Latest news with #AphexTwin
Time Out
5 days ago
- Entertainment
- Time Out
London's Tate Modern will stay open later on Fridays and Saturdays
It can be easy to pooh-pooh Gen Zs. People say they are flaky, lack basic social skills, film themselves too much in public, and that they all do the ' Gen Z stare ', whatever that means. But then every now and again some news will come along to shut-up the Gen Z detractors and restore faith in younger generations. Tate Modern has announced it will stay open later on Fridays and Saturdays from autumn, thanks to the record numbers of young people who attended Tate Late events in 2025. We love to see it. From September 26, Tate Modern will stay open until 9pm every Friday and Saturday, offering visitors the chance to see the museum's free collections and paid exhibitions into the evening. Tate said this decision was made after unprecedented numbers of visitors attended Tate Modern's 25th birthday weekend in May this year. The museum said that 76,000 people visited to the gallery over three days, 70 percent of whom were under 35. As well as the weekly later opening hours, the modern art museum will continue hosting its popular Tate Lates at the end of each month. Previous Lates have have been curated by Little Simz, hosted Aphex Twin listening sessions, and seen live performances by musical artists like Celeste. About the Tate's new late opening hours, Mayor of London Sadiq Khan said: 'Tate Modern has transformed London's cultural landscape, and I'm thrilled the museum will now stay open later every Friday and Saturday, giving even more Londoners and visitors the chance to enjoy world-class art after hours. 'London is the cultural capital of the world and the greatest city on earth – with the best nightlife anywhere. From museums and music venues to late-night galleries and grassroots spaces, there's no better place to enjoy a great night out. That's why we're doing everything we can to support our night-time economy and make sure everyone can enjoy what our amazing city has to offer.'
Spectator
7 days ago
- Entertainment
- Spectator
Tedious, lazy and pretentious – Irvine Welsh's Men in Love is a disgrace
There are 32 years between the publication of Irvine Welsh's Trainspotting and his Men in Love – a gap roughly equivalent to that between Sgt. Pepper and 'Windowlicker' by Aphex Twin. Perhaps three cultural generations. It is disturbing, therefore, to find Welsh still pumping out further sequels to his spectacular literary debut. But whereas that had verbal fireworks, razor-sharp dialogue, superb character ventriloquism and a fearless examination of Scottish moral rot, Men in Love is – let's be frank – tedious, lazy, pretentious and simply bad writing. Under the influence of American Psycho, Welsh has had characters narrating their fleeting perceptions since Filth (1998), in the hope that accumulation will create meaning. But where Bret Easton Ellis is satirising the vicious lizard-brain petulance of the 1 per cent, Welsh now simply takes you with the narrator on increasingly pointless journeys. The result is entire chapters that feel redundant and anti-plots that seem to build to something before ending in irritating anti-climaxes. (The Renton-Begbie confrontation in 2002's Porno was so bad that I wondered whether a refusal to climax was a meta joke.) Trainspotting vibrated with malevolent vernacular energy, but the prequels and sequels have seen Welsh lose his ventriloquial gift. This was already apparent in Porno, where Nikki's speech at the end was pure authorial intervention as she tells us What It All Meant. From Skagboys (2012) onwards, Renton, Sick Boy, Spud and even Begbie have been articulating their thoughts in increasingly florid sentences, as if Welsh were trying to impress us with his new-found vocabulary. But it doesn't impress. Of course, part of the pleasure of reading Welsh was how he combined the demotic and the cerebral. But the writing in Men in Love can be as clumsy and self-regarding as undergraduate poetry. For instance, Spud thinks that 'she should pure huv the vocabulary tae express hersel withoot recourse tae foul language'. Without recourse, aye? The once-fearsome Begbie, meanwhile: Now he was outside and it was Saturday, drifting into late afternoon, a time Begbie found replete with opportunities for violence. Potential adversaries were out, some since Friday after work. Many of those boys acquiring the delicious bold-but-sloppy combination that would service his chaotic outpourings. He found them replete, did he? He had chaotic outpourings, did he? And the sex writing – 'in languid, ethereal movements she groans in soft tones', for example – is excruciating. Another key weakness of Men in Love is how many earlier beats it replays. Sick Boy is involved with porn films and pimping; women magically fall under his spell; and he outplays a privileged male competitor (this time his father-in-law, a Home Office civil servant). Renton gets into nightclubs and DJ-ing. Spud is a romantic loser. Begbie is still psychotically aggressive. All of which we've seen in Porno, The Blade Artist and Dead Men's Trousers. The record is stuck. The heartbreaking thing is there's a good novel to be written about the punk/smack generation of the early 1980s encountering the ecstasy love-buzz period as the decade progressed. But Welsh has signally failed to tackle any of that. He could have taken them to Ibiza, the Hacienda or Spike Island, or considered the achievements and failures of the Love Generation Mk II. But no. It's another lazy retread. The impression one gets from Men in Love is that of Fat Elvis, sweating and unknowingly self-parodic in Las Vegas. Welsh desperately needs an editor with the guts to tell him this schtick isn't working any more. To quote Melody Maker on David Bowie: 'Sit down, man, you're a fucking disgrace.'
The South African
21-07-2025
- Entertainment
- The South African
Gogo tricks bestie with Mandela prank, leaves Mzansi in stitches
Viral videos never seem to dry up on the World Wide Web. Isn't it wild how there's always something bizarre or hilarious making the rounds? From people surfing shopping trolleys on highways to cringeworthy challenge fails, the Internet never stops surprising us. The latest viral sensation has grabbed the attention of millions, racking up likes and shares all over social media. Today's Eish Wena segment features a grandmother pranking her best friend, claiming she missed Nelson Mandela. Watch the video below @athah_m_ Oh I love this friendship 🥹❤️🩹I asked my granny to prank her bestie and say she misses Mandela 😂#prank #callprank #athah_m_ #fyp #prankcalls ♬ QKThr – Aphex Twin Need your news quickly? Visit The South African website for all you need to know. Enjoy a wide variety of videos from news, lifestyle, travel, sports, viral videos and lots more! There is always something to watch here! Why not follow us on Facebook, Instagram and TikTok while you're at it? Get ALL the news you need to know on the go at your convenience! Submit your videos for a chance to be featured in the daily Viral Video article and get your name mentioned. Let us know by leaving a comment below, or send a WhatsApp to 060 011 021 1 Subscribe to The South African website's newsletters and follow us on WhatsApp, Facebook, X and Bluesky for the latest news.
Yahoo
23-04-2025
- Entertainment
- Yahoo
Movie Review: A tactile, retro-coded fantasy in ‘The Legend of Ochi'
'The Legend of Ochi,' a scrappy and darkly whimsical fable about a misunderstood teenage girl on a dangerous quest, has the feeling of a film you might have stumbled on and loved as a kid. Something tactile, something fantastical and, maybe, something a little dangerous — the kind of movie you knew you probably weren't supposed to be seeing just yet. They're the ones that tend to linger, like that strange English dub of the Norwegian adventure 'Shipwrecked' that I once saw on the Disney Channel at an impressionable age. Perhaps this is something familiar only to those first home video generations, from a naive, pre-social media era when the movies that you loved felt like your own personal discovery and secret, no matter if it was 'Star Wars' or 'The NeverEnding Story.' How disappointing it was to learn later that everyone else loved them too. It's no surprise that 'The Legend of Ochi' was made by someone (Isaiah Saxon) in this zone — an older millennial shaped by some combination of 'E.T.', 'The Black Stallion' and the Palm Pictures' Directors Label box set. Those DVDs taught many a cinephile about the transportive possibilities of music videos dreamt up by Spike Jonze, Chris Cunningham and Michel Gondry for artists like Aphex Twin, Daft Punk and Björk (for whom Saxon would direct the 'Wanderlust' video). That music video energy and committed world building is evident in 'Ochi,' in a positive way. It's a description that seems to be used more pejoratively than not, like shallowly dismissing something pretty as a perfume commercial. But perhaps those people just haven't seen the good ones. Helena Zengel ( 'News of the World' ) is the central heroine, Yuri, who lives with her father Maxim (Willem Dafoe) and a de-facto brother Petro (Finn Wolfhard) on the woodsy, old-world island of Carpathia. Maxim loves to hunt the Ochi, a species of primates that are constantly threatening the safety of the humans and their farms, and he's trained an army of young boys to help. Yuri is largely kept off to the side, partly for her protection, partly, probably, because Maxim is a blustery alpha male who dresses up in elaborate, ancient armor for his missions. Her armor is a dirty, oversized yellow puffer jacket that could double as a sleeping bag. At home, she stews silently and listens to death metal in her room. She's a bit feral, which would be a cliche trope for a girl raised without a mother, but Zengel makes it work. It's clear she doesn't feel at home in this world, but finds a kind of purpose when she comes across an injured baby Ochi and takes it upon herself to return it to its family. The Ochi, she quickly realizes, have been misunderstood too. It's still a dangerous journey, which involves a humorous and slightly disgusting visit to a local supermarket, the discovery of her own long-lost mother (Emily Watson, who promptly helps Yuri brush her hair out of her eyes), and a comical, intense showdown between Watson and Dafoe. David Longstreth, of the Dirty Projectors, did the fanciful score and Evan Prosofsky is responsible for the vivid cinematography. 'The Legend of Ochi' was forged out of many influences, from Miyazaki to Amblin, and it's the kind of ambitious swing that Hollywood doesn't seem to take very often these days — especially not with a PG rating. That doesn't mean it all works seamlessly, though. The emotional beats don't seem to land as authentically as the more irreverent humor. But it's impossible not to admire the creativity, the imagination and the care that went into making something like this, with puppetry, matte paintings and inventive graphics, for a mere $10 million. 'The Legend of Ochi,' an A24 release in theaters nationwide Friday, is rated PG by the Motion Picture Association for 'some language, smoking, a bloody image, thematic elements and violent content.' Running time: 96 minutes. Three stars out of four.
Associated Press
23-04-2025
- Entertainment
- Associated Press
Movie Review: A tactile, retro-coded fantasy in ‘The Legend of Ochi'
'The Legend of Ochi,' a scrappy and darkly whimsical fable about a misunderstood teenage girl on a dangerous quest, has the feeling of a film you might have stumbled on and loved as a kid. Something tactile, something fantastical and, maybe, something a little dangerous — the kind of movie you knew you probably weren't supposed to be seeing just yet. They're the ones that tend to linger, like that strange English dub of the Norwegian adventure 'Shipwrecked' that I once saw on the Disney Channel at an impressionable age. Perhaps this is something familiar only to those first home video generations, from a naive, pre-social media era when the movies that you loved felt like your own personal discovery and secret, no matter if it was 'Star Wars' or 'The NeverEnding Story.' How disappointing it was to learn later that everyone else loved them too. It's no surprise that 'The Legend of Ochi' was made by someone (Isaiah Saxon) in this zone — an older millennial shaped by some combination of 'E.T.', 'The Black Stallion' and the Palm Pictures' Directors Label box set. Those DVDs taught many a cinephile about the transportive possibilities of music videos dreamt up by Spike Jonze, Chris Cunningham and Michel Gondry for artists like Aphex Twin, Daft Punk and Björk (for whom Saxon would direct the 'Wanderlust' video). That music video energy and committed world building is evident in 'Ochi,' in a positive way. It's a description that seems to be used more pejoratively than not, like shallowly dismissing something pretty as a perfume commercial. But perhaps those people just haven't seen the good ones. Helena Zengel ( 'News of the World' ) is the central heroine, Yuri, who lives with her father Maxim (Willem Dafoe) and a de-facto brother Petro (Finn Wolfhard) on the woodsy, old-world island of Carpathia. Maxim loves to hunt the Ochi, a species of primates that are constantly threatening the safety of the humans and their farms, and he's trained an army of young boys to help. Yuri is largely kept off to the side, partly for her protection, partly, probably, because Maxim is a blustery alpha male who dresses up in elaborate, ancient armor for his missions. Her armor is a dirty, oversized yellow puffer jacket that could double as a sleeping bag. At home, she stews silently and listens to death metal in her room. She's a bit feral, which would be a cliche trope for a girl raised without a mother, but Zengel makes it work. It's clear she doesn't feel at home in this world, but finds a kind of purpose when she comes across an injured baby Ochi and takes it upon herself to return it to its family. The Ochi, she quickly realizes, have been misunderstood too. It's still a dangerous journey, which involves a humorous and slightly disgusting visit to a local supermarket, the discovery of her own long-lost mother (Emily Watson, who promptly helps Yuri brush her hair out of her eyes), and a comical, intense showdown between Watson and Dafoe. David Longstreth, of the Dirty Projectors, did the fanciful score and Evan Prosofsky is responsible for the vivid cinematography. 'The Legend of Ochi' was forged out of many influences, from Miyazaki to Amblin, and it's the kind of ambitious swing that Hollywood doesn't seem to take very often these days — especially not with a PG rating. That doesn't mean it all works seamlessly, though. The emotional beats don't seem to land as authentically as the more irreverent humor. But it's impossible not to admire the creativity, the imagination and the care that went into making something like this, with puppetry, matte paintings and inventive graphics, for a mere $10 million. 'The Legend of Ochi,' an A24 release in theaters nationwide Friday, is rated PG by the Motion Picture Association for 'some language, smoking, a bloody image, thematic elements and violent content.' Running time: 96 minutes. Three stars out of four.
