For once, November has actually gone quite well for Newcastle United.
The last few seasons have almost been derailed by poor November's. Last season saw a cataclysmic loss of form in November that saw the rug pulled from under the feet of what had seemed to be a reasonable mid-table campaign, while two seasons back, no wins in November was an ultimate contributor to the sacking of Chris Hughton. Even in the 5th place campaign of 2011-12, the team only managed one win in the Bonfire Night month.
So far, three wins in three is a promising November. Equally impressive was the calibre of the opponents for two of these wins, with the team seeing off both Chelsea and Spurs in impressive and committed team displays.
But arguably as important as those three points were three points over Norwich City, which is an important step towards potential consistency given the season has already yielded defeats to Hull City (at home) and Sunderland.
Three points against teams that are likelier to be towards the bottom end of the Premier League are important if you want to stick ahead of them.
Last season the three teams that finished below Newcastle in the Premier League all got at least three points off the Toon Army, while only three teams in the bottom half failed to get a win off Newcastle last season (QPR, Villa and Norwich). Form like this is an indication things will not go in any way well.
What's interesting is the similarity between the two campaigns, with surprisingly similar statistics. 19 goals conceded ahead of the last game of November is similar to the 18 conceded so far this season.
A more clinical eye for goal - 18 to last season's 13 - has helped out. The only real hammering so far this season was the defeat by Manchester City, with the other defeats all being by a one goal margin.
Indeed, the statistics are surprisingly close between last season and the current one. It just so happens to be the month where divergence occurs. Last November saw the season begin to go downhill, with a run of miserable defeats against West Ham, Swansea, Southampton and Stoke turning a reasonable if underwhelming campaign into a relegation battle.
Part of the change in luck was due to Newcastle's horrifically poor luck with injuries. The only key players not to get long term injuries last season were the out-of-form Cheick Tiote, Jonas Gutierrez and Papiss Cisse, and Demba Ba before his move to Chelsea.
But it also appears as though Pardew now has a tactic that works. It also is interesting that the formation works best when previous key options like Hatem Ben Arfa and Cisse are out of the team, with the three wins all seeing the team begin without all of them.
Last season, it seemed Pardew struggled to figure out the right system to place his team into. The similarity of Cisse and Ba meant a partnership between the two was unlikely, while Pardew never seemed to figure out what to do with Ben Arfa.
Evidently, he still doesn't, given HBA now largely occupies a bench role. Not a bad impact sub to have given his major contributions already this season in victories over Fulham and Aston Villa, but still a sub.
Yoann Gouffran is now employed, and to good effect on the left flank as a cover for the surging runs of Davide Santon. But the Frenchman is turning into a key player, with goals against Chelsea and Norwich and an assist at Spurs.
Its questionable if Moussa Sissoko is really a right-winger but for now he seems to have a decent go in the position. Meanwhile, up-top is one Loic Remy, and the French firecracker striker is in top form right now.
Eight goals means Remy is currently behind only Sergio Aguero and Liverpool's Suarez-Sturridge pairing in the scoring charts. The important of the loan signing from QPR cannot be overestimated - Gouffran with 4 and 2 each for Ben Arfa and Yohan Cabaye is the nearest to the player.
It is up to the riding the summer transfer madhouse and the alleged Director of Football to secure his permanent place, but for now his goals are proving a valuable contribution.
Tim Krul is also returning in some valuable displays, which is also much needed after a few poor performances in 2012-13 (something he was not alone for).
His magnificent display pretty much kept Spurs out at White Hart Lane, and vital stops have also yielded further points.
With players and tactics lining up in good harmony, it means that a good consistent run has emerged since the awful derby defeat.
The aim of the game now is to continue something approaching consistency. Further three points against West Bromwich Albion will be a good starting point on this road. The odds however are good for once, with WBA having thrown away victories late on against Chelsea and Villa recently, although a Peter Odemwingie-inspired victory in 2011 means nothing can be taken for granted.
But it appears as though the Toon Army might be approaching something involving consistency and sanity for once. Let us pray it continues...
Friday, 29 November 2013
Wednesday, 27 November 2013
The Hunger Games: Catching Fire - Film Review
*CAUTION: This contains a variety of spoilers for The Hunger Games: Catching Fire. People that wish to see it but haven't already shouldn't read ahead if they do not want to spoil it.*
Its safe to say anticipation has been building up for the adaptation of the second book in the Hunger Games franchise.
The advertising campaign has certainly been relentless, with the bow, arrow and face of heroine Katinss Everdeen (Jennifer Lawrence) poking out of buses, giant billboards, television commercials, online advert spaces and baffling promo tie-ins with Subway sandwiches for most of the last few weeks. But this has spun the brand recognition following the huge success that was the original movie, which has given the original a franchise to build on.
The first film was slightly toned down from the relentlessly brutal novel about a future North American nation called Panem, where the kids from its 12 districts are sent into an arena to fight until the death, and for their rulers' amusement in the titular Hunger Games. But it was still a gripping and unsettling piece of film that delivered a superb adaptation of the book.
Three Hunger Games books were written by Suzanne Collins, and the cast involved in this project are already making preparations to film the first part of final level Mockingjay, which will see the film released in exactly one year's time.
But to get there of course, this is the important step towards there. We begin this a few months after the end of the original Hunger Games film, which sees Katinss and Peeta Mellark (Josh Hutcherson) back home in District 12 after surviving the Games in the first film.
They only survived by pulling a trick with nightlock berries and taking advantage of a soft touch game controller that refused to allow them both to die. But although the citizens of the Capitol enjoyed the show, the Capitol's leaders did not so much - no previous Hunger Games has ended with twin victors, and this defiance of the rules of the games has inspired dissatisfied revolutionaries in the districts of Panem.
President Snow of the Capitol (Donald Sutherland) personally visits Katniss to inform her that this cannot lead to revolution and civil war, and so she and Peeta must convince him that they actually are lovers rather than using it as a skit to win the games.
The aim to convince has been faltered by a loss of contact between the two victors, while Katniss seems torn between her fellow victory Peeta and her best friend Gale (Liam Hemsworth). This film certainly gives more light on the "Gale or Peeta" debate fans of the first film seemed to dementedly chew over, which is a change given that the first film given that it - by and large - opted to overlook it for the most part.
Like the first film, the opening few scenes are in the forest with Katniss and Gale. But the thematic shift is indicated from the off, with the scenes in the eerily impressive frost and snow.
The frostiness between Katniss and Peeta has to be shoved aside because, as previously noted, President Snow wants them to convince as lovers and the avenue for this is on the Victory Tour, where they have to go for a parade around the nation. This tour gives an immediate insight to the problem, as an off-key speech leads to executions and a full blown riot after the District 11 natives attempted to show solidarity with the victors.
It all leads to a staged-marriage - if you're going to be in a stage marriage for life, might as well start now - and then a full-blown parade at the President's Mansion, with an opulent feast and vomiting drinks to clear full stomachs - something that disgusts natives of the malnourished District 12.
Following on from this, Snow is unconvinced by their love. With fights and riots ensuing, the devious Snow and his new right-hand man Plutarch Heavensbee (Phillip Seymour Hoffman) decide to make Katniss' life a misery. Increased suppression of the natives sees Gale getting a heavy lashing from the new Peacekeeper's whips, which leaves Katniss' attempt to be a hero ending in a lash across the cheek and on a final warning.
And all this before the nightmare to follow. Unlike the conventional competition, the 75th Hunger Games will be a super-Hunger Games where existing victors will be sent in. This means Katinss is given a guaranteed return to the venue, and so to is Peeta, who volunteers ahead of their mentor Haymitch (Woody Harrelson).
This leads to a reprise of the first movie's build-up, including the ever perky Ceaser Flickermann (Stanley Tucci) and the impressive stylings of Cinna (Lenny Kravitz), who meets an unjust end for his revolutionary fashions.
Cinna's assault and (almost certain) death doesn't help Katinss' state of mind given its the last thing before she is chucked into the lake that forms the basis of the new jungle arena.
Katniss is certainly an intriguingly complex character. Like in the books, there's a myriad of layers to her character, interchanging confidence, survivalism, protector of her family, complete wreck, vengeful and fearful. This is as much the strength of the novel that it has a compellingly unpredictable protagonist. Its equally impressive that, in Lawrence, the film makers have found an actress capable of conveying these emotions - sometimes even simultaneously.
As well as Lawrence, the first film was aided by a wide-ranging cast that provided the nuts and bolts to the story. The majority remain here, for good measure. Haymitch and Effie Trinket (Elizabeth Banks) again do well in a sort of good cop-bad cop routine as Katinss and Peeta's mentors, while a whirlwind of additional tributes are given room to shine. Leading this are new allies Finnick (Sam Claffin) and Johanna (Jena Malone), who give hint at potential for the enlarged role they are likely to receive in the next film.
Just like the first, it also plays into a range of themes. The first book came from the conundrum of the blurring between war and entertainment on media, the motive of entertainment as a distraction from the humdrum of modern society and the elevation of reality TV stars in the global consciousness. Couple this to the dystopia themes of totalitarianism, suppression and deprivation, and attempts to extinguish the spark of a potential revolution, it continues a uniquely apocalyptic piece that neatly flows and sticks together.
Yet despite its wealth of cast members and themes, it seems determined to show off all of them, and as a result of this the film feels a lot longer than the first one, even accounting for the additional 15 minutes of running time. The novel version of Catching Fire was dominated by a slow burn, which gradually shifted through the gears to an almighty series of fizzes and bangs at the end. Although it retains the key beats of the book and the dark atmosphere, the dark build-up contributes to the feeling of a slower narrative.
Nevertheless, it retains the first book where it is to expand the narrative. These skits give Snow most of his airtime, and also contribute to a few additional joining the dots that the first-person style of the book doesn't fill in.
It runs at times concurrent with when they are thrown in the deep end into the arena, full of mutant monkeys, blood rain, poisonous fog, tidal waves, lightning trees and - of course - Career tributes that want them dead.
Following the navigation of this is a series of revelations that point to a surprise climax and a suspense moment that sets up the finely balanced equilibrium for the final part.
Its not quite the short sharp series of shocks that fuelled the first film but as a continuation, it is a good continuation of that debut and a fine adaptation of the second novel in its own right. It certainly sets up the narrative for the third and final book.
So... same time next year?
4/5
Its safe to say anticipation has been building up for the adaptation of the second book in the Hunger Games franchise.
The advertising campaign has certainly been relentless, with the bow, arrow and face of heroine Katinss Everdeen (Jennifer Lawrence) poking out of buses, giant billboards, television commercials, online advert spaces and baffling promo tie-ins with Subway sandwiches for most of the last few weeks. But this has spun the brand recognition following the huge success that was the original movie, which has given the original a franchise to build on.
The first film was slightly toned down from the relentlessly brutal novel about a future North American nation called Panem, where the kids from its 12 districts are sent into an arena to fight until the death, and for their rulers' amusement in the titular Hunger Games. But it was still a gripping and unsettling piece of film that delivered a superb adaptation of the book.
Three Hunger Games books were written by Suzanne Collins, and the cast involved in this project are already making preparations to film the first part of final level Mockingjay, which will see the film released in exactly one year's time.
But to get there of course, this is the important step towards there. We begin this a few months after the end of the original Hunger Games film, which sees Katinss and Peeta Mellark (Josh Hutcherson) back home in District 12 after surviving the Games in the first film.
They only survived by pulling a trick with nightlock berries and taking advantage of a soft touch game controller that refused to allow them both to die. But although the citizens of the Capitol enjoyed the show, the Capitol's leaders did not so much - no previous Hunger Games has ended with twin victors, and this defiance of the rules of the games has inspired dissatisfied revolutionaries in the districts of Panem.
President Snow of the Capitol (Donald Sutherland) personally visits Katniss to inform her that this cannot lead to revolution and civil war, and so she and Peeta must convince him that they actually are lovers rather than using it as a skit to win the games.
The aim to convince has been faltered by a loss of contact between the two victors, while Katniss seems torn between her fellow victory Peeta and her best friend Gale (Liam Hemsworth). This film certainly gives more light on the "Gale or Peeta" debate fans of the first film seemed to dementedly chew over, which is a change given that the first film given that it - by and large - opted to overlook it for the most part.
Like the first film, the opening few scenes are in the forest with Katniss and Gale. But the thematic shift is indicated from the off, with the scenes in the eerily impressive frost and snow.
The frostiness between Katniss and Peeta has to be shoved aside because, as previously noted, President Snow wants them to convince as lovers and the avenue for this is on the Victory Tour, where they have to go for a parade around the nation. This tour gives an immediate insight to the problem, as an off-key speech leads to executions and a full blown riot after the District 11 natives attempted to show solidarity with the victors.
It all leads to a staged-marriage - if you're going to be in a stage marriage for life, might as well start now - and then a full-blown parade at the President's Mansion, with an opulent feast and vomiting drinks to clear full stomachs - something that disgusts natives of the malnourished District 12.
Following on from this, Snow is unconvinced by their love. With fights and riots ensuing, the devious Snow and his new right-hand man Plutarch Heavensbee (Phillip Seymour Hoffman) decide to make Katniss' life a misery. Increased suppression of the natives sees Gale getting a heavy lashing from the new Peacekeeper's whips, which leaves Katniss' attempt to be a hero ending in a lash across the cheek and on a final warning.
And all this before the nightmare to follow. Unlike the conventional competition, the 75th Hunger Games will be a super-Hunger Games where existing victors will be sent in. This means Katinss is given a guaranteed return to the venue, and so to is Peeta, who volunteers ahead of their mentor Haymitch (Woody Harrelson).
This leads to a reprise of the first movie's build-up, including the ever perky Ceaser Flickermann (Stanley Tucci) and the impressive stylings of Cinna (Lenny Kravitz), who meets an unjust end for his revolutionary fashions.
Cinna's assault and (almost certain) death doesn't help Katinss' state of mind given its the last thing before she is chucked into the lake that forms the basis of the new jungle arena.
Katniss is certainly an intriguingly complex character. Like in the books, there's a myriad of layers to her character, interchanging confidence, survivalism, protector of her family, complete wreck, vengeful and fearful. This is as much the strength of the novel that it has a compellingly unpredictable protagonist. Its equally impressive that, in Lawrence, the film makers have found an actress capable of conveying these emotions - sometimes even simultaneously.
As well as Lawrence, the first film was aided by a wide-ranging cast that provided the nuts and bolts to the story. The majority remain here, for good measure. Haymitch and Effie Trinket (Elizabeth Banks) again do well in a sort of good cop-bad cop routine as Katinss and Peeta's mentors, while a whirlwind of additional tributes are given room to shine. Leading this are new allies Finnick (Sam Claffin) and Johanna (Jena Malone), who give hint at potential for the enlarged role they are likely to receive in the next film.
Just like the first, it also plays into a range of themes. The first book came from the conundrum of the blurring between war and entertainment on media, the motive of entertainment as a distraction from the humdrum of modern society and the elevation of reality TV stars in the global consciousness. Couple this to the dystopia themes of totalitarianism, suppression and deprivation, and attempts to extinguish the spark of a potential revolution, it continues a uniquely apocalyptic piece that neatly flows and sticks together.
Yet despite its wealth of cast members and themes, it seems determined to show off all of them, and as a result of this the film feels a lot longer than the first one, even accounting for the additional 15 minutes of running time. The novel version of Catching Fire was dominated by a slow burn, which gradually shifted through the gears to an almighty series of fizzes and bangs at the end. Although it retains the key beats of the book and the dark atmosphere, the dark build-up contributes to the feeling of a slower narrative.
Nevertheless, it retains the first book where it is to expand the narrative. These skits give Snow most of his airtime, and also contribute to a few additional joining the dots that the first-person style of the book doesn't fill in.
It runs at times concurrent with when they are thrown in the deep end into the arena, full of mutant monkeys, blood rain, poisonous fog, tidal waves, lightning trees and - of course - Career tributes that want them dead.
Following the navigation of this is a series of revelations that point to a surprise climax and a suspense moment that sets up the finely balanced equilibrium for the final part.
Its not quite the short sharp series of shocks that fuelled the first film but as a continuation, it is a good continuation of that debut and a fine adaptation of the second novel in its own right. It certainly sets up the narrative for the third and final book.
So... same time next year?
4/5
Tuesday, 5 November 2013
The Killers: Direct Hits - Album Review
Its fair to say The Killers have had a fairly successful time in the ten years since their first UK shows some ten years or so ago.
Its almost surreal to see the evolution. Way back in September 2003, The Killers were a small band of Las Vegas indie rockers with a handful of tunes, some dreams and aspirations as they landed in England for their first ever shows.
Now, in 2013, they are a stadium-straddling band armed to the teeth with hits. Their return to these shores included a 13 date sell-out UK tour, all sort of headline festival shows and, biggest of all, a sell-out show to over 70,000 at Wembley Stadium.
Yet things did seem easier back in those heady days when Mr. Brightside was the anthem for those in the know rather than the stadium indie crowd. The band are going back on hiatus, with two members clearly tired after the Battle Born World Tour, which has taken the band to length and breadth of the globe several times over.
The band's hiatus was confirmed by Brandon Flowers himself, with the singer announcing he will spend 2014 recording his second solo record - the follow up to 2010's Flamingo.
Its as yet unknown if drummer Ronnie Vannucci will follow up with his own second solo LP, but its likely that these, a live DVD and the memories will tie people over until The Killers' fifth album appears, most likely in 2016.
The Killers have also decided a way to tie things over is to do a greatest hits compilation.
Its debatable how necessary it is - most fans will still have copies of their albums, and all the tunes on here.
For a newcomer, on the other hand, its certainly one hell of a way to introduce yourself. Track One is Mr. Brightside, which remains as pure a pop-rock earworm as it did when it first appeared way back in the 2000s.
Still the hits fall like confetti. Somebody Told Me, Smile Like You Mean It and All These Things That I've Done are delightful confections from Hot Fuss, and then it gives way to the power of Sam's Town-era hits like When You Were Young.
The first real sign of anything resembling a drop is when The Way It Was appears - a reasonable song on record not quite as good as the live version, or as some of its compatriots on the album. But even before then there's the stone-cold brilliance of songs like Human, Spaceman and Runaways to keep things rocking.
But its not the inclusion of this that's the problem, and nor is it the inclusion of two brand new songs that aren't quite the tone-cold knockouts at the front of the disc.
Shot at the Night is certainly a powerful song after repeat listens. It benefits as much from its power hook of a chorus, built up on synthesisers and spindly guitars, but at first the cut doesn't measure up.
The song is produced by M83's Anthony Gonzalez, and there are certainly elements of the M83 mega-hit Midnight City lurking in this song. But it is lacking a certain... something.
Meanwhile, Just Another Girl - the final tune on the normal edition, although three extra songs lurk on a special edition - is a puzzle. An interesting puzzle at that one, mind.
The song is a strangely calibrated tune that crosses various lines between country, rock and pop and its certainly a nice cocktail musically. But lyrically, it really does not go anywhere beyond a full-on straight-up tale, and it doesn't feel quite right.
Anyway, the new ones are decent enough, if not quite the A-list tunes.
But that's not the problem with Direct Hits. The main problem is quite simply the question: "Is it strictly necessary?"
If you have the albums already, you can just download the new songs and have this record already.
Its an impressive documentation of a career that has proceeded at electric pace, but as a necessary must-own for Killers fans, maybe not so much.
Personally, bring on the Battle Born Tour DVD instead.
3.5/5
Its almost surreal to see the evolution. Way back in September 2003, The Killers were a small band of Las Vegas indie rockers with a handful of tunes, some dreams and aspirations as they landed in England for their first ever shows.
Now, in 2013, they are a stadium-straddling band armed to the teeth with hits. Their return to these shores included a 13 date sell-out UK tour, all sort of headline festival shows and, biggest of all, a sell-out show to over 70,000 at Wembley Stadium.
Yet things did seem easier back in those heady days when Mr. Brightside was the anthem for those in the know rather than the stadium indie crowd. The band are going back on hiatus, with two members clearly tired after the Battle Born World Tour, which has taken the band to length and breadth of the globe several times over.
The band's hiatus was confirmed by Brandon Flowers himself, with the singer announcing he will spend 2014 recording his second solo record - the follow up to 2010's Flamingo.
Its as yet unknown if drummer Ronnie Vannucci will follow up with his own second solo LP, but its likely that these, a live DVD and the memories will tie people over until The Killers' fifth album appears, most likely in 2016.
The Killers have also decided a way to tie things over is to do a greatest hits compilation.
Its debatable how necessary it is - most fans will still have copies of their albums, and all the tunes on here.
For a newcomer, on the other hand, its certainly one hell of a way to introduce yourself. Track One is Mr. Brightside, which remains as pure a pop-rock earworm as it did when it first appeared way back in the 2000s.
Still the hits fall like confetti. Somebody Told Me, Smile Like You Mean It and All These Things That I've Done are delightful confections from Hot Fuss, and then it gives way to the power of Sam's Town-era hits like When You Were Young.
The first real sign of anything resembling a drop is when The Way It Was appears - a reasonable song on record not quite as good as the live version, or as some of its compatriots on the album. But even before then there's the stone-cold brilliance of songs like Human, Spaceman and Runaways to keep things rocking.
But its not the inclusion of this that's the problem, and nor is it the inclusion of two brand new songs that aren't quite the tone-cold knockouts at the front of the disc.
Shot at the Night is certainly a powerful song after repeat listens. It benefits as much from its power hook of a chorus, built up on synthesisers and spindly guitars, but at first the cut doesn't measure up.
The song is produced by M83's Anthony Gonzalez, and there are certainly elements of the M83 mega-hit Midnight City lurking in this song. But it is lacking a certain... something.
Meanwhile, Just Another Girl - the final tune on the normal edition, although three extra songs lurk on a special edition - is a puzzle. An interesting puzzle at that one, mind.
The song is a strangely calibrated tune that crosses various lines between country, rock and pop and its certainly a nice cocktail musically. But lyrically, it really does not go anywhere beyond a full-on straight-up tale, and it doesn't feel quite right.
Anyway, the new ones are decent enough, if not quite the A-list tunes.
But that's not the problem with Direct Hits. The main problem is quite simply the question: "Is it strictly necessary?"
If you have the albums already, you can just download the new songs and have this record already.
Its an impressive documentation of a career that has proceeded at electric pace, but as a necessary must-own for Killers fans, maybe not so much.
Personally, bring on the Battle Born Tour DVD instead.
3.5/5
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