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Movie Review: Ink (Jamin Winans)

The first thing you need to know about Ink is that it is like nothing you've seen before. On one hand, you have the incredible visual style and cinematography. On the other, a powerful, believable and often heartbreaking story. Throw in powerful characterisations, high powered action sequences and brilliant costuming and acting, and you're starting to understand just what this movie is.

I, like probably so many others, first heard about this film from the unique manor in which it was accepted. Over 40,000 "illegal" BitTorrent downloads were charted for this movie in the first week of it's release. So, being the curious cat that I am, I thought it was high time I checked this film out for myself.

The first thing I love about this movie, it just doesn't look like a low budget indie flick. You can tell from the word go that a lot of time and effort has been put into the crafting of the image of this film, from the camera style, to the colouration, right down to costume choice and props. My mind instantly leapt to the incredible, lavish visual style of ex-Python Terry Gilliam (The Fisher King, Tideland, 12 Monkeys). The sad and unfortunate things with beautifully shot movies, however, is that the storyline is either weakened, or abandoned all together. Well, not here.

I won't say much of the story, this is a film best experienced knowing little or nothing about it going in. At it's core, Ink is the story about a little girl and her father, and a dream world inhabited by Storytellers and Incubus (the creatures that give good dreams, or nightmares). Sounds soppy? Sounds silly? Trust me, it's not. There's more subtle power in the story of this film than can be grasped in one simple viewing. A brilliant pay-off at the end, too; althought at it's heart, this sci-fi thriller is really a love story, a story of family and devotion.

The acting has to be seen to be believed. The role of the father, played by Chris Kelly, is a challenging role for any actor, but Kelly pulls off the performance believably. The real star here, though, is Quinn Hunchar who plays the little girl Emma. She probably spends the most time on camera out of anyone, but with the least lines. Hunchar gives a performance of maturity and subtlety well beyond her years.

For once, I'm so grateful that the big companies have not picked this gem up. There is no talk of big buget remakes or sequels or any such rubbish, you can't see it at the cinemas, there's no viewing for pompous critics to rip into it and mindless masses to groan about it being "pretentious" or "inde crap". This film deserves to be view with an open mind and absored in the comfort of your own home. If this film doesn't open your eyes a little, then there's nothing in this world that will.

Ink: 10/10

Vanda and Young Songwriting Competition and new album

A few months ago, I submitted three pieces to the prestigious Vanda and Young Songwriting Competition. Shortly after, I found that one of my pieces, Hallelujah, was accepted into the shortlist, the Top 125 out of over 3000 entries. Unfortunately, I didn't make it through to the Top 12, but was honoured nevertheless to be considered.

In other news, by January next year, I intend to have my album "I'm Fast Asleep, I'm Dreaming" available for purchase and/or download at CDBaby. com, and probably a few other sites as well. If you join my mailing list (simply go to www.myspace.com/kyledownesmusic and fill out the tiny little form), you will be given instant notification of sales, constant up-to-date information and exclusive offers. Also, there is a few songs from the album up on MySpace as well.

Album Review: "The Futurist" by Robert Downey, Jr.

Ok, ok, so I know what you're thinking: "Rober Downey, Jr.? Isn't he an actor?". Well, dear readers, if that's all you know, you're missing half the picture. Was I happy to stumble onto this little gem here. The first (and so far only) album from actor Robert Downey, Jr. The Futurist is a gorgeous, textured and complex jazz/acoustic album.

First cab of the rank, we have the gorgeous number Man Like Me. From the word go, I was captivated not only by Robert's husky, soulful vocals, but his emotional piano playing. You can hear straight away that this guy really feels what he's playing, and that's a big thing for me personally. This one is definitely my favourite of the album. 5/5

Next is Broken. While not a bad song, I was slightly put off by the simple keyboard line in the intro (mainly because it just sounds so out of place), but as the song begins, it rapidly turns into a really good quality easy listening song. Robert manages to stay out of the "easy listening" bracket by mixing his soulful blues vocals with complex themes, but in Broken he comes the closest to a straight genre piece. He does shake it up with an interesting middle-8 section though. The interplay between Robert and the female backing singer, however, is really nice to listen to, and the chorus will get stuck in your head after a while. Not amazing, but a nice song to listen to. The tablas in the background are a plus too. 4/5

Kimberly Glide begins with a beautiful piano solo, and then continues with a jazz trio feel. The feel of this song is wonderful, Robert floats over the top of a beautiful instrumental accompaniment in a jazz waltz feel. The great thing about this song is it never quite settles on a strong beat during the verse, then locks it in tight during the chorus. The instrumental work in this song is as good as any jazz trio, the drums bass and piano interact masterfully and Robert's playing is just amazing. The lyrics tell a wonderful story, too. There's also a nice orchestral part that floats in an out with woodwind and strings interlaced, creating a complex tapestry. This is really an amazingly well written song. Personal favourite part is the instrumental breakdown with a great bass/drum solo, before the strings and piano join back in. Some nice guitar work towards the very end too. Second favourite song on the album. A well deserved 5/5

I'm still not sure what I think of The Futurist yet. It's very synthesised with a programmed drum line. The vocals are really good though, and the chorus is really nice to listen to, I just don't believe the verses hold strong enough. It does get better as it goes along. A nice little Rhodes Electric Piano solo. The synth string break is a nice touch, too. The real saving grace of the song is how well Robert builds the music as the song progresses. 3.5/5

Ahh, Little Clownz. There's something special about this song. The free-form introduction is conjures images of jazz cafes and grabs you straight away. And then the song really takes off. Robert's vocals and piano playing really shine in this song, rich and layered. I'm a sucker for a brilliant piano player, especially one who can sing well as well. Robert's songwriting skills and music craftmanship really needs to be praised. He weaves this song like a complex carpetwor or tapestry, thread after thread working together, layer after layer, somehow never getting bogged down in it's grandeur. The orchestral outro is heavenly. 5/5

The funky bass intro to 5:30 hooks you right away, and then bam, in comes the piano and vocals. This really is a quirky little track. It sits uncomfortably in time, yet never becomes too hard to listen to. It does get close at some stages, and some of Robert's experimentations throughout are a bit out of place. Also, sometimes, the lyrics just feel a little too rushed and out of time. However, the instrumentation is again amazing, and this is probably the best vocal performance, really highlighting Robert's rich tone. 4.5/5

And then comes the Yes cover, Your Move. Robert's vocals work perfectly here, he really emulates Jon Anderson, but warmer. The instrumentation choices are brilliant, he creates an idian feel with sitar and acoustic guitars underneath the vocals, while not losing that Yes feel. Both covers on this album are amazing and unique interpretations. Robert doesn't get weighed down trying to copy the song, instead he twists it, makes it his own, which is what makes a great cover. The harmonies are brilliant. 5/5

Details again begins with vocals over a solo piano, with a slight free form feel. This is one of the best piano tracks on the album. It's nice to hear, not only a beautifully played piano, but one that's recorded perfectly. The bass player brilliantly compliments Robert's piano and vocals throughout the piece. This really does have that old "jaze cafe" feel to it, envokes images of black and white movies and smoky cafes. A lovely trumpet solo just seals the deal. All the musicians on this album really are incredible. 5/5

Hannah, what can be said? I'll just end up repeating myself. There is a little section in here which I don't like, but overall, this is one hell of a good song. Some of the best lyrics too. 4.5/5

And finally, the Charlie Chaplin cover Smile. Robert really turns on the jazz chops here and boy he does it well. His dark smoky vocals over that piano is just musical bliss. It's nice to hear this song dragged right back and turned into a gorgeous ballad. Mr Chaplin would be proud. Best vocal performance on the album, hands down. I could seriously listen to his voice all day, to be honest. And his piano playing. I'm repeating myself. 10/5;)

Overall comments: The Futurist is an album everyone who appreciates good music should own. I was sad to read that Robert isn't going to be making a second as he doesn't feel the reception to this album was good enough. Personally, I can't see how it wasn't received well. The musical and songwriting talent on display within the album are a delight to the casual, educated or insanely obsessed knowitall nitpicker listener. And Robert's voice never fails, dark smoky tones with a smooth upper range. Listen to it with the lights down low, and candles burning bright.

The Futurist - Robert Downey, Jr. 8.5/10