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America's Next Top Model: Best Pictures and Models

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Let me make one thing clear: I live and breathe America's Next Top Model. The mixed up facts, wrong names, hateful slurs about Tyra and not having a clue what 'cycle' a picture is from does not detract from this. I know my shit. I was but a young teenager when ANTM first burst on to Living TV with it's flashy rainbow credits and 'wanna be on top?' mantra, and make no bones about it, I wanted to be on top. I was hooked from the first sight of Yoanna's 'fresh face' and Robyn's impassioned Christian preaching, all with a killer smize and bible to boot.

I had photographs of Tyra Banks and the cast of Charmed in my locker at school. I embarked on elaborate photo shoots with my best friend where we'd pose as bird creatures and circus tamers, learning to operate the darkest depths of Photoshop, embracing my fivehead and thinking, well if Tyra's favourite food is ribs, it makes total sense that mine is too. That must be why I love ribs so much, we're the same.

I've always been incensed by some of the bullshit decisions made on that show (and am hence vigorously motoring through a marathon of The Face and defecting something prettier and shinier), so I decided, hey - now that I run a kick-ass blog, I'm going to blog about this stuff. This stuff that runs round and round my head and weighs heavy on my every day life. I'm going to get it off my chest and do what Tyra plainly refuses to do: make the right choices. I want a fashion show, a modeling show - I'm interested in high fashion and what can actually go to print and work as part of an editorial or a global ad campaign. Here is my ANTM walk of fame - the shots and models that can actually go places.

Elise and the Snake


Plain and simple, cycle one at its best - classic modelling and beautiful styling. ANTM wasn't trying too hard back then, and Elise was a great model.


This Girl


This girl is from a certain cycle and I can't quite put my finger on it but she had a few shitties and then popped this photo out. I love it - there's something really captivating about it and it looks like part of a story.


Jaslene and the Tribal Dance


Jaslene is the stuff of ANTM legend. After failing to make it through the auditions on her first try, she made a come back in the next season when she got through and won the entire show. This is one of my favourite shots of Jaslene - she's always really present in an image and this is one of her best.


Hannah and the Leapord


Hannah was in a season with Brittani and Molly, so she was often overlooked amidst such high fashion contestants. This is when she came to life - she has a very H&M, Donna Karen, United Colours look that is so popular in high end high street advertising and the Teen Vogue demo. I think she's awesome.


Naima in Africa


Surely one of the best shots in ANTM history, and one of the best shoots. Sure, they randomly had to advertising a cheap looking moisturiser but with Naima killing it as a cheetah, Michelle (the flesh eating virus girl) as a zebra, Kahlen as an antelope - it's one of my favourite episodes to date. Quintessential ANTM.


Dominique and Coco


The episode where Coco Rocha did a shoot with the girls was one of the best photoshoot opportunities any working model could ever have. Rocha is a supermodel, a global star, the most coveted and wanted working model in the industry - and here's Crazy Lisa and Dominique giving it beans. It's not the prettiest shot, and it's not Dom's best, but there's energy there and I just love Dominique's face in general.


Yaya Dacosta and the Tarantula


This girl is no longer just Yaya - she's Yaya God Damn Dacosta. Yaya was a beautiful contestant and always brought her dance experience in to her shots to create something really exciting and full of verve. Having absolutely stormed the whole show and narrowly missing winning, Yaya has gone on to be the real winner- she's had substantial acting roles in The Kids Are Alright with Julianne Moore and Annette Bening, In Time opposite Justin Timberlake and the Jeff Bridges remake of Tron.


Nicole's Winners Shoot with Ty-Ty


Nicole is one of the most deserving winners of all time. Despite it being the short season (don't even get me started on Tyra's gimmicks), Nicole is a face that could work all over the world... and probably is. Lest we forget her underwater shot, another of my all time favourites. I see this one as a perfume campaign for Bulgari or Dolce & Gabbana. 




Caridee and the Bullfight


One of the best shots ever. The girls went to Spain and shot with a real life bull and red cape and it was so freaking high fashion for the time, it really was ANTM at some of its best. This was also the season with Melrose, Amanda and the other twin, etc. Best season ever? A contender.


Caridee, Amanda, Melrose and Random Girl


This pretty much proves my previous point. Caridee is doing her thing, not yet knowing that she will go on to become one of the most successful ANTM exports, with the stunning Amanda embodying her inner Robin Tunney like something fresh out of The Craft. Melrose, as always, never lets us down. This was a fantastic cycle, and a great shot.


Christina Does Lust


This wouldn't be my top models / photo shoots list without any inclusion of Christina or the seven deadly sins photo shoot. Christina consistently caught my attention throughout cycle four, which is difficult when she was up against such big players - Kahlen, Keenyah, Brittany, Naima. Here she is doing an awesome job as 'lust.' This is obviously for a niche retail campaign and not exactly high fashion, but the amount of times that ANTM has aimed for high fashion can be counted on one hand. I love Christina. Here's another awesome shot from the same shoot, with Naima posing as 'envy.'




Brittani: An ANTM Great


Everything Brittani does is golden. I'm not saying too much more, just basque in her epic light.

Cycle 16 saw the models posing in a trash wasteland. Brittani shoots printable shot after printable shot.
Brittani is now shooting features and editorials in Vogue Mexico and for United Colours of Benetton.

Not my favourite photo shoot - particularly as wasps make me want to stab forks in my eyeballs and jump off a cliff to get away from them, but Brittani was an obvious front runner from the start.


Yoanna - Household Name

Yoanna House is this show. She's everything about it. Back when the show was searching for a real model, way back before it was about wet t-shirt competitions and scouting at frat house BBQs, Yoanna was everything I had ever dreamed about from the time I first opened a copy of Harper's Bazaar. This image is iconic and so memorable for me.


Raina the Vampire


Raina is as good as it gets; the fact that she was robbed so blindly of the prize by Krysta is just undeniably confusing and took a lot of therapy for me to come to terms with. Here are a few shots of her being incredible:






Leila the Underdog


After getting voted out when the show introduced this horrendous fan voting gimmick, the show took its sharpest decline ever - I lost faith and interest. I'm presuming the producers were on to this as come the end of the season she had been reinstated with a wildcard vote and went on to destroy every single shot, constantly coming out on top. One of my favourite models in the show's history.



Ann Ward


Lanky Ann is a total legend. She went on to shoot for Italian Vogue and I adore her. I love these two shots of her, particularly the one in the water - she's a real rags to riches story. Only for ridiculously dorky awkward geeks who become high class supermodels.



Anya and the Steps


Abroad in some beautiful European city like Paris or Florence, Anya runs down the steps and captures a still that could belong in a French film noir from the 50's. She was, at the time, the most high fashion model to ever step foot on the ANTM lot; and in a shock moment in ANTM history she lost out to Fitney Whitney when Tyra was really in to the plus size angle. It was outrageous and so sad that Tyra's contrived bizarre spins overode the righteous outcome of Anya getting the crown. One of the dumbest moments in the show's run.


The Blondes do Black and White


Hannah, girl who I love but can't remember the name of, Molly and old Sevenhead McPoutybitch pose together for a blondes shot whilst Teri Hatcher, Brittany and the other two brunette girls pose for a brown shot. Both were awesome but with the exception of Alexandria, this one won it. This could run in Vogue. I love it when ANTM gets it this right!

So yes, there endeth my top something list. It's a mix of the best models, the best photo shoot concepts and the best images but really I could have one on and on. Which I kind of did. 
I'll leave you this image of cycle ten winner Whitney. Justified?


Olly Cromack is a journalist and videographer living in Liverpool, UK. For press and work related enquiries email ollycromack@gmail.com or get in touch on Twitter at @BlogontheRails and @OllyCromack


The Walking Dead Season Finale

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I'm a kid who was raised on Buffy the Vampire Slayer so maybe I've been spoiled, but was that meant to be the season finale?

Season three of The Walking Dead was a sixteen episode season, which is a dream come true - more juicy zombie drama goodness - or at least it was meant to be. The long run is a vast improvement on the measly six episode season one we were given, and season two's thirteen episode run, but did they really use the extra time effectively this year? Sadly not.

This episode provided some drama, or at least teased us with the idea - we see the Governor and his battalion of civilian soldiers cruising up to the prison with grenade launchers, there's explosions, it's all a bit crazy - but the alleged 'war' that we have been building up to since we first saw that looming shot of the prison in the season two finale ended up fizzling out before it even started.
At the sight of Glen and Maggie in riot gear and a couple of smoke grenades constructed of old Heinz cans and talc, the Governor was fleeing off in to the sunset with his entire army shitting themselves. Anticlimactic doesn't really begin to cover that "war" (*cough* Buffy season seven *cough*.)

It was of course epic when the Governor then lost his rag entirely and slayed his entire town in a spray of gunfire, but to what avail? Why? And where is he going now? I wasn't expecting to see him die in the finale, although that wouldn't have been out of the realms of possibility at all, but this wishy-washy behaviour and uncertainty is not the stuff of a season's end - it's episode twelve shit we're dealing with here. What are you doing to us? I want a solid motive, a plot driven story, something to follow. The fact that he's done his side kick in, thrown Andrea to the wolves, killed off everyone on his side and not really done anything he set out to do or find any sort of resolve is so beneath where I was expecting that character to go in this episode.

Andrea had a really hard time this season, as always. Constantly choosing to make life hard for herself (being a bitch to Dale, the only person who truly loved her, shagging Shane, being a total cow to Lori, trying to blow herself up at the lab, learning how to become a gun toting action hero to the detriment of her friendships and then neglecting to use her ninja skills to ever successfully save the day) - the list goes on.

Season three was no different, with Andrea in full nugget mode on a mission to fail to see the signs and ditch the people who truly love her in favour of a quick shag. It's the same old story and I'm kind of glad it's over! As I asked in my review of episodes nine and ten, "Andrea, do you plan on arriving at the prison and having a glorified save the day moment any time soon? If so, please, cease the day." Well she did cease the day in episode fourteen, 'Prey', but far later than your average bear, resulting in her being captured by the Gov. at the last possible second and ending up gagged and bound in his workshop chair. And if I know Andrea, that ain't the first time.

This season played its cards too early. The first seven episodes were really, really great - Lori's death is long forgotten after that painful hiatus we all endured, but it was actually a really incredible time in the show. That high octane, shit yourself drama where major characters die but in really shocking ways is what really turns me on.

Andrea's death at the end of this season is a loss because she was a main player and did provide a lot in the show, but I thought it was kind of predictable and lame. After the sensational death of Merle in the previous episode, 'This Sorrowful Life,' I'd already had my shocking death fix where you kind of don't know if someone's dead or alive and then something crazy happens. They'd already used that kind of moment up too recently. It didn't work in the finale.

The Milton death scene was awesome because we so rarely get to see that transformation take place in front of our eyes, but it was just so predictable; he and Andrea were essentially the only characters that had any potential to die in this finale, other than maybe the polite and concerned black couple and maybe the Governor himself.

Over all, I enjoyed the finale because I could watch the paint on the prison wall dry for fifty minutes and still be gripped by The Walking Dead, but there were some failings towards the end of this year, and it all comes down to the writers' chronic desire to drag things out for too long and then not pay us off in an extravagant enough way at the end. It's kind of a running theme; the timing of this season as a whole, but the finale in particular, could have been fine tuned for a far greater effect. It kind of taints the end of the season, but I just hope season four hits us between the eyes - and knowing The Walking Dead season openers, it probably will.


- Olly Cromack is a journalist and writer living in Liverpool, UK. Contact him on Twitter @OllyCromack and @BlogontheRails, or via email.

Interview: American Horror Story's Devon Graye

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Devon Graye is an actor that is increasingly appearing on our screens as his career reaches new heights every day. From his roles as young Dexter in Showtime's hit series of the same name, to appearances in American Horror Story and movies with Hollywood A listers, Devon Graye is a name that is on everybody's lips. I sat down to talk with the wonderfully friendly and incredibly talented actor to discuss his time on everybody's favourite TV shows.

BOTR: Hi Devon! The first thing I want to talk about is the first thing I saw you in, which is Dexter. Such a brilliant show and a really interesting role for you as a young actor. It was your first gig, right?

DG: It was. I’d booked maybe a pilot before, so I quit my job at the Gap and was like, “Ok, I’m an actor now,” and then the pilot didn’t go so I was like, “Ok, what do I do now?” Then I went in for Dexter and had no idea what it was. I’d never read the books. I was kind of familiar with Michael C. Hall’s work but I didn’t really know much about what I was auditioning for and then it all kind of fell in to place! I got given the role and I thought it was only one episode, and then it turned in to a lot more episodes. 

It was really thrilling to be involved but also terrifying because I’d never been given the opportunity to play something so deep and dark and with so much at stake for such a young character, so I think that was scary. I remember showing up to set every day feeling a little intimidated by everyone and a little afraid, and then I would continually second guess my performance for the next week thinking, “I should have done this, I should have done that.” I wasn’t seeing what Michael was doing on the show so I had no idea if our interpretations matched up or not or how it worked. It was a huge thing to be involved in.

Devon as teenage Dexter
BOTR: You mean you and Michael were never on set at the same time? Did you guys not correspond on what direction you were going with the character?

DG: Not at all. Michael and I had one scene together where he’s choking somebody and then for a quick second it turns in to me, so that was the only time I interacted with him on set, but I’d already filmed two episodes before that. I think they kind of miraculously trusted that we were on the same page. I’m not sure, but we were playing Dexter at very different points in his life; the character that Michael is playing is very self assured and confident in a lot of ways, whereas the teenage version of Dexter is really struggling with not wanting to be this thing that he is, and feeling guilty and like a monster and like he wants to stop, so we were playing two different versions of the character but there does have to be a thread line that connects the two. Hopefully that managed to happen even though we didn’t get to correspond at all.

It absolutely did, the character is a huge success.

Thank you so much! To this day I feel so grateful for getting to work on such a smart show so early on in my career. It’s not a gift that everyone gets to have. It was also a really great training ground, working alongside such talented actors and on a show of that calibre. It was an amazing early stomping ground.

Did you find that any of the actors on the show took you under their wing and trained you or allowed you to come in to their process?

Because I wasn’t really on the set with the rest of the cast very much, that didn’t really happen but I can honestly say that they were so incredible encouraging from day one. I very specifically remember Jennifer Carpenter coming up to me my first day in the makeup trailer and giving me a hug and saying, “We’re so happy to have you here, we heard your audition was fantastic for this role, you’re going to kill it, we already love you,” and that for me, showing up and feeling so nervous and so out of place, was a huge thing to feel so at ease and wanted and needed; all of those things that most of us actors crave, to feel that acceptance. Michael was always very sweet to me. I wish we had had more interactions but given the nature of our characters we didn’t really get to.

Devon as Jed Potter in American Horror Story: Asylum
You really don’t make it easy for yourself when every gig you do is opposite superstar actors. It’s intimidating, right?

(Laughing) I do feel like I’ve been so fortunate to book jobs with these great, amazingly talented geniuses. I think that in the last seven or eight years that I’ve been doing this I’ve learned so much from every person I’ve worked it, and have also had to get over that initial intimidation that creeps in there.

If we can just talk about Jessica Lange for a moment... I’m personally a huge fan boy, so when I was watching American Horror Story and saw your episode, I was freaking out as a fan, freaking out because of the acting, freaking out because the scenes were so scary - what was it like playing the possessed boy Jed opposite J-Lange?

I think that Jessica Lange is not only the most amazing actor, but the most amazing human being. I’m so drawn to her. On set she would just be sat there reading a magazine and I would just want to watch the way she turns the pages, or the way her head turns to the side - I find her so beautiful. This essence that comes out of her is so beautiful.


So true.

I was beyond intimidated to work with her because I am such a fan. I’m sort of a Jessica Lange junkie. I’ve seen almost everything she’s ever done so I felt very intimidated. Our first day on set together was maybe the cast’s first or second day back after season one so everyone was kind of in ‘go’ mode, getting everything done and not having much time to relax - it was sort of chaotic so I didn’t really get to talk to her the first day of filming, but the second day she came up to me and complimented my performance and said these things that, coming from the mouth of Jessica Lange - I will probably never get any higher compliment from anybody. The fact that it was her just absolutely flawed me, and still since then, on days where I’m sort of discouraged or feeling like I’m not where I want to be as an actor, I will remember that moment where Jessica Lange complimented me. For the rest of my life that will raise my spirits and I’ll think, ok, I have a little bit of a handle on what I’m doing.

Exactly! You know that when Jessica Lange likes you, you don’t ever have to worry again. You’ve got the seal of approval.

(Laughing) Exactly! Hopefully she’ll continue to like me in my career... knock on wood.

How did you find it working in that horror territory? You’ve kind of dipped your toe in a little bit of everything.

Devon and Zachary Quinto on set
I have, and that’s another thing that I feel so grateful for. I haven’t been pigeon-holed in to any sort of genre. I’ve done a lot of darker things, but I’ve gotten to play so many other characters like the nerdy kid in high school, or the gothic psycho or possessed demon, or two films where I played autistic people - I’ve been able to cover this huge ground and I continually feel so blessed that I get to inhabit these beautiful, very different people. As for the horror genre, I don’t personally watch a lot as I’m very squeamish. I live alone and get incredibly scared at night if I’ve just watched a horror movie. I won’t get scared when I’m watching it, but the following two weeks it sort of haunts me and makes its way in to my dreams so I generally stay away from that for my own sanity. But when I’m playing it, I love it because I sort of gain a little control there, especially if I’m the thing [that] people are scared of such as the killer, or the possessed boy in the case of American Horror Story. I feel like I have the upper hand, so that’s a thrill for me. Especially in American Horror Story as I don’t think you can feel more powerful than when you’re playing a demon; there’s this great strength that comes in to your body when playing a role like that.

Such a fun role! I’m sat here smiling now, like, I want to do that! I’m so jealous!

Quinto, Lange and Fiennes on the set of Asylum
(Laughing) It really is incredible. The first thing is that it’s so challenging to play it with any truth, because how often do you see a demon? When can you actually watch a demon and study it? You can watch movies and old church exorcism tapes on YouTube, but who knows if it’s real or fake? There’s so much of yourself that you have to bring to it; I had to connect it to something in me that felt manipulative and powerful, something that felt like I was toying with somebody - then you add in the voice, and the weird moves and the way that the character inhumanly does things. But I think the main thing was I had to feel really manipulative, like everyone else around me was a paper doll that I could just flick away. Once I had that feeling I felt so powerful and so strong. It’s incredibly hard to feel like Jessica Lange and Zachary Quinto and Joseph Fiennes are inferior to me because of course, in real life I think of them as far superior and just amazing, so it was definitely a challenge on that first day.

Some of the things you were saying to Jessica Lange, I’ve only said in my wildest dreams. Are you shocked when the script arrives at your door and you’re thinking, wow, this is me that’s going to be doing this scene?

(Laughing) Yes! I think when I first read it I felt like I didn’t know if I could do this; how am I going to do this? Then on the second read I thought I can’t wait to do this. Some adrenalin kicked in within me and I thought, I am afraid, I am intimidated, but there’s this over riding feeling of pure joy at the anticipation of getting to say these words that are so shocking and so vile, but not just shocking for the sake of shock value - there’s a purpose to all of it. It drives the story. So much of my character revealed Jessica Lange’s [Sister Jude’s] past, and that also makes a big difference. When you feel like you’re saying sort of vile, disgusting things and it has no purpose, then I have a harder time with that but when it drives the story in a good direction, all bets are off.

It was such a shocking role and the scenes were so great, I really loved it.

Thank you so much. It wasn’t that long ago but I look back on it and think, ‘That is the most fun I’ve ever had as an actor.’ And I wonder if I’ll ever have that much fun again, because the freedom that you’re given in a role like that is magical.

Well you don’t want to peak at 25...

(Laughing) No! That’s my biggest fear! I still have a lot of ground to cover.

There’s kind of a Six Feet Under vein that runs through your work; you’ve worked with loads of awesome Six Feet alumni from Frances Conroy to James Cromwell, Michael C. Hall, Patricia Clarkson - there’s kind of a theme!

I feel like the most privileged person alive to get to work with, or even be in the same room as some of the actors from that show. It’s my favourite show that’s ever been made and I don’t know if there will ever be a show as good as that. About a week ago I re-watched one of Patty Clarkson’s episodes and I just thought, ‘She is amazing on this show!’

I’ve gotten to become quite good friends with [Patricia Clarkson] over the last four years since we did Legendary, and I just did another movie with her called Last Weekend that we shot this summer in Tahoe. To get to work with her twice is the most amazing gift ever. She’s an incredible human being; she lights up the room when she arrives, and is full of so much child-like energy that’s mixed with this wisdom - I don’t know how to explain it or put her in a box because she really is a one of a kind human being, and that’s why the characters she plays are so endearing and why we love to watch her. She brings so much of herself to the roles. 

Devon and Patricia Clarkson as mother and son
 in Legendary (2010)
Patty’s probably been one of my favourite actresses for the last ten years, so the first time working with her on Legendary, when I found out I was going to play her son in that movie, I felt so much joy and excitement. And also the recurring theme of that intimidation was there. But on day one she called me from New York and we were working on the accent together over the phone, and I felt so loved by her instantly that all of the intimidation went out of the window and I felt like I’d found a home with this motherly figure that is so beautiful and full of life.

We’d go back to her room and talk about the day and eat a bag of potato chips. I will never forget that experience and how much I felt like I grew as an actor by watching her. I carry a lot of that in to my work even today, and it makes me so much stronger. 

The thing I think about acting is you can’t just be truthful and honest in a performance, you have to bring strange and interesting nuances to every character you play because that’s what makes people watchable, and not boring and keeps us tuning in and liking a character. That’s really something I learned from her. She doesn’t keep it simple or play it safe, she really pushes the envelope and goes there, and that’s why we love her.

Do you find that friendship with other actors on set can help or hinder your performance?

I never think friendship hinders anything; I think that it will always make something stronger. If you have a scene with somebody where you’re yelling and screaming at someone, I would much rather do that with a friend, and feel like I’d do it better with a friend, because at the end of the day we’re going to go back and have a beer and laugh about it. I strive to be friends with anyone I work with. In this industry, or any industry, getting along makes the world go round... as cheesy as that sounds.

That’s a great attitude, and obviously works for you as you never stop working!

Thank you. I definitely have times where I feel like I’ve stopped for a bit. I’m like, ok, let’s see, am I going to work again? Is this the end? (Laughing) Every time I leave a set, I think, is this the last time I’ll ever leave a set? Is this over, is this done? Was that my last job?

Does that spur you on to squeeze every last drop of experience out of every job you do? Acting can be such an unstable career.

It definitely does. I never take a single moment for granted. Ever. Ever on set. I constantly turn up in awe of the cameras and the lighting gear and I’m just thinking, wow, how exciting to be here. I’ve always dreamed of doing it and now I am and I’m so grateful.

I’m trying not to make this interview too much like, “I loved you in this role!” and “I loved you in that role!” but it really is true, I’m a huge fan, and one performance I particularly enjoyed was your work on Alphas. How exciting to work in that kind of sci-fi role.

Thank you so much. First of all, I’m so glad you mentioned Alphas because nobody ever mentions Alphas and I loved that role. [I] had such a fun time playing that character and being in that sci-fi world. 

There are some sci-fi things that I’m very, very drawn to and others that I’m not as connected to but I love mutant things [like] X-Men and that whole idea, so for me Alphas was such a cool show. I remember I auditioned for the pilot, I forget which character, and I didn’t get it. I felt so bummed because I was like, oh, I would love to be involved in a show like that about these X-Men type characters.

Then later on when I eventually got a role in a later episode in season one. I loved having a super power. Even though it was an evil power, it was just so cool having a super power. I think that’s something that I’ve wanted ever since I was little. I got to play this guy that had these [spores] released from his fingers that created chaos and it was, again, such a gift to get to play a childhood fantasy out.

With a role like that, I’d watch it back when it airs on TV and think, ‘Oh my God, I’m a superhero!” Do you watch your own work?

I do, I definitely watch my own work. I watch everything at least once just so I can learn from it, because I’m incredibly self conscious, and I’m criticizing myself every single moment of everything I’ve ever done - my heart is racing with me wanting to leave the room, but I make myself watch it because I know that I can always grow. I want to learn from my mistakes. I’ll look at a moment and think, “Oh, I could have done that better - next time I’ll do it this way,” so I definitely watch it. 
With Alphas, because they add so many special effects in afterwards, it’s so fun to see all the CGI that’s there so I definitely watched that. I watched it and was so happy with the show over all, but I don’t watch things too many times because then I’ll get depressed and pick apart my performance and get too ‘actory’ about it.

Well you work on the best shows on TV, so if you didn’t watch your work, what the hell would you watch?

(Laughing) Yeah, that’s true! I feel like with Dexter, I still watch it sometimes, but after you’ve worked on it the magic is taken out of the show because you know what the sets look like. It’s like, ‘I know that police station, I’ve walked through it a million times and in real life it doesn’t look at all how it looks on screen!’ so I can get pulled out of the show. Or with American Horror Story, which I love - I watched the entire season and was so enthralled by it - I’m always a little bit taken out when they’d be in the mental hospital, and I always remembered what it looked like on set and on set it never looks as real as it does when you’re watching the episode.

That’s the down side of being an actor, I guess - you can’t appreciate TV and film in the exact same way that us civilians do!


Exactly, exactly. I love the show The Walking Dead and I was thinking the other night, ‘If I was ever on this show, I could never watch it the same way again!’ I [love] the way they kill these zombies, it looks so real, and I don’t ever want to go and see that they’re not real zombies, it’s people dressed up as zombies. I’d love to do the show but it kind of steals that magic.

You have to decide what you love more, watching it or being in it!

(Laughing) I think being in it. Being in it always wins.

Other than The Walking Dead, what shows and movies are you feeling at the moment?
I just finished watching House of Cards which Netflix released with Kevin Spacey and it’s sort of my new obsession. I think it’s the most brilliant thing. The writing is so spectacular and the acting is spot-on perfect. Anyone who hasn’t seen that is missing out.

I’m also a big Homeland fan. It’s so good; I just finished season two and now I’m desperate for season three. It’s an addiction, I need the next show ASAP.

As far as movies, I feel like I haven’t gone to the movies in ages. I loved Amour. I think Amour was my favourite movie of last year. It was so heart wrenching, and so beautiful. I think when I see a film, as an actor, I’m always drawn to the performances and that movie just brought me away from even seeing them as actors. I felt like I was watching a real couple the entire film. That was a highlight of cinema going.

I know you’re friendly with your Dexter co-star James Remar. Did you see him in Django?

Graye and Remar as on-screen father and son in Dexter
I didn’t see Django! Django is one of the only movies of last year that I didn’t get to see yet. I need to see it because I love watching James’ work, I think he’s spectacular. As soon as it’s on DVD I’ll be renting it. 

What should people be looking out for you appearing in?

I have two movies coming out. One of them is Last Weekend which I talked about earlier; it’s sort of a family drama at a lake house where the family get together one last time and chaos ensues as you get all these different personalities in one place together, and I play the boyfriend of Patty’s son’s character. He’s this New York Guilliard opera singer who’s sort of timid and the youngest person at the party, which was a really fun role as that’s something I’ve never done before. The cast is amazing, there are so many brilliant character actors - it’s a big ensemble piece so I’m very much looking forward to that. 
The next film is a movie I did right after that in New Orleans called Angry Little God. That was with Ron Pearlman, Mark Webber and Rutina Wesley.

Oh my God, I love Rutina Wesley! That’s amazing.

She was in both films with me actually! Last Weekend and Angry Little God. It was so incredible to work with her twice in a row, literally back to back. We had two days after the first movie and then I was in New Orleans with her for the next movie.

It’s going to get to the point where you just form an ensemble of Patty and Rutina and the cast of Six Feet Under and travel around working on different movies together.

I know! I actually worked with Madeline Martin twice, who is a very dear friend of mine that I did Legendary with, and then also a film that’s in the festivals right now called The Discoverers where we play brother and sister, and she’s another person that, like you said, one day I want to assemble all these wonderful people and write something where we can all work together. It’s nice when you start getting to see those familiar faces.

You should do it!

I would love to. It’s a dream. But yes, the second film is called Angry Little God and it’s sort of a dark thriller where I play this autistic twenty-something brother of Mark Webber’s character. I can’t say too much about the story as there’s a lot of surprises but it was so much fun to do. I worked with Daniel Stamm on that who is incredible; I’ve admired his directing for so long so to get to work with him was kind of a dream.


- Olly Cromack is a freelance writer and journalist with no understanding of the concept of editing interviews. Only the brave make it to the end; we are a loyal and gifted few. You can watch Devon in Last Weekend from May 1st in the USA and Angry Little God later on in 2013.

Follow Devon on Twitter at @dgraye and find us at @BlogontheRails 

Compliance (2012): Film Review

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Compliance (2012) is an American thriller directed by Craig Zobel, starring Ann Dowd, Dreama Walker, and Pat Healy. The movie is based on a real life prank phone call scam, in which an employee is stripped searched (and much worse) after a fast food chain receives a phone call by a supposed police officer claiming the employee has conducted a theft. As it begins, the film is presented to be a look at how humans behave when believing they are speaking to the voice of authority.

Now, even thinking back to watching Compliance, I feel uneasy. But that’s exactly what Zobel was going for. Even the preview trailer of the feature screams out to the viewer that they will be shocked to their core by the audacity of the events that will unfold before them.

From its very beginning the film is spun on a web of controversy before the first acted scene even kicks in. The story is said to be ‘inspired’ by true events, and from looking further into them, they seem to be pretty much mirrored here. No exaggerations, just the downright dirty truth.

The movie premiered at the Sundance Film Festival last year, and boy, did the debate kick in from the very beginning. The film caused such a reaction amongst audience members that some even walked out mid-showing, some nervously chuckled through the tense scenes, and others were left to shout abuse during the cast and crew Q&A session at the end of the screening; one example of this being a chime of – ‘Sundance, you can do better!’

However, Compliance is not a bad film at all. In fact, it’s met with vast positivity from many critics. Personally, I found the story that Compliance takes to be extremely gripping. Watching the scenes unfold, there is without a doubt a certain sense of dread in the room. You know that
something is going to go horribly wrong. It’s head-in-hands cringe worthy seeing how low these characters will go, but you can’t help but bait them on.

There is at least one great performance too. All credit has to be given to Ann Dowd, who plays store manager Sandra fantastically. Her character is not likeable. In fact, she comes across as the frumpy middle aged woman who you can’t help but sneer at. However, her easily led personality and will to go along with any ridiculous request asked of her by the supposed police officer on the phone is portrayed brilliantly, and earns her much deserved praise.

For me, however, the selection of Walker was an issue. Graduating from the class of Gossip Girl, Walker is an attractive girl. Blonde, skinny, you know... what you’d expect [in mainstream Hollywood cinema.] The problem in this lies about about thirty minutes in, when Compliance stretches into a lot of half nudity, which frequently reoccurs throughout the rest of the film. If Zobel had really wanted to make a poignant film about the psychology of people, some clever shot editing to avoid this might have done him some favours. Or in fact just going for an actress with average looks and better acting skills, given that the victim in the real life case wasn’t a super model. Unfortunately, the film winds up being almost sexually voyeuristic. It’s safe to say any feminists in the room can probably give it a miss.

There are moments Zobel did make better use of camera work, for example cutting to a straw sticking out of a cup during what is left to the viewers imagination to be a terrifying sexual assault scene. It’s just a shame these moments of much better mise-en-scène are few and far between.

The film doesn’t really grind to a fantastic conclusion; you kind of know what’s coming. You’re more likely to breathe a sigh of relief that the characters on screen have finally stopped being moronic.
If you fancy a mildly entertaining and thought provoking thriller this weekend then yes, give Compliance a watch. If you’re thinking about going off to your local fast food chain after though, don’t.


- Stacey Jones is a student of film and writer currently living in Manchester, UK. 

Defiance: Episode One Review

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Guest writer: Dan McDowell

I grew up both reading and watching science fiction and can be generally considered to be a massive fan of the genre, so when any SF show arrives on television with as much hype and fanfare as SYFY’s Defiance it instantly has my attention.

Before I go any further, let me point out that I genuinely did enjoy the pilot episode; but that is not to say it did not have its drawbacks. The curse of science fiction is that it tends to be, more often than not, a derivative mash of all that has gone before. Defiance is no exception. It has been said of science fiction that it reveals our present through the lens of an imagined future, so there will always be an element of familiarity inherent to the form. Although I have singled this out as a drawback, it may also be what draws viewers back in for more. Create a story too alien to the viewer and we fail to relate to it, create a character too unfamiliar and we struggle to form an attachment. So yes, the pilot features some recognisable archetypes and every TV trope and idiom under our sun and every other star in the cosmos for that matter, but it wears them as badges of honour and demands we come back for more.

Grant Bowler and Stephanie Leonidas as
Jeb and Irisa
So, let me get into some specifics. Earth is now a very different place after being invaded by an alien race and then terraformed. The story follows a pair of scavengers, Jeb and his adopted alien daughter Irisa. When investigating a crashed remnant of an alien ship they get into a spot of bother with some bandits and long-story-short they end up being rescued by the Chief Lawkeeper of Defiance (formally St Louis, Missouri / actually Toronto, Ontario). For anyone who has ever seen a Western, it is pretty easy to guess what is coming next.

Westerns have always provided a fertile source of inspiration for science fiction, from George Lucas' Star Wars to Joss Whedon's Firefly, but in this instance I would liken Defiance more to a serialised version of the Fallout video game series (the costumes and the music really contribute to this opinion) with a healthy injection of aliens. 

But what would science fiction be without a visit from the Bard? More shows than I care to recall have at some point featured a rehashing of the story of star-crossed lovers Romeo and Juliet and this is exactly how were are introduced to the two warring clans, the McCawleys and the Tarrs, who represent the ruling or at least well-off classes of Defiance. 

And herein lies my main concern. It is said that there are only seven stories and archetypes in fiction, so producing something truly original is a struggle from the very start, and it feels like all seven of those stories and a whole post-apocalyptic town of those archetypes may already have already been unleashed. I am sincerely hoping that this reliance on the familiar has been a convenient way to ease viewers into a new show as I can see the potential for much more lying just below the admittedly rather glossy (some rather terrible CG not withstanding) exterior.

Datak Tarr (Tony Curran) and
Stahma Tarr (Jaime Murray)
The cast is uniformly very good, even if some of the characters are as of yet a blank slate to be filled in at a later date. I would single out Tony Curran and Julie Benz for particular praise for very different reasons. Tony Curran’s performance easily made the somewhat sinister Datak Tarr the most intriguing character and I sense that Julie Benz’s Mayor Amanda Rosewater is going to go on to be a complete badass in much the same way as her character Eunice Bloom in The Boondock Saints II. That’s right, I went there.

I know I have been rather verbose in my opinions here and it may seem like I have been unnecessarily negative, but let me reiterate what I said up in my second paragraph. I did genuinely enjoy the pilot episode of Defiance. Just because I can recognise some common story threads, themes and characters, does not mean that I have failed to see the potential for a very good show. A lot of the current shows on television tell me that viewers do not like to be challenged, but with members of the writing team having previously worked on Farscape and the reimagining of Battlestar Galactica, you can consider my fingers crossed in hope for something very special indeed.


Dan McDowell is a writer, film and TV enthusiast and former 35mm/digital/IMAX projectionist. Occasionally he also acts, but not very well.

How Todd Solondz Brought Darkness into American Cinema

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Guest writer: Matt Neputin

Filmmaker Todd Solondz
Culturally American cinema has always been associated with the idea of positivity and cliché storytelling, but in recent years I have seen a complete reversal of this trend. Though America often holds positivity as a value in of itself, to the point of thinking that positive thinking alone can make you rich, in some cases, it now creates movies that explore the dark aspects of human psyche that almost no French producer dared to explore.


American cinema associates itself with commercial productions that follow a specific market tested formula to increase sales; movies that almost always have a positive message and try to appeal to as many people as possible - without offending anyone.

A band gets approached by a record company and the executive says, “I really like how you sing, but your songs are so sad and depressing. Can’t you make them more positive?" That was the birth of pop music. But is this [at the root of] true American cinematography? I personally disagree. Whilst it's true that pop culture directors play a big part [in constructing an American cultural identity], America is not only a leader in pop-commercialism but also in independent creative expression, and recently there has been a true renaissance of works that explore various topics in unique ways.

Dylan Baker in Solondz's Happiness (1998)
Todd Solondz was one of the pioneers of this creative movement. With his movie Happiness he started an unique exploration of the dark aspects of our psyche. For me this movie really symbolizes everything that popular American cinema opposes. It doesn’t try to be inspiring, positive, or even have a happy ending. Instead it goes out of its way towards depicting, with brutal realism, the darkest aspects of our society: pedophilia, rape, solitude; and it does that through connecting it with a very American theme: the pursuit of happiness.

After Todd Solondz opened up his exploration of the darkest aspects of our beings, other filmmakers followed in their own work. Issues of sexuality and sexual orientation are explored in depth in movies such as Me and You and Everyone We Know, Wild Tigers, and I Have Known with the controversial theme of violence being explored in Dear Wendy, After School, and Homeroom and the Elephant. Similarly the use of dark has become more widespread and is evident in artistic productions such as Wondershowzen or even the pop adult animation Superjail.

The cafeteria: the heart of American
teenage life (Mean Girls, 2004) 
Additionally after the release of Happiness, other movies followed and started to explore aspects of American culture through unique and controversial situations. Movies like Pretty Persuasion, Mean Girls and many others all deeply explore societal issues that are unique to American culture (and to some other first world countries, such as the UK) in an open and controversial way.

Most film critics would say that this is what all true masterpieces should do – uniquely reveal unexplored aspects of the human condition, while making us think, without having to rely on special effects or action scenes to keep the readers attention. Fortunately for American cinema it seems that such productions have won favor. even on television. The trend of treating television as a more serious and eloquent medium of conveying a deeper, more constructive story can be seen in such a wide variety of shows. Starting from the surreal criticism of new age spirituality found in Xavier: Renegade Angel to the grim depiction of turning towards evil found in Breaking Bad.

What could be the motivation for this movement towards darkness? Culturally America has always honoured positivity and as a general rule American movies tended to be far more lighthearted and optimistic than their European counter-parts; could this no longer the case anymore?

I personally think this is largely due to social factors. In the '80s and '90s it was all too easy to digest an optimistic message because almost every economic prognosis was positive, and America was undoubtedly one of the most powerful countries on the planet. However, since 2001 America has met itself with serious threats to it’s global wellbeing. Terrorism and the financial crisis all set the stage towards a more pessimistic outlook on life, which is expressed in American media.

Perhaps another explanation is that Americans were simply bored with the old cliché storylines produced by Hollywood? The internet has bombarded us with so much information that it really takes something unique to keep our interests; we not only need something controversial but it must be thought-provoking, and sometimes even surreal to be interesting (see my own fiction.) Thanks to YouTube and Kickstarter, independent artists can fund their projects far more easily, and so enrich our lives with more and more independent cinema.

In conclusion I would like to express optimism towards pessimism. I optimistically think that the three dimensional exploration of the darkest aspects of our psyche will continue in American cinema, and will produce movies that are on the same artistic level as any European film ever was.


Matt Neputin is a psychologist, movie enthusiast and fiction author. He currently lives in Tczew, Poland and when he's not writing his new book, he likes to express his thoughts on cinema, cartoons and life in general on his blog.

The Moth Diaries (2013) Review

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I'm not sure what I enjoyed about watching The Moth Diaries, because it wasn't the film. Maybe it was the fact that the ticket was free so I had no financial investment; or that it was a rainy day in Liverpool and thus quite perfect for a film with a couple of British exports and feeling very much like I was part of England at large, or maybe it was the 20 ounce coffee in my hand that was essentially my personality in a cup as I glugged it and felt happier and more like a human being as each minute past, which brought me immeasurable joy - but no, it was not the film.

Shonda eventually favoured the musical episode
over Grey's Anatomy: The St. Trinians Years
The Moth Diaries (which I just learned, to my surprise, is based on an actual book and not a half-arsed short film script based on a mash up of Carrie, St. Trinian's and every 15 certificate horror released since 2002) tells the story of young Ellen Pompeo, the daughter of a famous poet who committed suicide. Little Pompeo lives at this boarding school somewhere with a half American, half British staff / student population, in which the Americans are beautiful, rebellious and into poetry less than fifty years old and the Brits are either posh, evil villains or psychotic disciplinarians, so it's basically real life.

When Ernessa Block arrives at the school (Lily Cole), Pompeo's lesbian-but-not-so-blatant-as-to-actually-make-a-point relationship with blonde beauty Lucy is shattered. This Lucy girl becomes enamoured with Lily Cole, presumably as she spends the majority of her time doing her Jean Paul Gaultier Spring / Summer runway along the hallways and rooftops and has strikingly black eyebrows, so Lucy's infatuation is completely understandable in my books, but Pompeo can't hack it. That's understandable too to be fair, as Lucy and Ernessa become really exclusive and it is pretty harsh, especially when the anniversary of Pompeo's father's death rolls around and Lucy's too busy off horse riding with Lily Cole, leaving Pomp to pour her heart out to some random who she wouldn't even have to hang out with that much if Ernessa hadn't stolen her actual best friend / potential lover.

Strike a pose
Devastated as Cole's presence continues to wreck Pompeo's life, losing friends by the minute and feeling more and more isolated, nothing happens. And then... nothing happens again. From within fifteen minutes of watching this film we're aware we're going to be fed cliche after cliche, a chronic regurgitation of various horror techniques, incredibly 'done' plot twists and so on, but we at least live in the hope that we'll see some kind of imagination in the way these cliches are presented... it never happens.

Strained coincidences and plot devices are under-built, creating a constant recherché string of ten minute mini-dramas involving characters we don't even care about that get quickly resolved in a series of 20 second deux ex machinas. And... fade. It's just so contrived.

This cumbersome and unoriginal exploration of school girl life when a ghostly witchy weirdo arrives at a girl's school and maybe the protagonist is crazy or maybe she was right all along to think the new arrival is bad news is the most tiresome concept ever at this point - it's just been done a thousand times and this movie didn't even try to be interesting. It is completely happy with its overuse of fading between scenes, creating a simplistic and uninviting plot sequence - its piecing together of jigsaw-esque scenes that a child could assemble to form a basic narrative - its wooden characters paling against its stronger characters - its bullshitty laziness in creating suspense or personal investment - it is completely, 100% happy offering us all this, and I am 100% happy with leaving my money in my pocket.

Whatever you do, please don't pay insane cinema prices to watch this... you've already seen it.



- Olly Cromack is a film graduate and writer living in Liverpool, UK. For press/blogging inquiries please email here or follow Blog on the Rails on Twitter!

A Place in the Sun (1951) Film Review

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Following on from the success of the Montgomery Clift season at BFI, the Cornerhouse in Manchester will be showing A Place in the Sun (1951) as part of its run of matinee classics this June. Directed by George Stevens, the movie takes a look at the complexities of love and lust, and how desire can hold tragic consequences. With great performances from the aforementioned Clift, Elizabeth Taylor and Shelley Winters; the film is a classic of early mainstream Hollywood.

As a self confessed Monty Clift super fan, it didn’t take much for me to fall in love with this film. As the opening scene unfolds, we see George (played by Clift) steadily backing toward the camera, only to turn and half smile directly at us. And wow, what a smile.

Beginning as a story much based on class, George is en route to the big city to earn money in his Uncle’s high end business. However, he is at first placed in a lowly factory position where he meets Alice (Shelley Winters). A few cheeky looks at each other in the workplace lead to the two secretly dating, and seemingly falling more and more in love.

However, George’s world as he knows it is turned upside down when he bumps into the beautiful wealthy socialite Angela (Elizabeth Taylor), and the two begin talking. And by talking, I mean kissing each other within about five minutes of their first conversation. But there is no way to deny the on screen chemistry of these two great actors, both perfectly matched in beauty. The romance was said to even spill into real life at times, but for the most part the two remained just friends (Clift was actually revealed to be gay eventually, but had told friends that Taylor was the only woman who could turn him on).

Even as the impartial viewer, you no longer care for George’s initial relationship with Alice, and will for the pairing of George and Angela to succeed. Ashamedly, this is even the case when Alice finds out she is pregnant. And even when George decides he will do anything to ensure she is out of the way so he can pursue his romance with Angela. Seriously,anything.

Of course, a man caught between two women cannot result in a happy ending for everyone, and A Place in the Sun holds some tragic twists and turns. The final scene between George
and Angela is one of completely heart wrenching, as you lose yourself in their desires. In fact, the performances from all three lead characters are fantastic, with Taylor being the only one of the three to miss out on an Oscar nomination.

If I could give you any advice for this week, go and watch this film. It’s a great story, with great performances, from a great era in cinema. And hey, it’s definitely a better shout than heading to watch Hangover III.


A Place in the Sun is showing from the week beginning 7th June at the Cornerhouse, Manchester. See website for details.

Stacey Jones is a student of film and staff writer for BlogontheRails.com 

The Union: The Business Behind Getting High

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The Union: The Business Behind Getting High is a must-see if you have a strong opinion on either side of the marijuana legalization debate. In fact, it’s pretty much a must-see even if you don’t. It’s a surprising little gem of a documentary by Canadian filmmaker Brett Harvey, and takes a personal essay approach as we follow host Adam Scorgie’s journey to seek some answers about the herb and its use and production in both Canada and the USA. Is marijuana dangerous? What are the benefits of prohibition? Is the drug war even working?

The film was made in 2007 and was a festival and internet sensation, but it’s as exciting a time as ever to get involved in the debate, given the recent legalization of recreational marijuana in Colorado (naturally, the home of South Park). Only time will tell the consequences or potential benefits of this trial exercise. Early discussions have mentioned the prospect of hundreds of millions of dollars which the state looks set to gain through taxation, as well as the depletion of astronomical amounts of money previously pumped into waging a drug war against both criminals and users, being set aside for strengthening schools and education programs throughout Colorado as well as health services. The Union: The Business Behind Getting High really elucidates with a frankness and fearlessness the reasons as to why legalization could potentially benefit society; the production of industrial marijuana (hemp) being the most economically robust idea.

One thing the doc does not do is glamorize marijuana smoking. This isn’t Knocked Up, which though might equate pot-smoking with immaturity, does a hell of a lot for celebrating the fun of stoner culture, with the non-imbibing characters being either miserable (Paul Rudd), or psychotic (Leslie Mann). No, The Union makes the socio-political debate surrounding prohibition, medical marijuana, crime and the crisis point of the American penal system its focus. The absence of onscreen consumption and the plethora of politicians, ex-DEA chiefs, professors, police, activists and doctors whose interviews we see create a very unbiased, factual and exploratory basis for the film. 

Many of the myths of anti-marijuana propaganda are interrogated – that it causes brain damage or cancer – and we learn that the only conclusive study to ever link marijuana to a single death (despite thousands of years of human consumption and production) – came from a 1974 US-government study which has since been investigated and exposed. Dead brain cells were found in monkeys who had been ingested with marijuana – an instant validation for the US government’s position. The team had actually been pumping the monkeys with the equivalent of thirty joints per day, for 90 days, by which time the monkeys began to atrophy and die. The use of gas masks and the lengthy five minute ingestion periods of, over 90 days, 2700 joints each, was suffocating the monkeys of oxygen in place of, as well as cannabis, carbon monoxide. Suffocated monkeys strengthened Ronald Regan’s staunchly conservative stance on drugs. The Union doesn’t shy away from extensive inclusion of archival footage chronicling the US government’s position on the weed, and we are reunited with the whole gang of our favourite Republican Presidents – Richard Nixon, Ronald Regan, and our two sweet Bushes.

Beginning with the colossal failure that was 1930s Alcohol Prohibition (hi Al Capone and organised crime!), The Union sweeps through a compendium of ethical and moral debates surrounding the drug. Part of the reason why the film feels so exciting and interesting is simply because there is a reluctance now verging on the ridiculous for marijuana to be discussed in public forums. We don’t hear the academic opinions shown in The Union on the news. We don’t see how the growers and sellers operate (ok ok – the TV show Weeds is a brave exception to that. Love you Mary-Lou). For that, as well as superb interviews, footage and observational content, The Union is fresh, pacey, and never patronizes. 

And guess what? You can watch it all on YouTube here:



Jo Gewirtz is a film maker and Blog on the Rails contributing writer, having graduated from New York Film Academy and the University of Manchester. For more of her thoughts on film, culture and screen, listen to her radio show The Swing on Shoreditch Radio fortnightly on Thursdays from 12pm.

The Place Beyond The Pines (Film Review)

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Derek Cianfrance's 2012 drama, The Place Beyond the Pines, sees Ryan Gosling as a motorcycle stunt driver flirting with the wrong side of the law, leaving his life as the modern day Evel Knievel in favour of robbing banks at gunpoint in a plot to run away with "the one that got away" (Eva Mendes) and his baby (whom he only just discovered actually exists.)

This section of the movie - and it really does feel like a section, or a film in its own right - is quite riveting at times and the relationships are well acted and believable, played out by actors in the peak of their career - most notably Mendes, who has come a long way from Hitch, flashing some admirable acting chops and breaking free from her sex symbol status.

What is such a shame about this movie is it is a film of two halves - or rather three thirds - and only the first third is decent. As our attention drifts from Gosling and moves to Bradley Cooper as the erratic social climbing cop, it all starts to go horribly wrong. In a move similar to Mendes, Cooper is quite blatantly trying to leave the memory of his shittier films behind (Failure to Launch, which let's face it, I fucking loved) and ride the coat tails of Silver Linings Playbook all the way to the bank, but it's just not working this time.

Gosling took a similar path, starting off with The Notebook and ending up in "serious films" such as Blue Valentine (zzzz....) and Drive. The only difference is, Gosling has that X factor to back it up - he feels more experienced, and is growing in to a truly brilliant actor. Cooper on the other hand left me cold in Silver Linings and left me freezing my God damned tits off in Beyond the Pines. He's playing a cardboard cut out of a young, ambitious cop on the beat, which I’ve seen done a million times better a million times before, and latterly plays the slightly more pompous, further-down-the-line version of himself, haunted by the past as he climbs the ranks... puke. I can’t take it! He’s such a poorly written character and Bradley (who was incredible in Limitless and shows flashes of future greatness) is not doing anywhere near enough to fill in what the script is too cliched to allude to; the nuances, the idiosyncrasies that allow us to identify with him. I can say it is my least favourite Cooper performance with absolute certainty.

But here's the crux of it - in a truly diabolical film making move, creating the gaping hole that leaves so much to be desired in both character development and narrative drive, Cianfrance presents us with a "FIFTEEN YEARS LATER" heading and precedes to expect us all to believe we are actually fifteen years in the future, despite the fact Cooper hasn't aged a day and there are now collossal voids in time and space that Cianfrance presumes can be filled in by the audience. Cooper has gone from weakling rookie cop to some kind of chief of police or some other bullshit that would never happen, and we're all just meant to swallow it. I was annoyed. 'Fifteen years later' with no evidence of time passing doesn't actually do it for me.

I won’t go in to what happens in the fifteen years later section of the movie because I guess it’s meant to be the twist or the climax of the film or something, but it’s so obvious and cheesy and outside of the realms of possibility that it cheapens what was already quite a dry and lackluster movie.


I was left outside alone on this one. I don’t understand the critical acclaim. I don’t think it will live to be a cult film. I think it’s a complete flash in that pan, here (barely) one minute and gone the next. If you liked Blue Valentine then maybe you will enjoy this, but at the end of the day, who the fuck liked Blue Valentine?


Olly Cromack is a freelance writer and editor in chief of Blog on the Rails. He currently lives in Liverpool with his friends, a pug, and a caffeine addiction and plans to make films.

A Departure: Review and Interview with Tom Ward

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When I opened my laptop and began A Departure I had not long finished reading a string of classics that included The Great Gatsby and The Bell Jar. Tom Ward, winner of the GQ Norman Mailer Student Writing Award 2012, was going to have to do something pretty spectacular to impress me off the back of reading the iconic prose of Plath and Fitzgerald. Now, after years of watching Buffy, I’m fond of an apocalypse or two so the premise was already tickling my proverbial pickle. Quite honestly though, I didn’t know what to expect from the young writer’s authorial debut.

A Departure follows central protagonist, Michael, who embarks on a journey to safety (wherever that may be) after a mysterious ‘wind’ sweeps through the streets of Britain causing thousands of inhabitants to drop dead and beginning the end of the world as we know it. If you are looking for a cinematic comparison, I was transported to the opening of The Happening. The exposition has an essence of M. Night Shyamalan’s unexpected and gripping initial scenes (before the movie takes a disastrous turn into the realms of ridiculous and plants with evil agendas). A Departure then follows the formula of most apocalyptic fantasy texts, like the AMC’s Walking Dead, Danny Boyle’s 28 Days Later etc. in which a lone man is left to venture through an unexplained dystopian future and inevitably picks up companions along the way.

Initially, I wasn’t gripped. I have no doubt that this was due in large part to having to read on a computer screen. I have no idea how you people with Kindles do it. Don’t you miss the feel of that silky paper under your fingers tips? The ability to see with single vision? I digress. The book thrusts you into Michael’s world amidst the chaos and initially the narrative voice feels young. Whilst I may have been dubious about this in the beginning, as the novel quickly progresses from Michael’s hometown and onto the road, the voice matures with the experiences and events that unfold and the naive 18 year old boy that greets you on the first page is long forgotten.

It wasn’t long before A Departure had sunk its teeth in to me and was begging me to read the next page. Violence and chaos erupts throughout and Ward teases you with the fantasy of a British society in which there are no longer rules and social hierarchy is battled with force. The moment I knew I was fully invested came when Michael meets possibly the most irritating person to survive an apocalypse with, Judith. A definite part of the fantasy of an apocalypse is the selfish abandon of morals and rules that surfaces, a theme that Ward navigates well throughout the novel. With my annoyance at Judith and investment in this dystopian parallel I found myself thinking ‘just kill her, Michael!’ I think I was in a little too deep at this point. I’d gone Lord of the Flies and Judith was Piggy.

But I even warmed to Judith in the end, and grew fond of almost every character he met along the way and the different nuances that they brought to the group. The dynamics between the characters and the humanity that shines through this dark future was probably my favourite and the most endearing aspect of this novel. It juxtaposed appropriately with the vivid and brutal depictions of death and destruction that littered the surrounding landscape.

This novel was a slow burner but definitely worth going along for the ride. Like any good story, it drip feeds you information that makes for an insatiable appetite for more. Ward has a knack for painting vivid imagery with the use of poetic and artistic metaphor. Some of the description of the sights that the survivors witness is hard hitting and provocative. It’s definitely satisfied my morbid curiosity but it wasn’t overstated or ridiculous. It felt strangely real and, dare I say it, normal in the circumstances anyway. By the end of the text I was furiously searching my bookshelves for a copy of Cormac McCarthy’s The Road or Margaret Atwood’s The Handmaid’s Tale, anything that would take me on another apocalyptic journey for which A Departure had given me a real taste for. This is a book worth reading. Probably the best £1.93 you’ve ever spent.

After reading A Departure I asked Tom a few questions about the novel and probed his sick imagination (his English teacher’s words, not mine)...

Your GQ prize winning short story Four Night Stand was highly entertaining. Tony Parsons describes it as a ‘tale of a certain time in our lives - when you are still living with parents, carrying condoms in case you get lucky, loving writers who died long ago more than you do the girl next door, or the young woman at the other end of a drunken text message.’ Did you draw on personal experience for this one, Tom?

Possibly. I think it’d be difficult to think of such a situation without having experienced it. In terms of the ‘loving writers who died long ago’ part of Tony’s introduction, this is definitely something I can empathise with. There’s nothing better than when you read a long- dead writer and something they say resonates with your life. It lets you know it’s all been done before. You’re not the first person to have experienced the good things, or the shit things, and you aren’t the first person to not have a clue about what you should do with your life. When you find that certain writer who speaks to you at a young age, it’s incredibly reassuring and you sort of exhale a bit and go, ‘this person understands me. It’s going to be alright.‘

We heard it through the grapevine that after winning the competition you got to attend a swanky party in New York and found yourself on a sofa with Muhammad Ali? Tell us everything.

I was very nervous the entire time. Part of the GQ prize included being flown out to New York, a city I’ve always wanted to visit. I had time during the day to wander around with my jaw on my chest looking at New York. If anyone wants to give me a job there, I’ll take it today. The award ceremony was in a hotel near Central Park. I met Ali, then later Alec Baldwin and Oliver Stone. I had to give a short speech in front of a room full of fantastic writers, including Joyce Carol Oates
and Norman Mailer’s son. I sort of just blurted out a few thanks and didn’t stumble over my words too much. Thankfully, Oliver Stone told me he enjoyed my speech, I think because it was so rushed and brief. The highlight for me was meeting Oliver, I love films and clearly, he’s a highly accomplished filmmaker. He was kind enough to have his script advisor send me notes on my second novel.

Apocalyptic futures have been a recurring theme in TV and cinema in recent years. Did this influence your decision to write a novel in this genre?

In a way. I began writing this novel five years ago, when these sort of shows and films weren’t as prevalent. I’d always been interested in the end of the world since watching Dawn of the Dead, aged about 13 or something. It’s not necessarily the horror aspect of these works, but the human interactions. I’m interested in what we’d all do if things changed suddenly.

I love shows like The Walking Dead, but I’d finished the first draft of A Departure before I ever saw that show, so whilst I thoroughly enjoyed it, it didn’t feed directly into my work. I wouldn’t try to write something to fit into a trend, but I really enjoy this genre. I read Day of the Triffids after I’d finished A Departure and it instantly became one of my favourite novels, it felt like it had been written just to appeal to me.

When I was reading A Departure I couldn’t help but be reminded of Cormac McCarthy’s The Road. Has McCarthy’s work inspired you? Which authors were influential to your work?

I just read a review of my book where someone has basically claimed I’ve tried to re-write The Road and has suggested I read it again. Why would I ever want to re-write someone else’s work? I think if that person wanted to read The Road, they should have done that, rather than a book called A Departure. Again, The Road is similar, but at the same time it’s an entirely different novel, and The Road is also far superior. I love Cormac McCarthy. I think he’s one of our finest living writers, along with Toni Morrison, but of course I’m not trying to be McCarthy. It’s ridiculous to think I could compete with someone who’s been writing for more than three times my life time.

I think if people hear the words ‘apocalyptic novel’ they automatically compare it to what’s out there, without realising there are a multitude of different works and stories in any given genre. The apocalypse is not important, what matters is how people deal with their new environment. This is true of works from World War Z to Day of the Triffids.

I think the only McCarthy I’d read when I began A Departure was All the Pretty Horses. It’s a fantastic book, a brutal road story, but many other writers influenced A Departure, from William Golding to Roald Dahl as well as many, many films.

Do you see elements of yourself in Michael? Do you think you would handle the ‘end of the world as we know it’ in a similar way?

Tom Ward on his recent
 book tour for A Departure
Yes. When I started writing, I based a degree of Michael on myself, but then he became his own character and the original chapters became refined and filtered in different drafts. Now I know he can stand on his own two feet. Having said that, I’d hope he’s a character a lot of people can relate to. I think he has a good moral compass. He struggles, like we all do, but I think he mostly makes the right choices. Then again, who knows how we’d all act. We can all fantasise, but we all might go nuts at the end of the world and start wearing skulls around our necks, or something.

If A Departure was made into a film who would direct it and who would you like to see playing Michael and the supporting characters?

First of all, that’d be an absolute dream come true. I almost wouldn’t care, I’d just be flattered that my book had meant enough to someone for them to want to adapt it. But, dream scenario, I’d like someone like Ben Wheatley to do it. Kill List was a masterpiece. Shane Meadows is great too. I love Jim Jarmusch’s Dead Man. He’s great at these sort of meandering journey narratives. Also, Children of Men is one of my favourite films, so Alfonso Cuarón would be a dream choice. But I’d be flattered even if someone filmed a scene on their shaky iPhone camera and it was the shoddiest film ever. That would be really amazing.

In terms of actors, I’m not too sure. I love Joe Gilgun and think he’s brilliant in everything he does, but I’ve got no idea who he could play. If I had a hand in the script, I’d have to write him in. I’d love to see it as some sort of British ensemble piece, like Harry Potter but with bonfires of corpses and dead bodies everywhere. Rupert Grint is fantastic too, he’d have to have a role.

The ending of the novel suggests that there could be potential for a follow up book. Is this something you have considered?

I wanted to leave the ending fairly open as I don’t really like books where everything’s clear-cut and tied up nicely in a bow. I think it makes the reader engage with the story more if they have to think about what might have happened after the last page. A few people have asked for a sequel, and I’ve got a few ideas, but at the moment I feel like I’ve explored everything I want to in that genre. I don’t want to be a writer who works in one genre. I want to try and tell interesting stories, whatever genre they fall into.

Although, maybe I’d revisit the story after the next few books, just to see what’s going on with those characters. There are a few more people I want to introduce, but I’d have to be sure I’ve got
enough ideas, and wouldn’t just be re-hashing the same themes of the first novel. It might be good to return to the story 10 years on, like they did in Threads. That was horrifying.

The world is ending. You have a minute to run to your bookshelf and pick only one book to take with you on your journey of survival. What is it? (Bare in mind this may be the only book from life as we know it that will venture on into the ‘new world.’)

That’s a lot of pressure! I feel like I should answer something like War and Peace, but that’s been sitting on my book shelf for two years, and I still haven’t got round to reading it. I do love Lord of the Flies, and that sort of story might fit with an apocalyptic setting, but I don’t know if it’d be good as a historical text, to teach people about how we lived now. I’d maybe grab Hemingway’s complete short stories. There’s some variety in there, and we’ve all copied him anyway, so he wouldn’t be a bad place to start again from.

So, what’s next for Tom Ward?

Well, I’m in the process of working on my next novel, City of Arsonists with my agent. It’s all done; we’re just polishing it at the moment. Hopefully we can get that out there soon. My dream is to see one of my books on the shelves of Waterstones. I wouldn’t want much more after that. I’ve got quite a big pile of short stories, and a novella in reserve as well, so it’d be nice to get them out there somewhere. I’ve also just started my third novel, but that’s in the earliest stages possible. Really, I just want to keep writing, and even if one person likes what I write, that’s enough for me.


A Departure is available on Amazon now. Follow Tom Ward on Twitter @RenegadeViper.

Interview by Chloe Byatt. Chloe is a singer / songwriter and guest writer for numerous publications including Blog on the Rails. She graduated from the University of Manchester with a first class degree in screen studies and is now concentrating on film making.

VISA's Benjamin Button Loves Contactless Payment!

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With the launch of the new VISA Flow Faster campaign, I couldn't help but recognise the innovation behind their latest televised advert. The commercial shows an elderly man receiving a phone call before racing out of the house, using his VISA card and its contactless payment abilities to buy flowers, balloons and trinkets as he runs through the streets, getting younger by the minute.

It shows how easy the card is to use - the technology works at lightning speed - and what I find so appealing about it is how it transcends age stereotypes! The man is shown to be quick and agile, just like the card itself, and he has absolutely no problems with using it - in fact, it makes him feel even younger. After all, 70 is the new 40 and technophobia is a thing of the past for many forward thinking older people. VISA Flow is about moving forward and keeping up with the latest trends and technology, which is exactly what this central protagonist is doing!

By the end of the minute and a half advert, set against the infamous Queen track Don't Stop Me Now, the man is but a young teenager as he bursts through a door and appears as himself again - looking at his granddaughter in bed after giving birth to his great grandchild! He hands over his VISA purchases with love and all is right with the world. Pretty neat, right?

You can pay for anything up to £20 with the super fast contactless method, and it will be officially launched in full by December 2013 so expect to see this technology everywhere in the coming months! If your VISA card displays the contactless symbol on the front, you can get started straight away. If convenience is what you want and you refuse to compromise on security, VISA Flow Faster is an essential for your wallet.



- Olly Cromack is a freelance copywriter and film maker living in Liverpool, UK. For press enquiries please contact him via email or the Blog on the Rails Twitter account.

Kim Cattrall Brilliant in Sweet Bird of Youth at The Old Vic

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Last night I had the immeasurable pleasure of seeing Sweet Bird of Youth at Kevin Spacey's house. Well, The Old Vic, but they're the same thing aren't they? Both have bars sponsored by American Airlines and corridors lined with black and white photographs of Kevin Spacey. In fact, so does my house for that matter.

Kim Cattrall (of Sex & The City and Mannequin legend) and Broadway's rising star Seth Numrich play Alexandra Del Lago and Chance Wayne in Tennessee Williams' tale of ambition and lost youth, beautifully directed for the stage by Marianne Elliott.

Fading Hollywood star Alexandra Del Lago is a drug taking booze hound that wants to stay in bed and take refuge from the glare of the outside world - or rather the lack of it. Depressed and longing for the days of her youth and beauty, she wakes up in a hotel room with a strange man - Chance Wayne, an ambitious and beautiful stranger with his eyes on fame and riches, but a preoccupation with the love of his life back home. The two are obsessional and unhappy, both longing for what they once had and finding a volatile yet comforting solace in each other's company.

This is a relatively long play (with a run time of 2 hours 50 minutes including a 20 minute interval) and the acts within it are long. There are only two different stage settings (both of which are gorgeous and designed by Rae Smith) and the play is rooted in dialogue and the dynamics between its protagonists over action, though it never feels long. I was not bored once. The set is stunning, working perfectly with the characters' needs whilst creating natural levels and areas for the actors to play within. I was quite wowed and the performances are of a  next level - Cattrall in particular is brilliant as the (still beautiful!) neurotic Alexandra, bringing a strength and conviction to a character who's mind is all over the place. She grows with Del Lago and it's really just perfect; a completely believable depiction, made all the more perfect by the chemistry with Numrich's Chance Wayne.

I can understand why Seth Numrich's name is on everyone's lips in New York - he's a star on the rise with real stage presence. He projects his voice and mannerisms, strong yet still showing the cracks in the character's armour in a way that's natural and funny and realistic - he's gifted. Opposite the skill and wisdom that Kim brings to every project she's a part of (her Cleopatra on stage in Liverpool in 2011 was a sight to behold), the two are fantastic together.


Special mention has to go to Owen Roe as Boss Finley, the father of Heavenly - the object of Chance's affections. Boss Finley is the classic slick, southern, plantation owning style of asshole that is a regular in Williams' plays and such an interesting figure for me. Roe is awesome as the loud and aggressive oppressor and tied together the talent on stage with a perfect bow; no weak links, no poor performances, not a single missing piece of the puzzle. Everything in Sweet Bird of Youth is legit quality.

This is a sexy, cool, tragic, depressing and arousing pairing in a famous play beloved by scholars, artists and literati and I'm so glad K-Space put it on his agenda. It's the perfect precursor to Much Ado About Nothing later this season because it's so different! I'm enjoying this variety in genre, but more importantly I want more of Kim and Seth! I want to stay with them for a while longer! In that gorgeous bed, in that glowing room. In my pyjamas, and Seth in his, with my lovely Kim, toking away on her Moroccan hash.


- Olly Cromack is a film and theatre critic, copywriter, film maker, eater of everything in sight, man and boy. For press contacts and work related inquiries, please get in touch via email or the Blog on the Rails Twitter account.

World War Z: Film of the Year So Far?

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I went in to World War Z with hopes for a decent zombie movie but an awareness that the trailers were a little air headed in their structure and implied a cheesy mash up of Brad Pitt doing his best Tom Cruise meets 2012 Chanel advert whilst running. To say I was pleasantly surprised would be the biggest understatement in the history of Blog on the Rails. All 11 months of it. Hey, you can tell I'm serious now, okay? In the whole 11 months.

The movie sees Brad Pitt star as Gerry Lane, ex United Nations bad ass operative who retired from the world of guns and black ops to make pancakes and be a hot dad, and Mireille Enos as Karin Lane, wife and mother to their asthmatic and talkative children. Post-pancake scene we're in a traffic jam in downtown Philadelphia, and I say we, because we really do feel like we're all there, when crazy shit starts going down. According to my friend when seeing my impression of it I was told, "You're Michael Bay right now!" because it's pretty explosive and there were a lot of arm movements and screaming. It reminds me of that glimpse in to the past in I Am Legend, where we see the hell of an "outbreak" unfolding for the first time. I like those scenes in my zombie flicks and World War Z provides us with an epic, terrifying sequence that immediately binds us to the film by our very bones. I was strapped to my seat and biting down wooden bit from, like, five minutes in to this one. It is so good!

The movie takes Brad around the world as he has to leave his wife and children in safety and return to his old ways of figuring out crazy special missions for the government and stuff. And even though this guy was on the ground in the Libyan civil war, I'm guessing this little turn of events takes the piss even for Gerry. We see the entire world devoured by an outbreak of an unknown virus that turns them in to the rage filled living dead, an utterly terrifying depiction that, I feel, stands in the leagues of 28 Days Later and it's successor 28 Weeks Later in terms scare factor. I positively shit - my - pants - a good five or six times, not including the chronic jumping out of my skin. And I don't scare at the cinema! I just don't!

I can't help but read World War Z through the lens of post-9/11 cinema. I adamantly believe that the disaster movie, the classic LA / New York / London is burning city scapes that Godzilla just loves to wade through, take on a different meaning in 2013 to what they may have in 2000, or 1980, or any pre-September 11 day in history. The crumbling of a city, the billowing smoke, the screaming people running in fear, the desperation in the air and the injuries and the horror - it's all depicted on screen so graphically with such skilled and beautifully subtle special effects (at least in WWZ), and those scenes are so culturally and politically relevant to the social climate we live with now. That scares me, and that is effective in this film; the screen did half the work and my preoccupation with real life comparison did the rest. It's a scarier than any 'scary movie' currently at the cinema and it doesn't even claim to be!

World War Z gets a Blog on the Rails 9/10. Which is crazy high! I like the way it ends but I can't say it ends in a way that earns it that extra point - but time will tell on that one...

As for everything else, this film has a job to do, it knows it's job, and it achieves it with near perfection. I'm not too judgemental when it comes to Hollywood blockbusters but they have to have a bite to them, just the crumbiest modicum of originality (at this point in time, no mean feat) and some verve and drive behind the plot - WWZ provides those things, and I was left wanting more. More!


Olly Cromack is a freelance copywriter, film maker and graduate of English and Film from The Manchester Metropolitan University. For work inquiries contact via email, follow Blog on the Rails on Twitter and like us on the Blog on the Rails Facebook Page!

The Internship (2013): Movie Review

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If you find yourself sat on the second front row of a packed cinema of silent people not laughing, don't worry, you're not in a parallel hell dimension - you're at an advance screening of The Internship. Oh, and it's not 2001 either - Vince and Owen aren't suddenly relevant and hilarious again and you haven't timed travelled, you're still safe in 2013... watching The Internship. You are going to be okay, it will just take a while.

It may be my mistake, but I was under the impression that we had left that horrific comedy sub-genre of Vaughn, Wilson, Sandler, Stiller, and eventually Sean William Scott behind in the early noughties, where cinema was about searching for the perfect White Castle and asking each other where our car is. The Internship tries, albeit pitifully, to limp in to the Hollywood Hall of Shit Comedies without making so much as a whisper of a joke. It is so unfathomably dated in its form, and cliched to the point of insult, that it is barely even acceptable as an entry in the box office of summer 2013. It's embarrassing.
So dated is the structure of this barely-romance-barely-comedy floptacular, I dare say it feels distinctly sexist at times; out of touch and just generally uncomfortable. We're force fed, as our leading protagonists, a pair of middle aged actors who we barely found funny in their respective hay-days of Starsky & Hutch and The Break Up, backed up with a cameo from Will Ferrel at his most bizarre; it all feels so incredibly creepy! This isn't just me, is it? It's creepy!

Oh, and through some thunder-fuck of a mistake that an agent's head should roll for, John Goodman finds himself arse planted from the high heavens into two random irrelevant scenes. So awful. Get out of there John! What are you doing? Can you not ride the glory wave of Argo for a few months more without defaming yourself in this tripe? I want The Big Lebowski days and I want them now!

I think what sickened me to my stomach the most about this film was the vomit-inducing hyper advertising and glorifying of Google as some kind of digital Mother Theresa that has come to save us from a famine of knowledge and instant gratification. Google staff don't take the stairs, or even the elevator - no, they take the super twirly slide! Food is free and rich in quality and healthy options, and if you get tired, take a nap in the Google Energy Pod. Hey, why not? This is Nirvana, after all!

I felt sick. The product placement and the laudation of Google's excellence was at a level that I found very hard to swallow. At one point Rose Byrne (playing a cold underdeveloped dislikable shell as per usual) is giving one of many sycophantic commendations on Google's status as a healing God figure in our lives, and states, "Google has made you a better person," to which Wilson replies, "Well, 90% Google... 10% you." Of course! Doesn't Google make us all 90% better as human beings? 
Thanks, Google.

I won't waste my breath with this one any more. It doesn't stand up to what the bar of current cinema comedy has been set at! Comedic taste and form has evolved massively over the last ten years, where films like Pineapple Express bring a sophistication in their wit, a taste of adult realism and originality of plot, and even the never ending The Hangover series provides some gags amongst its action. The Internship had no gags! No action. No plot, other than a half arsed romance that they try and bash us over the head with, without reason, for all of 12 combined minutes of screen time. And unreservedly awful casting. Made with fresher eyes and younger, more popular talent, maybe this film would have had a different energy. It gets a Blog on the Rails 2/10. Such a poor effort.


Olly Cromack is a film graduate and critic living in Liverpool, UK. He is editor in chief of Blog on the Rails and currently writing his first fiction series. For work related enquiries, or to pitch an article to the site, contact via email.


Now You See Me (2013): Movie Review

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If you are expecting an innovative heist movie from Now You See Me, maybe something along the lines of Ocean's 11 with a touch of The Prestige, then please, get the hell out of there, now!

Now You See Me randomly brings together Isla Fisher, Jesse Eisenberg, Woody Harrelson and Dave Franco together as alleged superstars in the world of magicians. Yes, the world of magicians... I know. Anyway, Michael Caine is at the helm of the team of kind-of bank robbing cool people. I say kind-of bank robbing because it's not that cool, they're not these crazy diamond thieves or anything like the trailer makes out. Nor are they cool people. I can't really explain what the point of it all is, so this is a hard film to review. It is so beyond nonsensical that it can't tell its arse from its ear. In a weird way, I'm speechless.

For all the fun of the explosions and magic tricks (which are cool, at times), this is a bad, bad film. It is so silly, it has zero cohesion to the plot (what plot?) and I don't have a bloody clue what it was about! At some point last year, Michael Cane watched the movie 21. Two weeks later he woke up from his monthly microdermabrasion and chemical peel mumbling the words, "I wanna fucking play Kevin Spacey." He rang Morgan Freeman, who in turn scooped up a selection of bottom of the barrel actors that are current but at the same time nobody knows who the fuck they are.

Isla Fisher is without doubt my least favourite thing about this film. I enjoyed her brief turn as Myrtle in The Great Gatsby but her performance here left me cold. Her accent is wavering all over the place, which is jarring and annoying, and in turn takes up so much of her concentration that she entirely forgets to build a character. If she was any more wooden, Shannon could have left Summer Bar to be replaced by a mop and bucket with a school bag and nobody would have bloody noticed.

Woody Harrelson is competent and enjoyable as usual but considerably cocky as he rides the sparkly magic carpet of his Hunger Games inspired action-pop rejuvenation. He's out of place in this film, as is Morgan. This kind of film may put some quick dollar on the table guys, but it's inevitable flop at the box office is damaging to your reputation. Michael, you may already be a lost cause.

For all the venom I taste in my mouth from the rancid disappoint of this trashy bullshit brainstorm, at its core it is a nonsensical summer blockbuster that provides vague entertainment if one is to be completely comatose from a hard day at work. It provides a decent car chase and at times a couple of pretty slick moments - all stunt driven, but visually quite appealing on a large screen. Beyond that, I'm at a loss. The lack of plot and the stunted script that never reaches authenticity or any sort of warmth keeps the audience at a distance. We're encouraged to stare in cold awe at a string of empty X-Men style tricks, in which the artistic license between magician and superhero is severely abused, to a point where nothing feels like it makes sense. Suspending disbelief is the least of your worries watching this! You need to suspend disbelief like a noose around your throat and jump off the roof of your fucking garage to even entertain that this film was ever even conceived.

Now You See Me - I've seen you. You're a wet fish. And just so you know, I can smell the sequel from here, and it already stinks!


- Review by Olly Cromack. Olly is a film critic and freelance copywriter living in Liverpool, England. He loves videography, horror, Jessica Lange and BBQ ribs.

Will The Heat be this summer's hottest comedy?

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In the canon of this year's summer comedy flicks including The World's End and This Is The End, July 31st sees Melissa McCarthy and everybody's favourite human being Sandra Bullock star in The Heat, a buddy cop coming of age comedy with Bridesmaids director Paul Feig at the helm.

I call it a buddy cop coming of age story because that is essentially what it is, and it is so daringly blatant about it that even the IMDB description simply tells us, "An uptight FBI special agent is paired with a foul mouthed Boston cop to take down a ruthless drug lord." And before I go on, don't tell me you can't guess who plays the prim and proper FBI agent and who plays the hot mess cop...

Hot mess Melissa owns this movie. I liked her in Bridesmaids but I loved her in this, and playing opposite Sandra Bullock, it's hard to be the star - but she is. Sandra opens the movie as special agent Sarah Ashburn, heading a team of agents as they bust a drug dealer's house. I spent the first ten minutes dubious as to whether this movie was going to provide any funnies, and if Bullock's character was going to show any sign of relatable charm for us to warm to her. Ashburn is no Gracie Hart, try as she might.

We then cut to a Melissa McCarthy scene to see what she is up to at the other side of the country and give us a little bit of insight in to a world that will inevitably soon collide with Sandra B. Mullins is foul mouthed and aggressive but she’s incredibly smart and passionate. She looks like a character we can root for, which is a relief.

As their two worlds do typically collide, the pair are thrust together in an attempt to bring down a violent drug ring. The plot is one giant cliche and it couldn’t be more formulaic if it was from a basic film textbook, but for what it is - a fun, light hearted, dialogue based gag laden melodrama - it completely works.

At first I found myself panicking that in the good cop / bad cop, funny cop / boring cop stakes, Sandra drew the shitty end of the stick, but that doesn’t last. Sandy's my girl long time, y’know, and with this Melissa chick I'm like, you don't even go here, but they actually work brilliantly as a team and both characters come in to their own - Sandy just takes a little longer.

As our two protagonists become warmer and more multidimensional and we see the more human sides of their personalities, the comedy becomes far warmer, and far funnier because of it. Each character offers a different perspective and a different style, and in the screening I was at, Bullock and McCarthy had the entire cinema laughing. It felt like there was something for everyone.

This film receives its 15 rating due to the language more than anything, I would imagine, as the dialogue is quite crude and there is a lot of f-bombing but it’s all to such brilliant effect - at times I was hysterically laughing, and I just didn’t expect that!

The Heat suffered from a luke warm start, but after shaking off it's initial cliched depiction of Ashburn as a tragic career woman, lonely, unliked and an absolute matron, everything heats up and it becomes a bit of a howler really. This was was, way funnier than I had anticipated from the rather standard trailer, and it stood up to Bullock's usual standard of comedy screen queen awesomeness which I didn’t see coming. On a scale of All About Steve to The Proposal, this is undoubtedly three Blind Sides below a Miss Congeniality. But in a good way.

Oh, and to the person in charge of Photoshopping the promotional material for The Heat - who are you? How did you get this job? Did you repaint the Jesus fresco? Was that you?


- Olly Cromack is editor and primary contributor for Blog on the Rails and a film graduate living in Liverpool, UK. He likes tarte aux pomme ice cream and long walks on the sofa. Contact him on @BlogontheRails or email Blog on the Rails.

Pepsi Max team with Dynamo on the Festival Circuit

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Every now and then someone comes along that blows our mind and captures the attention of the world; David Copperfield, Harry Houdini and David Blaine have all mesmerised us at certain points in time with fantastical stunts and illusions, but Bradford born cultural phenomenon Dynamo is truly the most relevant and contemporary master in his field.

Dynamo's previous record of leaving us stunned is flawless. His hit show Dynamo: Mission Impossible has shown him levitating beside Rio De Janeiro's Christ the Redeemer, stunning hundreds of tourists from around the world and floating alongside a red double decker bus as it drives around London. We've seen him turn coconut milk in to hot coffee and he's walked on water across the Thames. Now he has teamed up with Pepsi Max to tour the UK festival circuit and pluck thoughts straight out of people's heads.

The #LiveForNow campaign sees Dynamo asking festival attendees at the Yahoo! Wirless Festival which act they are looking forward to the most - or rather, he doesn't have to, he just has to look in their eyes and he knows. At one point he even predicts Ke$ha as the correct favourite act of one young girl, before getting her to admit that she had originally picked Wil.I.Am and then changed her mind - and he still nails both! It's truly unbelievable and if you find magic, in the true sense of the word, a captivating and exciting sight to behold then you will not want to miss this.

Pepsi Max sign their video off with the slogan The Magic's In The Max, and from the sea of people enjoying a bottle whilst Dynamo baffles belief and puts a smile on everybody's faces, I think it probably is!

Watch the video here and let us know in the comment box what you think!


Michael Grandage Company Presents: A Midsummer Night's Dream

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One of Shakespeare’s greatest comedies, A Midsummer Night’s Dream, is coming to the West End this Autumn at the Noel Coward Theatre as part of a Michael Grandage Company series that started with Privates on Parade last December.

The Noel Coward theatre has been packed to the brim since the MGC series commenced last year, carrying with it Michael Grandage Company’s usual string of incredible British talent to ensure a suitably full house. From Judi Dench in the enchanting Alice and Wonderland drama Peter and Alice, to the current run of The Cripple of Inishman starring Harry Potter alum Daniel Radcliffe, the stars are out for this series of five innovative plays.

The fourth addition to the year long MGC takeover is A Midsummer Night’s Dream, the mystical comedy full of love, laughter and magic. Gavin and Stacey star Sheridan Smith and Little Britain’s David Walliams star as Titania and Bottom respectively, and the play runs from September 7th - November 16th, so don’t miss it. 

For those of you wanting to see the show who may not yet be familiar with the plot of this melodramatic forest fantasy, take a look at this promotional video from the show: it helps explain who loves who, who doesn’t thinks they love who they don’t, and who doesn’t love anyone - or do they? Confused yet? Me too, so take a look at the video!


As fantastical and engaging as ever, this contemporary retelling of a Shakespeare classic reminds us why the course of true love never did run smooth, and makes our sides split laughing every step of the way.

Throughout the Michael Grandage season the company are offering 100,000 tickets at £10. Tickets are available from the Noel Coward Theatre box office and the Michael Grandage Company website.

- Article by Olly Cromack. Olly is an English and film graduate and freelance copywriter living in Liverpool. For work related enquiries contact blogontherails@gmail.com

Is rock music dead? Well, no, but it isn't alive.

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The question of whether or not rock music is dead is an old horse that gets dragged out on the track at least once a year. Publications from The Guardian to NME raise the question time and time again, and we ask ourselves; has rock music, that old British and American favourite, finally left the building? Have the droves of auto-tuned raps and dance beats saturated the industry beyond recognition, leaving rock music to be a distant memory?

In a way, yes. Radio play is primarily reserved for Rihanna, Lady Gaga and so on (at least in mainstream airplay), leaving us to desperately tune our car radio to Rock FM to get even a faint echo of Whitesnake on the way to work. It’s a genre that seems to have had its most popular success in the 1970’s - 1990’s, eventually all but fading away with the salutations of girl power and pop anthems that the late ‘90’s and early ‘00’s brought.

One would assume it is now easier than ever to listen to rock music, or indeed R & B, blues, jazz music, classical - whatever takes your fancy. The digitalisation of music has allowed us access to an instantaneous stream of music from through the decades and around the globe with amenities such as YouTube, Spotify and iTunes on our Androids and smart phones. Songs and albums from any genre are free to access online and download to your iPod, so as long as you have some Beats by DRE headphones to hand you can plug in to millions of tracks at your finger tips.

So why is rock not more popular than ever? It’s not being produced like it used to be. British rock music now passes through an indie machine, a synthesized filter of electro and pop sounds and comes out sounding more like an homage to rock music. Bands like Arctic Monkeys, Mumford & Sons, The Coral, The Zutons - these are defining sounds of British music and they just aren’t Queen, Black Sabbath, Aerosmith - they’re not pure rock.

In all honesty, to label any form of music as being dead is redundant. Music lives in the minds and ears and laptops and LP players and CD Walkmans of generation after generation. Our grandmothers are still listening to Billie Holiday and Frank Sinatra, and perhaps, I dread to think, we will be listening to Dizzee Rascal and Tiny Tempah when we are 70.

We never let music die because we consume it and enjoy it and soundtrack our lives to it. Certain genres may have hey days and peaks in popularity and production, but music now exists in huge online databases, ensuring it remains immortal for new fans to discover it day after day.


- Olly Cromack is a freelance copywriter and film graduate living in Liverpool, UK. He lives for Jessica Lange movies, Chinese food and walking his pug. For writing enquiries please contact him via this email and follow the @BlogontheRails Twitter account.
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