with Iron-Bru and popcorn available for a nominal fee, and characters ranging from mature students to rather glam looking gals. Armed with a can of 'Bru and a packet of crisps, I settled down to watch Full Metal Jacket - my second fear of the evening. I'm a big girl when it comes to war movies. Call me sexist, but I just believe it's a genre reserved for the males; namely Call of Duty enthusiasts and army hopefuls. Once again, I have to admit I was wrong. The film is split into two parts; the first set in the Marine's military training camp, the second in the Vietnam War. Rather than being an essay on patriotism and War (like a lot of similarly themed films), it's more of a psychological study on how war - both actual and prospective - affects people. Essentially, it's a film about the individual rather than the collective. How war affects peoples' psyches is explored through a number of characters and episodes: Pike in the military training camp, the helicopter gunner who relishes shooting innocent Vietnamese, and the 'party' a division of soldiers hold for an enemy corpse - each equally disturbing and unsettling. It is, as Pike says and Joker emphasises, "a world of shit". It is this "world of shit" that is desired to be concealed from both fellow soldiers and the world through the army-sponsered newspaper, and the film then enters into a debate on 'morale versus truth' - whether it is better to feed men lies to keep them fighting, or whether they should know what they are really fighting for. Trying to figure this out is Joker, a member of the Marines from the first half of the film, who is posted as a journalist to cover the war from the point of view of a rurally-posted soldier. He steadily becomes more disenchanted with what he sees, and the cloak of 'all for one and one for all' that was placed on the Marines when they graduated from their camp is slowly taken off as the film goes on. In the end, we realise that war is not a group of men fighting for their country - it is a bunch of individuals out for themselves. Patriotism has no place here. Although there are some stereotypical elements in the film (namely the 'shouty army major' and the 'me-so-horny' Vietnamese prostitutes), it has a real message to convey - a message that will continue to be relevant as long as there is war. 

Film: L.A. Confidential (1995)
Deserves its place in the Top 100?: Yes.

Why?: I started this week with a film about bent cops in Boston, and am ending it with crooked ones in LA. In this film, set in the 'golden age' of Hollywood, we become acquainted with the seedy underworld of the LAPD - before the days of DNA, electronic records and lie detectors. Centred around four main policemen played by Kevin Spacey, Guy Pearce, Russell Crowe and James Cromwell respectively - each represents a shade on the spectrum of corruption present in 1950's Los Angeles. It mirrors a film noir in many ways: the complicated plot, good twist and a femme fatale - but without the soft focus or high gloss applied to the 'golden oldies'. The mirror in this film is cracked. Take the femmes fatales, for instance. Rather than being the real Rita Hayworth's or Veronica Lake's, they are prostitutes who have been cosmetically altered to look like their contemporaneous leading ladies, for 'whatever you desire'. The punches look real, the shoot-outs more tense, and there is a noticeable lack of 'one-liners'. A big theme in the film is the 'price of justice', and with a body count easily in the dozens, it turns out this price is pretty high. As Guy Pearce's character aptly puts it, most men "think that silence and integrity are the same thing". In this film, silence gets you killed - without integrity. In terms of character evolution, the film gets an A+. Watching the relationship between Guy Pearce and Russell Crowe go from mortal enemies who despise what each other stands for, to battling alongside each other for a shared passion for 'justice', is incredibly well done. With a plot line that could have very easily gone stale, it is a testament not only to the actors but to the director as well. It's a gritty, fast-paced police drama with enough interest to cater to all - I seriously recommend it.


Bring on next week!

Love,
Belle x

Week 1 - The Top 100 Film Challenge

Happy Halloween, y'all! It's been a week of fervent film watching for the Top 100 Film challenge that I set myself last week. For those of you who haven't read what this is (where have you been...), the post can be found here. Things kicked off with The Godfather (Parts I & II) last Wednesday, swiftly followed by The Good, The Bad and The Ugly and The Usual Suspects on Thursday. Keeping up the pace on Friday, I watched Taxi Driver on the train to Nottingham, continued with Reservoir Dogs on Monday and Pulp Fiction on Tuesday. Phew! So, as promised, here is my first review of the films I've watched this week.

1. Film: The Godfather (1972)
Deserves its place in the Top 100?: Yes.

Why?: "A man who doesn't spend time with his family can never be a real man." Boy is this film a lesson in family values. For those who haven't seen it, The Godfather centres around a New York Sicilian mafia family, the Corleone's, the head of which is played by Marlon Brando - who, once you get used to his accent (which sounds like he's speaking through a mouth full of cotton wool), is an incredible character. It's a film all about the importance - and influence - of family, and what happens when anyone tries to knot those family ties. Well, don't mess with the best - the best don't mess. While family definitely comes first in this movie, food - in typical Sicilian fashion - comes a close second: "Ok, so you shot two of 'em, now what ya gonna do?" "Sit down and finish my dinner." Damn straight. If nothing else, watch it just to gaze at a young Al Pacino, who plays Don Corleone's 'good-guy-gone-bad' son. Bonafide eye candy.

2. Film: The Godfather: Part II (1974)
Deserves its place in the Top 100?: No.

Why?: The film is split between the 'current' dealings of the Corleone family, who have moved to Nevada, and a retrospective of Vito Corleone's (Marlon Brando in the previous film) early life. Michael Corleone (Al Pacino) is badder than ever, knocking out his enemies left right and centre, but for me, the story just doesn't work when taken out of New York. The flashbacks of Vito's early life (who is played by a rather handsome Robert De Niro) are the best part of the film - reminiscent of Gangs of New York, but less stagey. The other half kind of just drags on a bit, and you find yourself realising that Michael Corleone has not only murdered most of the characters, but also your afternoon. The storyline is same-y and there is no real plot or psychological evolution like there is in the first film. Best line? "If anything in this life is certain, if history has taught us anything, it is that you can kill anyone."

3. Film: The Good, The Bad and The Ugly (1966)
Recommended by: Edmund
Deserves its place in the Top 100?: Yeah...

Why?: I have two dislikes in film. One is anything set in space. The other is Westerns. I can't stand the 'piow piow' of the gunshots, the cheesy one-liners, and the next-to-none dialogue; obviously The Good, The Bad and The Ugly was going to test me. For those who haven't seen it (i.e. pretty much any female), it's a film about three men in the WWW (that's the Wild Wild West, for those not in the know) at the time of the American Civil War, who are all after some buried treasure. A fairly simple storyline, you might say. I would agree with you. Which is why it is mightily puzzling as to why it takes over three hours to complete. I am putting this down to the inordinate amount of time spent on slow panoramas of the desert, close-ups of squinted eyes, and duels with people who are inconsequential to the overall plot. However, there is a flip-side. Firstly, the score. The film opens with that famous theme tune - you know the one:
 
and, to be fair, the music doesn't disappoint throughout. It's dramatic, and it works. Secondly, young Clint Eastwood is a hottie. He's one of those brooding silent types. Kind of like Angel in Buffy, but more tanned and with a gun instead of a piece of wood. Thirdly, even I, with my hatred of Westerns, can tell this is an iconic piece of cinema. It's what all subsequent Westerns have tried to copy - without much success. It IS cheesy as hell, I won't lie. And after this, you would be hard pressed to make me watch it again. But, if for no other reason than its status in cinematic history, it does deserve a place in the Top 100. 

4. Film: The Usual Suspects (1995)
Recommended by: Will
Deserves its place in the Top 100?: Yes.

Why?: If you look up 'mindfuck' in the dictionary, this film would be its definition. It's a story about five criminals, told in a series of intricate flashbacks by Kevin Spacey's character (Verbal Kint) from an interrogation in a Californian Police Department - centring around the arson of a boat. Flicking backwards and forwards in time is a little disjointing at the beginning, but you soon get used to it and find yourself totally immersed in the incredible storytelling of Verbal Kint. It's a masterclass in complex plot lines, with a twist at the end which will have you mouthing "No fucking way" at the screen when the credits roll. If you haven't watched it - do. If you have - watch it again; that's what I'm about to do right now.

5. Film: Taxi Driver (1976)
Recommended by: Tom
Deserves its place in the Top 100?: Yes.

Why?: Another film starring the young Robert De Niro, this time playing an obsessive taxi driver who has a problem with the world around him: "All the animals come out at night - whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets." Likened to an American Clockwork Orange, it's pretty shocking for something filmed nearly 40 years ago; sex, violence and expletives feature heavily, against a backdrop of 1970's New York. The character of Travis Bickle is both terrifying and fascinating; you know from the start that something is not 'right' with him, and throughout the film you are kept guessing what big thing he's going to pull off. For me, the suspense really wasn't worth it. The climax - a shoot-out at a prostitute's apartment - just was not big enough. This having been said, De Niro's character is brilliant and unforgettable, and 1970's New York is amazing to see. So, for those reasons, it deserves to be up there.

6. Film: Reservoir Dogs (1992)
Recommended by: Natalie
Deserves its place in the Top 100?: Yes.

Why?: I'm a massive girl when it comes to blood and violence, so when I found out that this was a Tarantino movie, I expected to spend most of my time hiding behind a pillow. However, this is no Kill Bill bloodbath. Granted, there are some pretty gory scenes in the middle - namely when a cop gets his ear sliced off - but the rest of it is pretty tame, by most standards. What really makes the film is the dialogue. The script is genius, full of clever banter and anecdotes between the characters: "Hey Joe, you want me to shoot this guy?!" "If you shoot me in a dream you better wake up and apologise." The film centres around a jewellery heist gone wrong; someone in the group has tipped off the police, and the men have split - some are dead, some are dying, and a couple wind up in a warehouse together. The backstories of the thieves are told in a series of flashbacks under their aliases (Mr White, Mr Pink, Mr Orange, etc) until we eventually find out who the rat is. Visually, it's not all that impressive or exciting, but the screenplay pushes the film on regardless. Personally, I've never seen a film like it, so for its script and originality - it's got to be in the Top 100.

7. Film: Pulp Fiction (1994)
Recommended by: Pretty much everyone.
Deserves its place in the Top 100?: Yes.

Why?: Another day, another Tarantino movie. But what a movie. Pulp Fiction is, in many ways, very similar to Reservoir Dogs. But it's bigger, better and way more cinematically evolved than the earlier film. For starters, it looks better. The scenes are more visual (and therefore more memorable), the costumes are brilliant, and the actors - and acting - are world-class. Secondly, the story is better; instead of flashbacks, the film works like a roundabout book of short stories - a complex web of scenarios with one big fat spider in the middle: the mysterious Marcellus. It covers love (both requited and un-), revenge, crime, homosexual rape, and much more - all tied together with lots and lots of angry violence. Thirdly, the soundtrack is iconic. Credits roll to what more modern readers will recognise as the sample from The Black Eyed Peas Pump It, which, now that I've seen the movie, I basically think is musical sacrilege. Another sample is used in a more respectable song - Fun Lovin' Criminals's Scooby Snacks. There are others you will recognise in the film, but it's an example of just how far this movie's cultural reach is. Finally, the screenplay is just out of this world. Sharp, quick exchanges and long, epic monologues - if you ask what Shakespeare would be writing if he lived in the 90's, this would be your answer: 
"You know what's on my mind right now? It AIN'T the coffee in my kitchen. It's the dead nigger in my garage. When you came pulling in here, did you notice a sign on the front of my house that said 'Dead Nigger Storage'? DID YOU NOTICE A SIGN ON THE FRONT OF MY HOUSE THAT SAID 'DEAD NIGGER STORAGE'?" 
"No. I didn't." 
"You know why you didn't see that sign?" 
"Why."
"'CAUSE IT AIN'T THERE, 'CAUSE STORING DEAD NIGGERS AIN'T MY FUCKIN' BUSINESS, THAT'S WHY!"
Now that's some effing poetry.



Keep the recommendations rolling in, guys. 7 down, 58 to go.

Love,
Belle x

The Top 100 Film Challenge

Anyone who knows me knows that I love film. And no, not just Disney films, you smart arses. Every Orange Wednesday - and most Saturdays and Sundays - you'll find me at the cinema, large popcorn in hand, settling down to watch the latest flick. Before today, I would have probably told you I was a bit of a film buff, but that changed when I decided to have a casual look at what the top 100 films on IMDB were. You might imagine my shock and amazement when I realised I had seen precisely 35% of these. So, obviously, this has to change. I've decided to set myself the challenge of watching the 65 films I haven't seen before Christmas this year. Seeing as there are only 61 days until Christmas (I know right? So exciting!) this averages out at very slightly more than one film a day, so I've got some work cut out for me.

My plan is to share with you, every week, my thoughts on the films I've seen, and whether or not I think they deserve their place in the 'Top 100'. So you guys can chart my progress, I've made a wee website, with all the films I have still to watch in red, and all those I have seen crossed out (it's not rocket science). Admittedly, there are some pretty embarrassing things I have never gotten round to watching, which include: 

• The whole Star Wars sextet (yep, even the new ones with Ewan McGregor)
• The Godfather Trilogy
• Any Indiana Jones.
• The Terminator Movies
• Back to the Future
• Pretty much anything from the 80's or set in space.

I've decided to start with The Godfather (Parts I & II), and then I thought you guys could give me direction from there. Comment, tweet or FB me your suggestions and recommendations for this week, and I will do my best to watch them. Also check out the IMDB list (here) - how many have you seen?

Love,

Belle x