FILM@TW0_SENSER: Man Of Tai Chi

Oh my goodness me - where to start with this? To watch Man of Tai Chi is to get a ringside seat into the near comatose mind of debut director, Keanu Reeves...

Hello, hello, is there anybody there? Keanu seems to be stuck in a world where the action scenes from the Matrix keep running and re-running, until the film itself starts to wear thin.

To say you've seen this all before would be an understatement.A typical martial arts film, where an innocent martial arts practitioner is tempted by 'the dark side' (played by a one-dimensional Reeves, dressed in grey or black), and bucket-loads of money - to beat all his opponents and ultimately commit the ultimate Tai Chi sin - to kill.

There is hardly any character development. There is no explanation as to the motivation of Reeves' character, and main protagonist, Tiger Chen (a veteran stunt artist from the Matrix films) struggles to convince - unfortunately looking more like a bow-legged uncle than a powerful young martial artist exponent.

Adding to the cast is a cardboard Karen Mok, playing a detective trying to track down Reeves' illegal underground fighting tournaments. She's got to be possibly the worst detective in history, always turning up late at the scene of a crime, and apparently hiding in plain view, so that the bad guys always know where she is...

What a film, what a film... if you're watching purely for fight scenes, then you won't be disappointed, as our Tai Chi hero is pitted against all other forms of martial arts, to prove to everyone just how powerful Tai Chi can be.

But after half an hour of non-stop grunts and groaning sound effects as they kick the stuffing out of each other, the noise can start testing your patience... 

To give this movie 2 out of 10 would be generous... All that's left to be said is... "Keanu, what were you thinking? Maybe you took one too many blue pills?"

WARNING: The trailer is much better than the actual film!

MUSIC@TWO_SENSER: GET LUCKY - A TALE OF TWO VERSIONS

One of the great things about music is how a single song can be interpreted and re-interpreted; how a track originally written for the dance floor can be taken apart and re-imagined into something completely different.

I love coming across these unexpected gems, and sometimes the covers often turn out to have more of an impact than the originals.

Take for instance, the happy, funky tune that is Get Lucky by Daft Punk. This new collaboration by the French electronic music masters with Pharrell Williams on vocals and the inimitable sound of Nile Rodgers' guitar brilliantly encapsulates where today's dance music began and where it is today in just over four minutes. The production is immaculate and instantly raises the bar for the entire dance pop enterprise.


Now... look what happens when London folk trio Daughter comes along and produces this amazing cover. Rather than stick within constraints one might consider genre-appropriate, Daughter often branch out into the delightfully absurd with their cover work.

In the hands of singer Elena Tosca and her band, the track takes on a brooding, chilly air and soaring, synth-heavy soundscape, giving so much more of an intimate meaning to the lyrics. But that catchy beat and irresistible chorus are kept pretty much intact

A beautiful thing:

MUSIC@TWO_SENSER: Wyclef Jean - Bugatti

After a brief hiatus, and having emerged relatively unscathed but still reeling from his charitable endeavors in earthquake-stricken Haiti, The General, Wyclef Jean is back.

He's been criticized for mismanaging his charity, and becoming overwhelmed with politics in the country of his birth, Haiti. But Wyclef's heart was obviously in the right place - perhaps he was just badly advised.

Now he's back in the studio; still sounding out his pro-Haitian agenda and standing up to his detractors, but the General also seems to have found his voice again - freestyling effortlessly and spitting out tough lyrics on his new release, April Showers.

Here's a cut from the album, entitled Bugatti. He's in good form. Obviously leaving politics and gossip behind, has been a good thing for Wyclef Jean...

ART@TWO_SENSER: Richard Macdonald - Magical Energies

World-renowned sculptor Richard MacDonald draws inspiration from Cirque du Soleil in a beautiful celebration of the human form.

How can the fluid movements of dance be captured in a medium as rigid and static as sculpture? No one answers this better than artist and sculptor Richard MacDonald, who seems to have made that fusion of opposing forces his trademark. 

Many of his best-known works have been of celebrated performers and athletes – his sculptures seem to capture the very essence of movement, emotion and reaction. “I’ve always loved to dance myself,” he says. “So when I watch dancers move, I have an innate sense for what they do.”

His latest collection, Magical Energies, centres on that most breathtakingly graceful and dextrous performing troupe in the world: Canada’s Cirque du Soleil. These works are the result of his being given exclusive access to the company. This rare privilege was the result of MacDonald striking up a fast friendship with Cirque creator Guy Laliberte. And it soon led to a rich vein of inspiration.

“Who wouldn’t be captivated by Cirque du Soleil?” asks the 66-year-old American. “Being able to know the Cirque performers as friends – to see them training, playing, laughing, in and out of character and costume – this experience gives richness and authenticity to my work,” he declares.

Born in 1946 and raised in California, MacDonald was introduced to art as a child by his graphic designer uncle. He enrolled at the Art Center College of Design in Pasadena, where he trained in professional arts before embarking on successful career as a commercial illustrator. This abruptly came to an end in his late 30s, when a fire destroyed his studio. Literally left with a clean slate, MacDonald decided to focus on sculpting after he created a sculpture study to better understand a painting. Within 10 years, he had become one of the most collected sculptors in the US. One of his most famous works is The Flair, a sculpture of a gymnast created for the 1996 Summer Olympics.

The sculptor believes his lack of formal training in that specific discipline actually helped in his success. “I was able to explore and invent my own sculptural vocabulary with a fresh eye,” he says. Working with Cirque du Soleil turned out to be physically challenging to both model and artist. MacDonald’s technique famously involves drawing and sculpting his subjects over and over again, often requiring them to repeat a specific dance move or gesture.

“I work with great physical intensity and rapidity. It is as much a ‘workout’ for me as it is for my athletic models,” he describes. “My oil-based clay is warmed, so it can be easily manipulated. And nothing can slow down the connection between my model, my eyes, my hands and the clay. Sometimes, I will set up several stations of clay and work from one to the other, to capture different phases of a dancer’s movement.”

MacDonald begins each with a thought, an idea or feeling. He creates a loose study of his subject in clay, typically about a quarter life size. This is then refined and sharpened before being “scaled up” to full size. After this, plaster moulds are cast, a wax replica is made and refined, before molten bronze is poured into the finalised cast. Once cooled, the bronze is released from the casing, chemicals are then hand-applied, and the heat of a blowtorch is used to create a patina. The finished sculpture is then affixed to a marble base.

 MacDonald is especially excited when his giant sculptures are displayed in public areas. like busy shopping districts and high streets. 

“They’re best enjoyed at a 360-degree rotation,” he says. MacDonald’s study of the human form is infused with movement and magic.  

“I am able to translate that experience into a sculpture that carries with it that spark of life.

MUSIC@TWO_SENSER: Orbital - Live at KEXP

When I was a teenager in the late 1990's, Techno was ruling the airwaves. It was alternative, rebellious and had this sub-culture associated with it that made it cool and edgy.

Orbital were at the forefront of this Techno revolution, and helped it become part of mainstream popular music.

The band's name was taken from Greater London's orbital motorway, the M25, which was central to the early rave scene and party network in the South East during the early days of acid house.

Orbital were both critically and commercially successful, and known particularly for their element of live improvisation during shows, a rarity among techno acts.

The English electronic duo, consisting of brothers Phil and Paul Hartnoll, enjoyed a career that ran from 1989 until 2004.  In 2009 they reformed for a number of live events, but that was about it.

Their music has since become synonymous with countless video games and movie soundtracks. Their electro, punk  influenced beats have remained timeless, even over a decade later.  

But now, finally, they've reunited properly and have been back in the studio recording fresh material.
In this live set from Seattle's KEXP Radio, the lads perform tracks from their new album, Wonky.

Sounding great:

FILM@TWO_SENSER: Mandela: Long walk To Freedom

Idris Elba: The man is positively on fire right now. Earlier this year he was captaining the Prometheus, and now he's cancelling the Apocalypse on Pacific Rim, and bending the rules on the BBC's formidable crime drama, Luther...

After his Golden Globe win for Luther, Elba has been gradually maneuvered into the Hollywood Spotlight and his obvious screen presence has not gone unnoticed.

Even starring in the dubious Ghost Rider 2 has done nothing to slow him down.

And now with the release of the first trailer for the year's-end Mandela biopic, the Oscars may well be calling.

Apparently the casting was met with mixed reviews with some critics wondering if Elba could play a convincing Mandela – frankly any attempt at playing Nelson Mandela is dicey with South African audiences disapproving of everyone from Terrence Howard to Danny Glover playing South Africa’s first democratically elected President.

But Idris certainly seems to have done his homework with regards to the iconic leader's voice and accent...  Although based on Nelson Mandela's biography, they've obviously beefed up the action in typical Hollywood style, which probably means an inevitable watering-down of any political agendas.

I await with anticipation:

MUSIC@TWO_SENSER: The Crystal Method - Born Too Slow

L.A.'s Crystal Method have been referred to as America's answer to the Chemical Brothers. A dance-based electronic duo with a definite rock band feel, the comparison would seem appropriate, although it tends to erase what makes the group distinct: a solid base in American hip-hop, rock, soul, and pop.

Formed in 1993 by Ken Jordan and Scott Kirkland, the pair's demand to be taken seriously as a band (as opposed to the enforced anonymity of most techno acts, and something of a new concept for American dance producers) extended to incessant live performances, and Crystal Method's increasing popularity both in the clubs and among radio jocks led to record deals, producing seven albums to date.

The Crystal Method's music has appeared in numerous TV shows, films, video games, and advertisements. Their best-selling album, Vegas, was certified platinum in 2007.

So what's all the fuss about? Check out one of my TCM favourites, Born Too Slow...

The song was famously featured on EA's Need for Speed: Underground in 2003, and features the vocals of Kyuss lead singer John Garcia and guitar by Limp Bizkit's Wes Borland. The music video was actually directed by Gore Verbinski, director of such films as The Mexican, The Ring, and the Pirates of the Caribbean series.

Verbinski liked the song so much, he asked The Crystal Method if he could direct the video for it. Wes Borland makes a cameo appearance as a man using a pay phone. Fitness expert Billy Blanks starred in the video as the silver man. Scott Kirkland and Ken Jordan also cameo as the two men in line after the silver man gets his drink.

Enjoy!

FILM@TWO_SENSER: Snipes' Slight Return...

There are certain roles that define a successful actor's career. Irrespective of how many roles he's ever played, there's usually just one character that transforms him into a household name, and secures his place in our collective memory.

For Wesley Snipes it was, and forever will be, Blade. He was literally built for the iconic role of vigilante vampire killer - tattoos, samurai sword and razor-sharp threads included...

Snipes had many headlining roles before that, but Blade clearly defined him, so much so that you could never imagine anyone else playing the part (as clearly demonstrated by the highly forgettable mini-series spin-off).

The problem was that after Blades 1, 2 and 3, what else could Snipes do with the role, and where else could he go?

Well as it happened, it turned out to be jail... Tax evasion doesn't pay, and Snipes learned that the hard way.

While he did his time, all thoughts of Blade were put on the backburner. Nevertheless the vampire genre continued to draw the crowds to the movies, even though the plethora of Blade-like characters on offer were just poor imitations of the original.

But now Wesley Snipes is back, and he's already made a comeback on the big screen in a number of supporting roles.

But us diehard Blade fans are now waiting for Snipes to sink his teeth into a part that suits his brooding demeanor.

As yet, no talks of any Blade sequels, but the other day I chanced upon a trailer for an upcoming movie called Gallow Walkers... starring no less than Wesley Snipes as a Wild West gunslinger hunting down a plague of evil undead... Cool!



I'd call it Cowboy Blade or something similar... the role looks that familiar...

Unfortunately it looks more like Straight-to-DVD material - but whatever said and done, its good to have Snipes back where he belongs.

And hopefully this'll be a taste of more gory  good things to come...

MUSIC@TWO_SENSER: Dub FX + Stamina MC: Only Human

A loop station, effects pedals and a microphone - put 'em all together and you get DUB FX, the next generation DJ from outta Australia, who's been taking Cyberspace by storm.

Developing his own innovative sound and emulating well-known dance genres. Dub FX has collaborated with various rappers and musicians that has now taken him on a musical odyssey around the world.

Recently touring India and Sri Lanka, he's also added some eastern flavour to his music.  

Even in promoting his work, Dub FX is completely independent, using only: live performance, word of mouth, internet social networking and a number of easily accessible free music samples.

All hail the Independent State of Dub FX!

Doing his thing with collaborator, Stamina MC:

MUSIC@TWO_SENSER: Nujabes - Battlecry

There's nothing more satisfying than the accidental discovery of new music. This particular discovery is already over a couple of years old - but better late than never.

Japanese hip-hop producer Nujabes was an originator, fusing hip-hop, breakbeats, soul and jazz in huge sweeping instrumental soundscapes. 

He lent a lot of his music to groundbreaking Manga cartoon serials, including Samurai Champloo - from which this particular track is taken.


This track is just a taste of several hours more of similar material which Nujabes produced during a prolific career - until his untimely death in a traffic accident in 2010. 

He leaves behind a legacy of rhymes and rhythms... RIP.

 

FILM@TWO_SENSER: VALHALLA RISING

Yes, yes yes - the entire human population and their neighbours have watched The Avengers and been suitably gobsmacked by the stunning visual effects, the wise-guy script, the incredibly entertaining rendition of the Hulk, and a storyline that actually kept us enthralled for all of it's 2+ hours of screen-time.

Threading all the story tie-ins neatly together from the previous films, which in a sense served as a prequel to The Avengers, (namely Iron Man 1 + 2, Captain America, Thor, and The Incredible Hulk), my main concern was how to incorporate Thor into the mix...With origins and powers based almost completely around magic and mythology, Thor's character initially seemed at odds with the others who herald from a more reality-based world of science and technology.

Although The Avengers did manage to involve him satisfactorily in the script, if the true story (nay, legend) of Thor is to be adhered to, the fact remains that he is a God, and could in effect squash all those puny humans if he so desired - in fact more in keeping with the way his father Odin was portrayed in the Thor movie.   

Which is why, if you will now kindly remove yourself from the popcorn fantasy feel-good world of The Avengers, and follow me to a very different world - far, far away...

I have always felt that the subject and origins of Norse Mythology must be treated on celluloid as it was recounted in legend. In a landscape at the dawn of civilization; in a state of primal instinct; in a culture of mud and mist. Very few films have ever been made with this treatment; never really bringing to life the savagery of the Viking existence.

But Valhalla Rising changed all of that...

I would be the first to admit that my initial reaction was "WTF is this?!" The central protagonist is mute throughout the entire story. He is named One-Eye for obvious reasons, but none of the other few characters are ever mentioned by name. There are some exceptionally brutal scenes of violence; and some epically stunning visuals of harsh highland landscapes.

It seems like a complete contradiction to begin with, but director Nicolas Winding Refn has a cunning plan, solemnly unfolding his primitive world of life and death - until he rips you out of your comfort zone and plunges you into a harsh, unforgiving place where your next breath could very well be your last.

This is the story of One-Eye; in a sense it traces his personal journey from brutal beginnings to a brutal end.

There is an obvious comparison to be made here between his character and the one-eyed Odin, Lord of Valhalla. Some may even interpret Valhalla Rising as just that - the beginnings of a Legend, the origins of a mythology.

But it also could be seen as the eradication and demise of a pagan religion, wiped away by the onslaught of the then all-engulfing Christian Crusades.

Valhalla Rising is yours to interpret. It will do your head in - but in a good, thought-provoking way. If you give the film some justice and see it through to the bitter end, I'll guarantee it will leave you with plenty to think about, long after the credits have rolled...

And now, if you are in the right frame of mind... enjoy:

MUSIC@TWO_SENSER: Jay-Z_Live at Carnegie Hall

No matter what your opinion of the man, Jay-Z has staked a claim in the modern music industry. A rapper who has crossed musical borders, broken through genres, and instigated some really inspired collaborations.

He's on top of the world, and underlined his domination by performing live in one of the planet's most prestigious concert venues...

Just a decade or so ago, who would have thought that a rapper would be selling out the former home of the New York Philharmonic Orchestra. It certainly is a sign of the times.

There are many highlights in the March 2012 concert, with Jay-Z backed up not just by his band and DJs, but an entire orchestra as well. (Most ironic of all, the track "U Don't Know", a rap about selling cocaine - performed in this most hallowed of establishments!)

In this clip, Jay-Z opens the entire show with all guns blazing; Public Service Announcement:

FILM@TWO_SENSER: PROMETHEUS

Let's get things started with a bit of "catch-up" from earlier this year...

I watched Prometheus. Epic. It took about five minutes after the end credits for me to remember to close my mouth. 

Mostly for the right reasons... although there were some scenes that just left me stunned and I'm still not sure why - perhaps just waiting for my brain to still catch up.

Ridley Scott goes to places few other directors dare to venture - and on this wild celluloid ride into humanity's future/destiny/fate/origins, his pivotal character is ironically not human at all...

"David" is a state-of-the-art android; caretaker and steward of the human crew who set out for the stars aboard the starship, Prometheus.



He is just the latest incarnation of a line of memorable, more-human-than-human robot characters brought to life by Ridley Scott and those that followed in his wake. In the Alien franchise alone, we now have A, B, C, and D: Ash, Bishop, Call and of course David.

But to me the greatest on-screen rendition of a robot at odds with his prime directive is Roy Batty, the Nexus-6 Replicant, who stole every scene in Ridley Scott's Blade Runner.

Scott's love affair with the robot has taken him full circle, and in the disturbingly perfect semblance of humanity that is David, we see what in many ways may have been the beginnings of Roy, before the experiences of his volatile 4-year existence had taken their toll.

As Tyrell refers to Roy Batty as his 'prodigal son', so too does Peter Weyland describe David as the 'closet thing he ever had to a son'; that similar, tragic relationship between machine and maker...

Given time to develop, 8th Gen. David  may one day question his role of carrying out tasks that his "human counterparts find... distressing." But of course that's a potential storyline for Scott to decide on. Hopefully he will.

There are many things that can be said about Prometheus, and its obviously going to be spoken about for many years to come. But David as portrayed by Michael Fassbender (the performance of his career, thus far) is set to become a truly iconic character.

(I always believed there could be no-one else to reprise the role of Roy Batty in any sequel/reload of Blade Runner, which was why I have been against such an idea. But now in Fassbender, I see a fitting successor to Rutger Hauer's haunting portrayal).