![]() I’ve had my reflective moment and it’s time to crack on now." "I didn’t wan’t to do it for too long because there’s no point. "I think it’s OK to be reflective at 60, "he reasoned on the album’s release. Not that fans should hold their breath for a repeat. With a philosophical perspective of Weller looking back over his life, it’s also one of the most thoughtful and beautiful albums he’s ever made. In the context of the decade-long run that had preceded it in which he’d dabbled in everything from avant-garde musique concrete to cosmic jazz, dub and even polka, True Meanings was remarkable perhaps for its relative orthodoxy: a 14-song set of reflective acoustic songs given a gentle orchestral flourish by arranger and composer Hannah Peel. As he approached his 60th album, however, Weller afforded himself the opportunity to sit back and take stock. Solid but not spectacular, it was the last record he made with long-term foil Brendan Lynch, suggesting his feet were once again starting to itch.Īs anyone who has patiently sat through a Paul Weller gig waiting for an old Jam or Style Council favourite to make an appearance as he showcases his latest album can attest, Paul Weller has never been one for spending much time looking back over his past. The soulful piano-led Frightened laid out his insecurities barer than ever before, Sweet Pea My Sweet Pea was a joyous Faces-y ode to his kids, while the almost Jam-like swirl of There’s No Drinking, After Your Dead sung the importance of living the life we’re given while we still can (Weller at this point still a few years off calling last orders on his own drinking). Written in tribute to Ronnie Lane, opener He’s The Keeper was in a similar vein to the hugely successful retro rock of Wild Wood/Stanley Road, but Heliocentric was largely a record fashioned from a quieter mix of pastoral folk and ballads. There’s nothing for you or them to see here except frustration.There was a three-year gap between the cocaine and booze bluster of Heavy Soul and Heliocentric and the mood here was largely one of rueful reflection: of dusting himself off and having a breather, for benefit of his own sanity more than anything. If you’re looking for something to do with your kids this weekend, take them to the park. It's so boring and listless that I can’t believe so many talented people were a part of it. If there is any money left over, which there shouldn’t be, it should be burned because not even a charity should see a piece of this blood money. They do give a damn, and there’s a reason why they’ll rewatch The Lion King until they’re blue in the face and immediately forget this waste of time even exists.Īs we speak, people involved in this production are currently in court arguing over who should get the profits or lack thereof from this movie. It’s as if someone thought, “They’re kids… so, who gives a damn?” In short, kids do. It’s as if every single person involved thinks children are so stupid that they don’t deserve entertainment with any effort behind it. You know how great children’s movies work on two different levels in order to entertain both kids and adults? You know how mediocre children’s movies work on one level to entertain kids? Escape From Planet Earth doesn’t work on any level, and even worse, it doesn’t seem bothered by that failure. Together, they partner to save babies and fight the more malevolent alien races, but after a falling out, Scorch winds up imprisoned on Earth by the evil General Shanker (William Shatner), and it’s up to the normally reserved and office-bound Gary to save the day. The later is an astronaut and arguably, the most famous member of the blue species. The former is an inventor and proud employee of the Mission Control Department of planet Baab. The basic premise follows two brothers named Gary Supernova (Rob Corddry) and Scorch Supernova (Brendan Fraser). And the plot, well, multiple paragraphs need to be devoted to that lunacy. The song choices are misguided and occasionally even uncomfortably disconnected from the action. The jokes are mostly obvious, base level gags that will seem too foolish and immature for any child above the age of four that’s ever been described as “advanced” or “accelerated”. The animation is not bad but still below recent standards set by DreamWorks and Pixar. ![]() The characters are poorly conceived stereotypes that lack depth.
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