It was tough to narrow it down to just 10, but here they are:

10) The X Files – Mark Snow

It’s serene, eerie and yet oddly a great whistling tune. It has been spoofed several times, but when this theme tune is played you instinctively feel that something eerie and suspicious is occurring. The X Files dealt with the unknown, and it was its theme tune’s sparse synths and unusual sounds (supposedly created by putting silly putty between the strings of the piano) that helped put Sci-fi on the map.

9) Top Gear – Jessica, The Allman Brothers Band

Yes, this isn’t a score, but it is a gorgeous instrumental song, and a brilliant piece of driving music. Albeit it now has added effects and is far from the Allman Brothers Band’s original, but it still manages to evoke images of the perfect driving scene: a huge empty American Highway with a powerful convertible speeding along with your hair blowing in the wind. Dickey Betts’ guitar melody definitely puts viewers in gear for the right mood of the show.

8) Sherlock – David Arnold

One of the more recent series’ on the list, like Dr. Who, Sherlock is also written by Stephen Moffat, and also like Dr. Who, Sherlock has been constructed with a series of uniquely orchestrated themes for individual characters. The music oozes with smooth, coolness, and quirkiness, it is perfectly apt for the revitalised and suave Sherlock character.

7) Knight Rider – Stu Phillips

I have never seen an episode of the Knight Rider series, but I have heard this music several times, and that’s testament to a great theme tune. It is menacing, but cheesy, and yet also somehow cool. It’s the juxtaposition of a heavy bassline, combined with eerie synths that make this an instant classic. It is such a notable tune because it has been sampled countless times by the likes of Jay Z and Busta Rhymes, to Punjabi MC it’s all in that epic bassline which makes for it being such a massive tune.

6) Eastenders – Simon May

Yes, it has a detuned piano, and yes some might say it is annoying but I doubt there are few of you who can’t hum the tune. For over 25 years this theme and its iconic ‘doof doof’s’ have been filling sitting rooms with tension and suspense. Originally the soap had lyrics and a song as its theme tune (the Sharon Benson version, ‘I’ll Always Believe in you’ is definitely worth a listen), but the main framework of the melody has always stayed in tact. In recent years this tune has been covered, sampled, chopped and changed, for things like the spinoff E20 series, and various mixes done by DJ’s, and who can forget the alternative sad piano endings inserted during noteworthy incidents. This tune is undoubtedly a guilty pleasure theme tune.

5) The A Team – Mike Post, Pete Carpenter, Garry Schyman

I pity the fool who doesn’t like this theme tune! Much like Hawaii Five-O, the A Team theme tune is iconic, and one of the most notable features of recognition for the series. It sounds comical and serious, perfectly capturing the foolhardy nature of the programme.

4) The Pacific – Hans Zimmer

This may have only been a one-off mini-series, but boy was it brilliant. Directed by Stephen Spielberg and Tom Hanks, and with music composed by the great Hans Zimmer, this mini-series definitely was of epic proportions. By far this is the most moving TV theme I have ever heard, with its sweeping strings, tender horns and crescendo timpani rolls, it ardently tugs at your heartstrings. You only need to watch the picturesque opening credits to see how high the level of artistry in the whole series was: with the carefully crafted imaging of the charcoal splintering in correspondence with the timpani, you’d be in awe and close to weeping before the show even started. It truly is a beautiful and poignant score.

3) Dr.Who – Ron Grainer, Delia Derbyshire

Originally composed by Ron Grainer and Delia Derbyshire, this theme was an instant classic. When the series was revived in 2005, I was quite excited by its revamped theme by Murray Gold and performed by the BBC Concert Orchestra. Its signature rolling strings and electronic synth sounds perfectly fit the show. And if you’ve ever watched the Dr. Who Proms, you will know just how intricate and cleverly crafted all the individual character musical themes are, it is a work of pure genius.

2) Hawaii Five-0 – Morton Stevens 

Quite possibly the catchiest theme tune of all time, it is unlikely that you will be able to get this one out of your head even days after you’ve first heard it. Even the newly revamped series with its faster and higher pitched version still makes you smile, (well, that and Alex O’Laughlin). But it is this original 3mins long version, which still packs the biggest punch. It’s superbly orchestrated, and when the brass section kicks in you know the Five-O team mean business. Book ‘em Dano!

And at Number 1… 

1) The Simpsons – Danny Elfman

It is said that Matt Groening approached Danny Elfman to make a retro-style theme, and it is quite easy to hear that Elfman stayed true to his brief and took inspiration from old Warner Bros. Looney Tunes, style compositions. Elfman produced an outstanding and technically demanding piece, that truly captures all the wit and character of the show. The theme has been continually adapted with intricacy, from modifying saxophone solos for Lisa, to incorporating the many various guest spots providing covers, and not forgetting the alterations needed to suit the infamous couch gags. The probabilities have seemed to be literally endless within the show, and its accompanying compositions seem to follow the unpredictability of the show with ease and flair, a true mark of a brilliant theme tune, and completely worthy of the Number One spot.

The BFI invites you to board L’Atalante, and join its newlywed inhabitants as it sails the waterways of France. Straight from the church, with their wedding crowd exchanging celebrations with farewells, Juliette (Dita Parlo) and Jean (Jean Dasté) embark on their new life on board the rickety barge.

Directed by the hugely influential Jean Vigo, despite only releasing four films in his lifetime, L’Atalante was his last and is still largely regarded as one of the greatest films ever made. Vigo is famed for his poetic portrayals, and L’Atalante showcases much of this through the surreal and dreamlike fantasies expressed by its characters. For a film from 1934, L’Atalante is very sensual, with subtly provocative scenes. Though remaining subtle, the relationship between Jean and Juliette is highly charged with eroticism, the emphasis of their love portrayed much more as a physical attraction rather than an emotional connection.

While things seem joyful when they board, Juliette soon starts to feel isolated as her initial hopes that the barge would be her chance to leave village life and see the world soon dissipate. She longs for exotic experiences and is excited about docking, to experience vibrant city life in Paris. Yet, Jean does not take pleasure in these curiosities. As the differences in the couple’s opinions surface, they threaten to perturb their relationship and life on the barge is not as romantic as first thought.

Adding to the tension, the couple does not reside entirely alone, accompanied by the enigmatic bargeman, Père Jules (Michel Simon) and the young mischievous cabin boy (Louis Lefèbvre). Unexpectedly, it is Michel Simon’s engrossing performance as the eccentric bargeman that steals the show. Meanwhile, Père Jules, an experienced traveler whose cabin is a disheveled mix of filth and unique collectibles from around the world, who goes from mindlessly drunk to enthusiastically playing accordion music, is completely captivating. His mysterious charm and oddly jester-like humour does much to add to the film’s appeal.

The context of this renowned film, however, is tainted with tragedy, as Vigo sadly died soon after its release. During filming, Vigo was suffering greatly from tuberculosis, but he was so passionate and determined that he actually directed much of the film from a stretcher. It is with great sadness that he did not get to see his masterpiece receive its praise. The film itself suffered its own dilemmas, as it had been mutilated and severely edited by its many distributors, and it was not until 1989 when a copy of the full original version was found. The film’s restorers insist that they have been ‘as true as possible’ to Vigo’s original intentions, giving viewers the opportunity to do what Vigo himself couldn’t: catch his masterpiece in all it’s glory. Despite all the sadness surrounding L’Atalante’s original composition and distribution, its survival story more than deserves its accolade; its a cinematic gem, and a must see.

Releases on 20th January 2012

This post was originally featured on http://www.thewhatwherewhen.org/events/latalante

JANUARY

Chase and Status – No More Idols

Britain’s most loved drum and bass duo, didn’t fail to disappoint with this beaut of an album. Full of amazing collaborations and massive basslines, it’s enough to get you in a frenzy. There’s only one word, which perfectly describes this album: Heavy.

Adele – 21

She may be everywhere, but she deserves to be. With a record breaking album full of heartbreak inspired pop anthems, Adele has outdone her successes with her debut 19, 21 sees her firming her position as Britain’s strongest songstress.

FEBRUARY

Yuck – Yuck

Yes, there have been several comparisons to these guys with 90′s bands, and also many complaints saying they’re not original enough. But I for one quite like grunge, and am loving the idea of its revival, this album is a real lose yourself head-swoosher that makes you want to crawl into the deepest darkest mosh-pit and wallow in self-pity. Long live the 90’s.

PJ Harvey – Let England Shake

The winner of this years Mercury Prize, PJ Harvey became the first person to win the coveted award twice. Let England Shake has beautifully crafted protest songs and most importantly it features an autoharp, no wonder it’s topped so many people’s lists.

James Blake – James Blake

Marmite artist James Blake’s Mercury nominated debut, sparked widespread interest amongst critics at the beginning of the year. And whilst many would say it failed to live up to expectations, the album is undoubtedly a feast for your ears, as they try to wrap themselves round the extraordinary techniques and sounds accompanying that luscious voice.

MARCH

The Vaccines – What Did you Expect form the Vaccines?

Well a lot of people expected a lot from the Vaccines, and 2011 has undoubtedly been their year. They may not be everyone’s cup of tea, but this album is full of anthems. Short and sweet, and ridiculously catchy; love ‘em or loathe ‘em, I doubt anyone can resist singing along to all of their hooks. Just let ‘If you wanna’ loose in a room and you’ll see that expectations have been met.

Elbow – Build a Rocket Boys

Recently announced as the artists who will provide the official theme of the 2012 Olympics, fans of Elbow can expect nothing less than lush for that soundtrack. From their huge success of Seldom Seen Kid, this follow up was not as spectacular, but equally as lush, they still manage to create swift and poignant singalong moments with the likes of ‘Lippy Kids’ and ‘Open Arms’.

REM – Collapse into Now

2011 saw the reformation of bands such as The Stone Roses, and the end of a huge band, REM. Collapse into Now, may not have been the best REM album, but it wasn’t entirely disappointing, and for a band who have been on the circuit for over 30 years, for their hard core fans, this album stands nothing short of a fitting send off.

APRIL

Paul Simon – So Beautiful, or So What

Ageing gracefully, is something we all hope for, but ageing gracefully and intellectually is what Paul Simon has achieved with this profound and intricate masterpiece of an album.

Foo Fighters – Wasting Light

A very classic feeling album from the mighty Foo Fighters which doesn’t disappoint. From the rough and ready ‘White Limo’ to the anthemic single ‘Rope’, the Foo’s just keep on fighting their way through the herds of rock bands, further establishing themselves as one of the best.

Raphael Saadiq – Stone Rollin’

Raphael Saadiq takes you back to Motown, with music that just simply makes you smile, Stone Rollin’ is a brilliant album, full of old skool groovy tunes. The beginning of 2011 saw me jammin’ with ‘Radio’ on repeat.

Metronomy – The English Riviera

Metronomy have had a big year, and this album is to account for it. The English Riviera firmly places them as one of 2011’s finest Indie bands.

Jamie Woon – Mirrorwriting

Much like James Blake, Jamie Woon was also hotly tipped at the beginning of 2011. However, he never rose close to those heady heights, but I can’t quite understand why. Compared to Blake, Woon’s album has greater potential for mass reach, it brought RnB and DubStep together in an sensuously intricate way. It definitely deserves more credit than it has got.

Katy B – On a Mission

It’s an easy album to forget off the list; Katy B is no stranger to the top 40, yet she is also strangely forgettable. But this album is actually pretty good. Perfectly blending dubstep and RnB, but with a definite upbeat focus, and hence succeeding where Jamie Woon failed, when listening back to On a Mission you realise just why this album is full of the years biggest club anthems… it’s quite simply because there’s no faffing around, they’re just brilliant pop songs.

MAY

Friendly Fires – Pala

Friendly Fires brought out another booty-shaking worthy album, of which Ed MacFarlane is no stranger to demonstrate. It is a real feel good album full of electro Indie pop anthems, crafted to perfection.

Miles Kane – Colour of the Trap

Everything about Miles Kane is dapper, his look, his style and his sound all ooze with suave. This debut solo album is genius; with catchy retro riffs, Miles firmly showed his worth, moving swiftly out from behind Alex Turner’s shadow.

Lady Gaga – Born this Way

Lady Gaga has affirmed her position as the world’s new pop queen (much to Madonna’s disappointment). Although she hasn’t left the limelight much since The Fame, she still isn’t boring, you’re always interested to see what she does, and with this album, the music’s not too bad either…well, just about.

Foster the People – Torches

It had the song that was everywhere, and it is one of the best Indie debuts of the year. A very impressive collection of songs, leaves you expectant to hear a lot more to come from this band in the coming years.

Tyler the Creator – Goblin

Certainly one of the most talked about individuals of the year; 2011, was the year where this acronym was everywhere: OFWGKTA. With ‘Yonkers’ causing a stir amongst the youtubers, this solo album from the leader of the controversial troupe certainly gathered much publicity, paving the way for a string of extreme, in-your-face artists propping up on everyone’s radar throughout the year (Cerebral Ballzy, Azealia Banks etc).

Fleet Foxes – Helplessness Blues

Lush, serene, and beautiful; this album needs no more description.

JUNE

Bon Iver – Bon Iver

Bon Iver’s latest offered the same sweet serendipity of his first, but with an extra sweetness. It’s luscious melodies and gorgeous beautifully crafted harmonies make this the most atmospheric album of the year.

Arctic Monkeys – Suck it and See

The Arctic Monkeys are never ones to stick to the same format. Always moving in a different direction, this album sees them taking their signature tongue-in-cheek lyrics we all fell in love with, to a very old school rock heavy format, the result is delicious.

Beyonce – 4

So it’s not the best Beyonce album of all time, but it sure is a grower. Whether it is due to the fact that all her singles get continuous airplay or the fact that she’s put on stellar performances throughout the year, but before you know it, you’ll be counting down from 10 and having a ‘Party’ until the ‘End of time’.

JULY

Little Dragon – Ritual Union

One of Sweden’s many wonderful exports Little Dragon, have had a very busy year. From endless collaborations and tour supports, to this great sounding, yet surprisingly underrated album. Expect to hear lots more from this talented four-piece in 2012.

The Horrors – Skying

The Horrors appear to have gone from strength to strength, and 2011 will forever be known as they year they broke into the mainstream. A gem of an album, from a band who deserve all the success coming their way.

AUGUST

Red Hot Chili Peppers – I’m with you

The long awaited new album from the Chili’s dropped in August. Despite all the complications with finding a new guitarist, the Chili’s continue to defy all the odds, and make brilliantly distinctive music.

Jay Z & Kanye West – Watch the Throne

One of the most hotly anticipated albums of the year, and possibly the greatest hip-hop collaboration to date, yes it didn’t live up to all the hype, but that’s not to say it’s a bad album. And I’ll be damned if you can resist nodding your head along to the sounds of Otis Redding wailing over a beat.

SEPTEMBER

St. Vincent – Strange Mercy

Undoubtedly, 2011 is the year that officially put Annie Clark on everyone’s radar, Clark once said that she likes “when things come out of nowhere and blindside you a little bit” and for me Strange Mercy is the album that did just that.

Laura Marling – A Creature I Don’t Know

It seems Laura Marling’s success from scooping the British Female Award in 2010, hasn’t gone straight to her head. Amidst fans’ fears of her “selling out” into the mainstream, Marling surprised everyone with a much darker, deeper and mystic album of musical storytelling that sees her angelic voice explore and indulge in all her temptations to make truly riveting music.

Superheavy – Superheavy

And the winner for the most random collaboration of the year goes to…. Superheavy! No one could fathom that this would work, but collectively Joss Stone, Mick Jagger, Damien Marley, Dave Stewart, and A.R Rahman have made a musically and technically brilliant album. Fusing together their various styles and world influences for an appetising feast for your ears, this is an album which deserves plenty more accolade.

OCTOBER

Noel Gallagher’s High Flying Birds  – The Death of You and Me

Noel Gallagher surprised everyone with his debut solo album full of lusciously mature songs, and trumpets, let’s not forget the trumpets. Yes, maybe the songs would’ve sounded better with Liam singing them, but you cannot deny that these songs are fantastic.

Coldplay – Mylo Xyloto

Coldplay don’t always get the best reviews, but this album is just what you expect from them: great catchy songs with the ability to sell to millions. And that’s not something everyone can boast.

Florence and the Machine – Ceremonials

‘If it ain’t broke don’t fix it’ is a format which Florence has seemingly stuck by. Her debut Lungs took the world by surprise. But Ceremonials provides much of the same, and without the surprise element it’s no surprise that this album hasn’t been as huge, but with that voice, Florence has managed to bring songs inspired by Virginia Woolf to the mainstream.

NOVEMBER

Drake – Take Care

Who doesn’t want to take care of Drake? He’s sexy, smooth and makes the kind of RnB/Hip-hop that you can’t resist. With one of the most talked about debuts produced by Jamie XX and featuring the continual woman of the moment Rihanna, it was obvious that Drake’s album was going to create a serious stir of sensations.

Birdy – Birdy

An album of covers by a 15-year-old girl took the radio waves by storm. It’s the songs everyone loved, just her and her piano redoing great Indie hits in a sweet and cutesy way, which makes it quite hard to hate.

Lou Reed & Metallica – Lulu

2011’s biggest WTF moment… the strangest collaboration, and quite possibly the darkest sound to ever grace Later with Jools Holland. Although, I must admit, it strangely grows on you, the music is great, but I could just do without Lou Reed’s singing.

Rihanna – Talk that Talk

Rihanna has a new album? Didn’t she just release Rated R? Rihanna has a habit of never leaving the public eye, consistently touring and appearing on TV, lord knows how she managed to find the time to record a whole new album. Oh well, of course she’s always around, if she isn’t who else is going to fill the clubs with mindless dribble! No doubt, it’s the stuff that sells, but there’s also no doubt that we will have every single song released, and this album will reverberate continuously throughout 2012, when we will also no doubt have a fresh offering from Ri Ri!

DECEMBER

The Black Keys – El Camino

The White Stripes’ break-up does much for The Black Keys who with their catchy, raw bluesy sound can fill a much-needed void in 2011.

Amy Winehouse – Lioness: Hidden Treasures

2011 will always be remembered as the year music lost a great young voice. Amy Winehouse’s posthumous album features recordings, which span the length of her whole career. Including unheard demos, back catalogue tracks, unique covers and a very special duet with Tony Bennett, all sung so effortlessly. Lioness showcases the sheer unique prowess of that amazing voice, and reiterates the sadness of losing such raw talent so young.

Post-war and post-influenza epidemic, 1921, we are told ‘is a time for ghosts’. With the overwhelming amounts of untimely deaths and the huge sense of loss and grief surrounding this period, it is without a doubt a perfectly chilling setting for a ghost story. Many people believed that they were haunted by their past, and others actively searched for ghosts in hope, seeking to see their loved ones. This is where The Awakening begins. Amongst all these ghost hunters, is a prime ghostbuster, Florence Cathcart (Rebecca Hall), an educated woman who uses her knowledge of science to dispel any notions of ghosts, finding explanations and proof to account for the supposed supernatural experiences.

Florence is a feisty, knowledgeable woman, who is a victim of her sex, as her cynical notions and dominant prowess always seems to strike a nerve with powerful men. Up against the odds due to her sex, pretty soon Cathcart comes across a supernatural case, which cannot be explained. Called to a boy’s boarding school where a child reportedly died of fright, Florence attempts to discover the truth about the strange events. Surrounded by equally eerie looking characters from the war veteran Robert Mallory (Dominic West), to the unreadable maid Maud Hill (Imelda Staunton), alongside a further array of staunchly suspicious caretakers and schoolteachers, and not forgetting the chilling performances from the children, especially Isaac Hampstead Wright who plays the lonely schoolboy Tom, this thriller is full of suspects.

Made by BBC Films, the setting is stunningly recreated like a sumptuous BBC period drama. Coincidently, the 100-year-old vintage Phoenix Cinema also appeared apt for this spooky thriller, with its classic surroundings and archetypal lighting, The Awakening seemed naturally at home with every spine-tingling moment oozing through the auditorium. The film’s setting works as brilliantly uncanny, as on the one hand it is a recognizable period which feels familiar, yet it is also quite distant, and this increasingly adds to the unnerving atmosphere.

Rebecca Hall’s performance is commendable; she performs with an admirable mix of grace and authority and is so much more than a stereotypical helpless female victim. However, in terms of script, admittedly in places it is quite shaky and occasionally hard to follow, yet that does work to its advantage, as overall the outcome is very unpredictable. Director Nick Murphy has clearly taken inspiration from films such as The Others, but that’s not a bad thing as there is still plenty to get you spooked from that formula. It is a film that will catch you unexpectedly and make you jump, but it will also have you on the edge of your seat trying to solve the mystery too. It is a ghost story with a chase, and a surprisingly edgy one at that; it is riveting, eerily chilling and will have you completely absorbed.

This review is featured on http://www.thewhatwherewhen.org/ 

When you bake a cake (bear with me on this one) you ensure you have all the ingredients and the equipment. You add just the right level of sweetness and make the sure the mixture is of the right consistency, yet sometimes when you bake it, it just doesn’t come out of the oven the way you wanted it to. Well this film is similar to the cake; it has all the right ingredients, a clever storyline, a star-studded cast and a great director, yet it doesn’t live up to all the excited expectations.

Director Brett Ratner, of Rush Hour fame, is no stranger to comedy, and with an all-star line-up led by Ben Stiller and Eddie Murphy you’d think the film would have a recipe for comedic perfection. Surprisingly, Eddie Murphy is the film’s only saving grace. Let’s face it, Murphy has in recent times drifted far away from his heyday, after sucking the humour of The Nutty Professor and Dr Doolittle completely dry with their endless sequels, it is nice to finally see Murphy trying something fresh. Tower Heist sees Murphy’s return to form, as his character Slide packs most of the (few available) punch lines.

Albeit dry on the comedy, Tower Heist does have a unique storyline. Based in a luxury condominium building which houses millionaire clients, the building’s workers become swindled out of their retirement funds after being persuaded to invest their money with resident rogue millionaire Arthur Shaw (Alan Aida). Failing to reach help from the law, in an attempt to get their due back, the manager Josh Kovacs (Ben Stilller) bails out the street criminal Slide (Murphy), and enlists many of the Tower’s workers including the front-of-house secretary Charlie (Casey Affleck), the recently bankrupt and evicted resident Mr. Fitzhugh (Matthew Broderick) and the feisty safe cracking maid (Gabourey Sidibe), to steal from Arthur Shaw’s penthouse.

The plotline is incredibly well thought-out, and there are instances during the heist, which are quite witty and manage to generate laughs, but there just aren’t enough of them. Part of the problem is that there is just too much going on, there isn’t space for laughs because so much needs to be explained. Everything feels rushed and disjointed, it is a cake that has been taken out of the oven too soon, that hasn’t been allowed to cook, and it is a real shame. Tower Heist has all the right ingredients, but doesn’t manage to rise high enough, and overall you can’t help but be disappointed.

Sebastian Faulks’ most recent novel, attempts to portray a snapshot of middle-class London life. What critics described as a Dickensian attempt at the ‘Great British novel’, appears as a complicated and rather banal portrayal of contemporary London life. On the surface, “banal” may seem a poor choice of adjective, considering that the novel follows an array of characters ranging from Islamic extremists and schizophrenics, to train drivers and politicians. Yet somehow, the novel falls short of excitement.

Albeit much of the 19^th Century social satire was far from eventful, yet in this day and age, a novel with a set-up of characters like these carries expectations of much more action. No one can flaw Faulks’ writing, which is richly flamboyant and knowledgeable, however, the actual content and plotlines (if any) come across as lack-lustre.

Opening with dinner plans at newly crowned MP Lance Topping’s residence, his wife Sophie muses through the seating plans for the guest-list, which inevitably consists of the interlinked characters within the novel. The list comprises of a variety of peoples from the haplessly lovelorn lawyer Gabriel, to Spike the newly transferred star footballer. The guests also include a dodgy dealing hedge fund manager, John Veals whose obsession with money has reciprocated in a distraught and misshapen family. Also in attendance are the al-Rashid’s, an entrepreneurial family in the pickle manufacturing business, who despite all their surface happiness are unawares of their son’s radical take on Islam, and his terrorist connections. Faulks’ most notably successful aspect of recreating social satire resides within the character of journalist R. Tranter whose pessimistic reviews and resentful hatred of other critics is vibrantly portrayed, and not without a subtle hint of irony towards Faulks’ own critics.

Whilst following these characters’ individual stories in alternating sections, it is easy to be drawn in, and to become expectant of a climax when all the characters are due to meet at the Topping’s dinner. However, in stark contrast to this, events go rather undeterred, and rather ironically, life simply goes on. Faulks’ novel could be interpreted as a stroke of brilliance or, an eternal bore. Its genius aspects reside in the fact that it does provide a glimpse of London life and the very fact that life in general is full of anticlimaxes, and that no matter what, life always goes on. Or you could think this novel goes on too long and never gets anywhere, and is ultimately a disappointment. Whichever you choose, one thing will be mutual amongst all readers, and that is the unmistakable feeling that you always get whilst reading Faulks, the feeling that you are basking with the one of the country’s most profound, intellectual and ambitious writers around today.

Undoubtedly, one of the biggest (somewhat British) movies of the year, complete with a stellar line-up featuring the crème de la crème of British male actors, comes an adaptation of British novelist John le Carré’s spy thriller, Tinker Tailor Soldier Spy. In fact the only thing that’s not British, is the Swedish director, Toomas Alfredson, but that’s not to be held against him, as Alfredson has made masterful use of his British resources, successfully managing to tap into the British mentality.

Set in 1973, during the Cold War, the plot centers around the British Intelligence MI6 building, codenamed ‘The Circus’. However, within the smooth, calculated environment, the head of The Circus – Control (John Hurt) gets word that there may be a mole working for the Soviet intelligence officer Karla, within the Circus’ high ranks. Attention then diverts towards the suspects – Tinker: Percy Allellie (Toby Jones), Tailor: Bill Hayden (Colin Firth), Soldier: Roy Bland (Ciarán Hinds), Poor Man: Toby Esterhase (David Dencik) and rather confusingly both a suspect and the man behind the espionage, Spy: the serious and composed detective ironically named George “Smiley” (Gary Oldman). What ensues is a gripping race to find and dodge the mole; complete with red herrings and unexpected thrills, Tinker Tailor is a complex, yet scintillating experience.

However, complex is an understatement to describe the film; Tinker Tailor requires your full, undivided attention, as many of the events go unspoken and rely on audience assumption. It is cleverly done, but most importantly, Alfredson has made sure that it isn’t overdone; the film is intellectual, yet inviting, which further adds to its brilliance. Much is left unsaid, but it is the thrill of the chase and most importantly, the appeal of the characters that draw you in.

Gary Oldman deserves all the praise that he is receiving for his performance; he is subtle, unreadable and completely absorbing. Just as praiseworthy are the performances of Smiley’s assisting colleague’s Peter Guillam (played by irrefutably charming Benedict Cumberbatch), and Ricki Tarr (played by the equally captivating Tom Hardy). Cumberbatch, from Sherlock fame, ironically plays the Dr. Watson-esque sidekick role in the film, which he takes on with great flair. While Hardy’s character provides the small, but much needed instances of light relief from the heated drama. The film is almost entirely male dominated, but it is a cast of Britain’s finest actors, both young and old, which makes for an array of engrossing and enchanting characters.

Alfredson’s work is also unquestionable; the cinematography is chic, stunningly shot and crafted masterfully to add suspense. Alfredson generates a feel of intensity; the effects are edgy, but also distinctly and beautifully vintage. Classic cars, retro clothes, and cringe-worthy 70’s wallpapers, are the backdrop encapsulating the atmosphere of this film. In fact, the small and classic setting of Everyman’s Cinema in Baker Street was the perfect host for this suave film, adding to the experience, much more than your normal multiplex ever could.

But one thing is for sure, not only does Tinker Tailor have the makings of a masterpiece, by the film’s close, there is a distinct whiff of Awards flanking the air, as it has BAFTA, Golden Globe and Oscar written all over it. The setting is magnificently created, the line-up is outstanding, and all in all, it is an intense, intellectual and brilliantly crafted, gripping thriller which will have you on the edge of your seat, hankering to find the mole as much as Smiley himself.

Originally featured on http://www.thewhatwherewhen.org/

Can a lie ever be considered ‘beautiful’? Even if there are good intentions involved, there’s one fundamental problem with telling a lie: one lie always leads to more. This quirky French film actively confronts and plays with the boundaries between good intent and deep regret, that lies produce. Teaming up with director Pierre Salvadori for the second time since Priceless in 2006, Audrey Tautou of The Da Vinci Code fame, sees herself playing another outspoken female, as Émilie.

Audrey Tautau is known to take leading roles in her stride; however, in contrast to her strong female portrayals in Coco avant Chanel and Amélie, Émilie is a far cry from being considered a “heroine”. Émilie meddles with others’ lives only to cause herself the most pain.

Émilie is a confused individual caught up between her obligations to her parents, making ends meet in her salon, and her non-existent love life. In order to save her mother, Maddy, from the depression of her impending divorce from her husband (who has impregnated a twenty year old), Émilie copies an anonymous love-letter sent to herself, and sends it to Maddy, with the hope of revitalizing her spirits.

However, although the effects of this love-letter prove positive on Maddy, one lie, soon multiplies into several, as Émilie is forced to compose more letters in order to maintain her mother’s happiness. But complications arise with the discovery that the original letter was written by Jean (cue haplessly charming, Sami Bouajila), a Harvard graduate who after being fired from his job as a translator, now works at Émilie’s salon as a handyman. Predictably, Jean falls helplessly in love with Émilie but is unable to reveal it and therefore resorts to anonymous written declarations.

Émilie regurgitates his letter and forges a series of more, slowly weaving a tangled web of lies, which makes for a whirlwind of non-stop events, eventually culminating in an intrinsically crafted love triangle between Émilie, Jean, and rather awkwardly, her mother. The result is surprisingly humorous and weirdly addictive. The writing is full of wit and manages to transcend across the translated subtitles. The film’s only downfall is the ending, which is undeniably predictable and feels sourly rushed, but as with most RomComs, the endings are never expected as a strongpoint, yet as RomComs go, this one does possess a certain flair. Audrey Tautou’s performance is the film’s saving grace, and equally impressive is Nathalie Baye’s highly comic performance as Maddy.

If you’re looking for something different to view at your regular cinema, ‘Beautiful Lies’ is a welcome variation on a familiar concept. Sure, it’s not a masterpiece, but it sure is a nice time-pass, a perfect light-hearted escape from a chaotic London day.

Originally featured on http://www.thewhatwherewhen.org/

As a recent graduate faced with unemployment, I happen to have a bit of spare time on my hands. But having seen countless hours of reruns of Top Gear and Jeremy Kyle, one of the perks about daytime T.V, which I have discovered is Cartoon Network Too. Yes there are adverts selling unbelievably useless toys and way too many insurance recommendations, and most of the programming is mindless dribble, but what you also get from 2pm, is an hour of genius.

I am talking about an institution that is over 50 years old: Warner Bros.’ renowned Looney Tunes. Everyone grew up with them: grandparents, parents. Everyone knows the characters from Bugs, to Roadrunner. And everyone knows the catch phrases from ‘What’s up doc?’ to the sheer simplicity of ‘Beep beep’.

It was an animation revolution, and although to most of the Pixar generation they would seem “simple”, but I assure you they are far from. Looney Tunes are still as funny and enjoyable today, as they were back then. The comedy is universal; it works on anyone, of any background, and any age. And if anything, these Tunes are even more appreciated with age, I never realised just how clever and intricate they were when I was a kid. The Tunes reference great works of literature and music, and they are all made accessible to everyone. The effects of the Tunes are as classic as old Charlie Chaplin clips and simple mime comedy.

The most genius aspect is by far the orchestration; the musical genius behind these great compositions lied with several people including Carl Stalling, Clark Terry and Gus Arnheim. The musical accompaniment is by far the most influential and elaborate aspect of the creation; as the music was as much a part of the comedy as the animation and content. Complementing the images and exploring with sounds by experimenting with instrumentation to characteristically represent the imagery, the musicianship was by far cutting edge. To this day, people still associate the descending tones of a muted trumpet with failure and ridicule. The musicians were incredibly talented, and were working on repertoire that far surpasses most film scores today: ranging from influences from classical to jazz, the results are truly amazing.

Here’s a pick of my favourites:

Everyone knows the tale of the Three little pigs, but when Warner Bros. gets a hold of it, the tale comes to life. Warner Bros. actually created two different versions, here is the first, which uses Brahms’ Hungarian Dance.

And this just has to be the BEST reworking of this classic story. This time in a Jazz style ‘The Three Little Bops’ be-bop their way through the tale – full of witty remarks and ingenious detail – this is beyond brilliant. And with one of the best musical morals ever – ‘you gotta get real hot, to play real cool’.

I much prefer the Warner Bros. one to this (comparatively awful) Disney interpretation of the same tale.

Tom & Jerry

The winner of the Academy Award for Best Cartoon in 1943 – ‘The Cat Concerto’, featured Franz Lizst’s ‘Hungarian Rhapsody No.2’ and has been cited by many renowned pianists (including Lang Lang) as being their first influence for learning to play. It is without a doubt, one of the best Tom and Jerry episodes ever.

Johann Strauss’ opera – Die Fieldmaus, is resurrected as a conducting competition between the two rivals.

‘The Cat Above and the Mouse Below’ – This is where the notoriously comic ‘Figaro, Figaro’ imitation of opera singers came from, as once you’ve seen this Rossini’s the ‘Barber of Seville’ would never be the same! Watch out for the plunger!

Roadrunner

Any Roadrunner episode is funny, and out of all the Looney Tunes I think Roadrunner is the silliest, but funniest cartoon. It is just simple, and definitely an example of universal humour – I bet you can’t get through without at least a little chuckle!

Bugs Bunny

‘Rabbit’s Feet’ – Last but not least – Bugs… and a guest appearance by Mr. Wile.E Coyote himself.

You could spend countless hours going through these and reliving your childhood, and I advise you to. It was the paving stone for Pixar, The Simpsons, Family Guy ect. And it is better than ANY kids t.v nowadays. Kids will love it, and as an adult you will discover so much more, by truly appreciating the intricacy and genius behind some of the best animation of all time.

Set in 1862, Sarah Waters attempts to recreate the magic of Nineteenth Century sensation fiction. Drawing on the likes of Mary Elizabeth Braddon, imitating Wilkie Collins, and borrowing from Dickens, Waters is rewriting those fictions with a modern edge. In the nineteenth century, sensation fiction caused such a stir because it was a genre, which revolutionised literature by featuring detailed “scandalous” scenes, which were designed to shock readers. But in today’s tabloid society, where prudence is somewhat forgotten, it’s hard to create the equivalent shock reaction within readers. So in order to combat this, Waters places you back in nineteenth century society with familiar surroundings and styles, evoking reading nostalgia.

Opening in the criminal underworld-esque setting, named ‘the Borough’, that is deliberately reminiscent of Fagin’s Den, Waters is fully addressing the obvious comparisons for her work, by even making the characters attend a play of Oliver Twist. Yet unlike Dickens, Waters’ characters are much fuller and developed: ‘Mrs Sucksby’ is the Fagin of the ‘Borough’ – the loving yet loathing leader of the pact, ‘Gentleman’ is the double-edged, mysteriously unreadable charmer – whom one might even call Artful, and the Nancy of it all – ‘Daisy’ is the crude, roughly handled but lovably honest dame. Amongst revamping Dickens, Waters also revives one of the most fundamental characteristics of Nineteenth century fiction: cliffhangers. Modern day fiction struggles to create the same gasping effects as Victorian fictions, which were designed specifically to fluctuate emotions and hook readers. In today’s televisually oriented society where books seemingly take a second seat to the screen, achieving the same gripping effects are undeniably a challenge. Yet Waters will make you miss your favourite programs on the telly and not even care for the loss, as this fiction will have you glued.

Waters intends to create a page-turner in the most sophisticated, mind engaging way. Following the lives of two women, Susan Trinder and Maud Lily whose lives are completely opposite, yet curiously intertwined, Waters leaves their identities open to question. The narrative is divided between the two women, however their narratives are both inclusive, yet unreliable, as the reader never knows whom to trust. Waters questions the perceptions of identity and belonging by frustratingly leaving unanswered questions, causing the reader to feel the same exasperations as the characters. To add an extra layer of complexity, beneath this criminally masterminded tale of lost identity, also lies a story of passion. Both Susan and Maud grow up living each other’s lives, but when they do meet they both find more than just their identities, they find love – but it is of the most scandalous proportions. With convoluted schemes of betrayal and deliberately complex characters, the novel is quickly devoured in the hope of discovering the truth.

Albeit complicated, far-fetched and occasionally too overdone, ‘Fingersmith’ is undeniably beautifully written. Waters creates a spiralling story, accompanied with violent murder, sex and unpredictable betrayals, which will leave readers craving more. It’s dramatic, unexpectedly shocking, and definitely a gripping page-turner.