Archive for August, 2009

I keep forgetting about the Goddamn tiger

The Hangover is gloriously stupid and mostly hilarious, the latest in a string of Hollywood comedies that remove or else sideline the obligatory romantic subplot and concentrate on the business of actually being funny. See also anything by Ferrell/McKay, Superbad, 40-Year Old Virgin, Tropic Thunder et al. I saw it in the incongruous environs of the Tricycle Cinema, which I can get to from my front door in about three minutes and costs only a fiver, so there is the plus of easier access to cool stuff to mitigate the minuses of tides of insatiable vermin and casual street crime here in Kilburn.

Been keeping my weekends busy of late; firstly, had the family down to the big smoke for a couple of days, leading to many touristy things being done, such as paddling in Hyde Park, heckling people on the Plinth and pretending to be pirates on the Golden Hinde. Revelation of the weekend was that the Original and Big Bus companies’ employees really hate each other, and bad-mouth their competitors at every opportunity. Glorious visions of the two uniformed tribes engaged in pitched pub battles ensued. Also, ate at Planet Hollywood for the first time and was seated beside Bruce Willis’s vest from Die Hard with a Vengeance and one of Freddy Kreuger’s gloves, which went some way towards making up for a disappointing steak dinner.

Then last weekend I ventured out to Bristol to meet up with old chum Andy, and we went drinking on the Whiteladies Road. Our evening culminated in the Victoria pub and an increasingly dark conversation (”what this country needs is a dictator”) with an old boy who eventually announced he’d voted for the BNP in the last election (in his defence, he had nothing kind to say about Hitler). After a leisurely start the following morning, we went for a walk along the Downs, taking in Clifton and the Avon gorge, which was nice.

Rattled through Sarah Pinborough’s The Taken last week, which was a solid, enjoyable mass-market horror novel concerning a remote English village under siege by a multitude of evil ghost children rather than the traditional solitary apparition. Liked it enough to pre-order Feeding Ground, at any rate.

A lean, filthy, ravenous army

For those not following my epic struggle with the forces of pestilence and decay on Twitter, it transpires that the block containing my new flat has a rat infestation - the result of a lack of decent refuse collection facilities and some of my fellow tenants’ rather relaxed attitude to rubbish disposal. Traps have been prepared, poison has been purchased, but so far non-violent solutions - ensuring no food or rubbish is left out during the night - have been the most effective. Or at least I’ve stopped hearing them. It’s good to know sometimes an accommodation can be reached with even the most implacable of foes. More as the situation progresses.

Saw the new production of Tom Stoppard’s Arcadia at the Duke of York’s Theatre last week. Great show, with great performances, sets, lighting, all of which the play thoroughly deserved. I hadn’t seen it before and have somehow managed to avoid reading it, but it’s easy to see why many consider it Stoppard’s best, and possibly most representative work.

There are two types of post-apocalyptic novel, it would seem - the ones where the survivors gamely struggle against the harsh realities of their new environment, perhaps discovering or re-discovering new skills and attitudes, and eventually succeeding in re-establishing some sort of civilization. Occasionally there’s even the suggestion that the apocalypse might have been a good thing - the survivors are able to re-connect with certain core human values now that the flab of contemporary civilization has been cut away. And then there’re the others - of which the first half of Conrad Williams’ One is as extreme an example you could hope to find. The catastrophe - a massive gamma ray burst which kills everything on the surface of the planet suddenly, painfully, and in the case of humans, graphically - and the protagonist’s awful journey, motivated by an irrational unwillingness to accept his five-year old son is dead, is simply unrelentingly horrible and refuses to give even the slightest conciliatory offering. It’s among the bleakest things I’ve ever read; a truly awful end-of-the-world scenario and portrayal of survival as something only the hopelessly insane would be even remotely interested in. Unfortunately, I thought the second half of the book lacked some of the first half’s intensity, and the introduction of more survivors, a half-hearted crack at re-establishing a modicum of civilization, and a rather unlikely-sounding extraterrestrial threat didn’t really add anything IMHO. It’s still worth persevering with, however, and Williams has firmly established himself as one of my favourite writers in the genre.

RIP Captain Britain & MI:13, which I enthused about back in the day. Like so many new titles, it faced the insurmountable challenge of building an audience in a market notoriously apathetic to the new and/or different, and was found wanting. It won’t have done Paul Cornell any harm, as pretty much everyone who read it loved it, and whilst his take on Brian Braddock was a little bit too jingoistic for my liking at times, the image of Captain Britain killing a vampire by punching its heart right out of its chest has comfortably eased itself into a respectable position on my favourite comics moments ever chart.

Jonathan Nash and Mil Millington’s Sexton Blake. Great fun, extremely funny, and available on iPlayer for the next four days.

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