‘Brightburn’ and Superhero / Horror

Over the course of a year, I watch a lot of films. Whenever I finish early at school you can find me in the cinema that is literally just across the road, taking a punt on wherever the hype is. Most of the time I go in totally blind to these movies, or at least only knowing the barebones description that you might find when you run the film’s name through Google. More often than not, I make up my mind on what I want to see there and then, maybe one or two minutes before I walk in to the cinema. At this point I have read no reviews and have virtually no idea what I am going to be faced with when the lights go down at this point. 

Such was the case for when I went to see ‘Brightburn’, a new film directed by David Yarovesky and starring Elizabeth Banks, David Denman and Jackson Dunn in lead roles. What caught my attention was the label that was being put on it: as superhero / horror. What made the situation all the more hilarious was that, in the description of the film I got when I sent it through Google, it described the superhero / horror fusion as ‘an innovative new genre’. Who knew that you could be labelled as an innovator by simply combining the two most formulaic genres in Hollywood? Sometimes I don’t understand the film industry. 

That aside, I thought ‘I’ve got to see this’. I needed to see this ‘innovative new genre’ in action, and, coming out of that experience, it’s a little hard to evaluate whether I enjoyed myself or not, simply because it was so different to what I was expecting. I was expecting a super polished superhero film with a few horror movie conventions: it was the total opposite of that. ‘Brightburn’ is as much as a horror movie as any other that has been released in the past year or so, and, if I’m going to give the film any credit at all, it did a great job of being a horror movie as there were plenty of moment disturbing enough to make me want to look away from the screen briefly, which is generally how I assess the quality of a horror movie. 

However, ‘Brightburn’ might be one of the biggest failures in storytelling I have ever watched, and it raises some interesting questions about ambiguity in storytelling and whether it is possible to go too far with it; to what extent can you get away with it, and when does it just become obvious the writers hadno idea what they’re doing. Between plot holes and abandoned character arcs (seriously, what happened to Caitlyn), and a narrative which centres around a twelve-year-old antagonist whose motivations are never discussed properly, just left to linger in empty subtext that adds up to nothing. 

And, on top of that, I would hesitate to call any element of ‘Brightburn’ all that innovative at all. It simply takes the cliché of children being placed in challenging situations (only this time the child is an antagonist) and drizzles it in a vague and conventional superhero backstory narrative. And I can’t even begin to stress how much of a problem this is. Brandon (the aforementioned antagonist) just arrives on the doorstep of the Breyer family: so many questions. Where did he come from? What significance does that weird symbol that Brandon draws on everything have? Why did he come to Earth? Where do you draw the line between intentional ambiguity and just plain lazy writing? 

Here. I understand that ambiguity can add to the horror of a moment, but there’s that and then there’s sidestepping key plot points that could have added an extra dimension to the film, in favour of watering down your main character as much as possible. 

It’s not out yet, but apparently ‘Midsommar’ plays in very similar territory, therefore, I think we need a name for this bizarre sub-genre: ambigu-horror, horror films so devoid of specific detail and so reliant on ambiguous subtext in an attempt to cater to the lowest of low common denominator audiences who want nothing more than to be frightened out of their skins by a horror movie, that the narrative devolves into a total mess. 

And, following on from this, what is the possibility of the superhero / ambigu-horror fusion becoming the next big thing in Hollywood? If the quality of ‘Brightburn’ is anything to go by, it’s not a lot, but, despite not loving the film, I do see the potential in a formula like superhero / horror. Say, if it was given to writers with more experience, given a slightly bigger budget to flesh out the scope a little more, and given to a big name studio like Marvel who can inject a more superhero narrative into it, who knows, you might have a half decent film. 

Furthermore, I am so fucking sick of superhero films and the hype around them. I get ‘Avengers: Endgame’ had a lot of hype around it because it was the thrilling conclusion to an arc that spans a whole intricate timeline, and the film was indeed good, but there comes a point where the hype seems to overshadow any critical examination of the film, and I find that slightly irritating. However, if fusing horror conventions into the mainstream superhero movie framework can liven up the formula and keep it interesting for longer, I’m all for it. 

After all, it’s not the first time this year that the two genres within a certain media that are deemed too formulaic by certain audiences have come together and captured the attention of the mainstream public. It wasn’t that long ago when we used to see those internet memes that said, ‘I listen to everything, except country and rap’. Now look at the song on top of the Billboard Hot 100. A country / rap song. It reminds you that trends can move quickly, and sometimes the most baffling yet calculated of fusions can end up being next big thing. 

Review of: 'Restless Minds' by Ward Thomas

It's awesome to see UK country music on the up. The Shires may have been responsible for starting it when 'Brave' became the first ever UK country album to peek inside the top ten of the charts, but I don't think anyone could have been prepared for what was about to come next. Seemingly out of nowhere, Ward Thomas, a duo consisting of twin sisters Lizzy and Catherine Ward Thomas scored a historic number one album with their 2015 release 'Cartwheels', making them, just like that, the most successful UK country artists in history. Just like that. 

And it would be wrong to say that this has not had any impact in the UK country scene. After all, Catherine McGrath produced some pretty damn good pop country on 'Talk of This Town' last year, and US pop country artists like Florida Georgia Line and Kelsea Ballerini are as relevant as they've ever been in the UK thanks to collaborations with Bebe Rexha and The Chainsmokers respectively. Even if I'm not the biggest fan of either of those songs, it does show an audience at least more willing to accept country artists into the UK pop scene. 

But what I find most baffling about the whole situation is why Ward Thomas aren't in that group of country artists who are breaking through onto the UK singles chart. After all, they have a number one album under their belt, their production is poppy and accessible while (mostly) not sacrificing their distinct country core, and I'm sure with the right marketing, the duo could be the pioneers of a much bigger revolution in mainstream country music, and I think the charts would be better for it. 

And this new album ‘Restless Minds’ seems to be the latest attempt at wrestling country instrumentation into a pop framework, with songwriters who have previously worked with the likes of Olly Murs, Take That and One Direction. It was clear from this that the plan with this album was to go for even more pop crossover than ever, and I’m not directly opposed to that, and I went into this album with a fair bit of hope that it could be pretty solid. So, how was ‘Restless Minds’? 

Unfortunately, it was slightly less than I expected. And that certainly does not mean that this album is bad at all. Overall, I would say I enjoyed my time with this album, even though I don’t think it’s quite as consistently strong as ‘Cartwheels’ before it, and it’s quite hard to pin down exactly why that is, mainly because the problems I have with this album are a bit all over the map, almost to the extent that the only consistent element of this album are the girls themselves and their harmonies, and they sound great pretty much on all the songs here, although there are some elements of the vocal production that feel more than a little unnecessary. Why the producers thought pitching down the main vocal line on ‘Rather Be Breathing’ would flatter that production I have no idea, and the ugly synthetic layer sitting just below the vocals in the mix on the utterly throwaway closer ‘This Too Will Pass’ are undoubtedly weaker moments on this album, but they’re in the overwhelming minority. 

What I find more frustrating might just be the production across these fifteen tracks, which alternates between being melodically understated and atmospheric like on ‘Changing’ and ‘Hopeless’ and ‘No Fooling Me’, and some of the clunkiest, most horrendously overstuffed instrumentals Ward Thomas have ever had. ‘Rather Be Breathing’ is easily the biggest offender in this category with the grading whistle sound and underweight bleeping synth on the hook being crushed by percussion that’s way too loud, but the thin drums killing the grooves on ‘Never Know’ and ‘Little Girl Sorrow’ are not far behind, and the thin snaps on ‘No Fooling Me’ do nothing to elevate the more organic production 

‘Same Love’ might open with a promising electric guitar groove, but that overweight bass and stiff percussion ruin the vibe. The bass sounds much better when it’s just gently supporting the main guitar groove like on ‘Changing’. 

But my issues with this album are encapsulated by the track ‘Ain’t That Easy’, one of the better songs on the album. Thin blatantly programmed percussion on the verses that are crushed in the mix, but by the time the hook rolls around the drums sound real. If real drums are going to come in later in the song anyway, then why even bother programming in drums in the first place and compromise the organic country elements of

the production 

Having said all of that, there are songs that do sound pretty good. The bouncy groove driven by the acoustic guitar on ‘I Believe In You’ is pretty infectious, as is the genuinely intense dark piano and strings that builds up around the edges of ‘Little Girl Sorrow’ that sounds pretty damn great. Even if it’s unbelievably overproduced, I’d mostly give a pass to the smoky waves of synth that serve as the intro to the album on ‘No Filter’, mostly because that hook is so damn catchy. ‘Deepest You’ is a standout for how well the swells of strings cushion that gorgeous electric guitar, but on the other end of the spectrum you get a song like ‘It’s Not Just Me’ with its cute fluttering piano, or ‘One More Goodbye’, where the straightforward presentation gives the song a certain human earnestness that works with the way that song is written. 

But on that note, how is the writing on this album? Well, you certainly get your inessential relationship / breakup songs like the generic head vs heart conflict on ‘Hopeless’ and empowerment anthems like ‘I Believe In You’, but deep down Ward Thomas are better songwriters than that, and, just like on ‘Cartwheels’, they show off their skills in spirts across this album. ‘No Filter’ sets the stage with its ideas about how we use social media as a filter to dictate how other people perceive us from the outside, and ‘Lie Like Me’ takes that one step further by suggesting that it’s bad thing that the kids of today aspire to be like the people they see on social media, because of how these people are filtering themselves. 

But from that moment, the thematic arc seems to shift to topics that are a lot less interesting.  ‘It’s Not Just Me’ goes for a generic ‘you are not alone’ message with lyrics like ‘I’m just trying to keep on trying’, while ‘Changing’ is equally nondescript in its exploration of how they’ve changed, and ‘I Believe In You’ is the token

empowerment anthem that is the definition of filler. 

There are also songs that leave me more confused than anything else. Sure, I get a song like ‘One More Goodbye’ as the duo discuss leaving for Nashville for a bit and leaving their partners behind to make that next step in their careers, but the text is so vague and nonspecific that I don’t feel like I’m getting that true experience, I don’t get the impression that the song is being delivered by someone who has lived that. ‘No Fooling Me’ falls into this category too as it talks about a guy that has people ‘queuing as far as the eye can see’, but the duo’s attempts to convince us that this guy just sees these people as numbers on his phone don’t seem routed in a lot of evidence, and the song makes the guy sound a lot kinder than it’s probably trying to. 

But after all of that, there are still a fair few songs I would like to highlight for their adventures songwriting. ‘Ain’t That Easy’ is clever in the way it takes the fantasy of what this relationship could be like, but flips it by suggesting that such a fantasy, however amazing it would be, is never going to actually be achievable, and that youthful fantasy picks up a lot of weight when it’s placed alongside songs like ‘Changing’ that are more reflective in their discussions of youth and childhood. ‘Never Know’ takes a broken relationship and frames it as the girl reflecting on whether or not her once was partner still thinks about her with the knowledge that she was willing to get more serious in the relationship, before coming to the conclusion that it doesn't matter and she should just get over it, even if the guy is still very much not over her

In contrast to getting over someone, ‘Little Girl Sorrow’ tackles what it means to confront personal issues head on rather than try to step around them, while ‘Deepest You’ discusses finding passion in unlikely places, both of which are ideas that come out pretty well in their respective songs, and make me frustrated that we couldn’t have had more ideas like this on the album instead of blandly written filler. 

But despite this, I think it would be very wrong to call this album bad as I do like a fair chunk of the songs here. However, I think it is equally fair to say that the writing is often painfully underweight, and the album is incredibly overproduced in spots. But if this is what it’s going to take to shove Ward Thomas closer to the pop charts, I’m on board. 

 3 / 5 

Best Songs: ‘No Filter’, ‘Ain’t That Easy’, ‘Never Know’, ‘Little Girl Sorrow’, ‘Deepest You’ 

Worst Songs: ‘Rather Be Breathing’, ‘Same Love’ 

Review of: 'Sick Boy' by The Chainsmokers

I am very aware that covering this album is essentially pointless, especially considering that it's been months since it was officially released, and the duo have seemed to have slipped out of the public eye. A critically panned album with 'Memories... Do Not Open' probably didn't help that, but overall I was never a huge fan of the group to begin with, and therefore I have no issue with them slipping out of the public consciousness. In fact, I was actually going into this album with a fair bit of hope that some time outside of the spotlight could give the group an opportunity to refine their sound into something more interesting; I was not expecting this to happen, but I am fascinated by the potential of an album like this. I was looking forward to seeing The Chainsmokers pick themselves up after a crazy year in 2016, an album that was not received, and further refine their image, music and songwriting. So, did 'Sick Boy' deliver?


No. Not even the benefit of lowered expectations could save an album that feels limp and underweight instrumentally, and frail and really quite obnoxious and self obsessed at points from being thuddingly mediocre at best, and blindingly offensive at worst. And there is one fundamental issue that runs through the album in its entirety. The album demands that I sympathise with Chainsmokers frontman Andrew Taggart...and I don't. This is coming from the same guy who spent 2016 as on of the most successful artists with a net worth of $45.5 million, pretty much cultivated all in that one year alone, and yet over and over again on this album Taggart demands that I sympathise with him because I could not possibly know the pains of being the centre of attention in the music industry. Ugh.


This isn't just on one song either, it's a crucial thematic component that runs across the entire album. 'Everybody Hates Me' is easily the most direct example which shows the duo mindlessly wallowing in the drama of knowing that everyone hates them when they walk into a club, but 'Sick Boy' might be even worse in its attempts to establish some east coast - west coast conflict in its verses, only to backpedal away from any conflict outside of Taggart's personal struggles that, as I've already established, I have no interest in hearing with lines like 'how many likes is my life worth?'. Yes. This is the level of lyrical intellect we are getting here.


But the worst example by far is 'You Owe Me' in which Taggart spends the chorus downright insulting his audience by insisting that while they might be suffering with mental health issues, whatever they're suffering through could not possibly compare to the pressures that he has to endure within the music industry. In other words, looking down in your audience in the most obnoxious way possible, without anything in the way of self aware commentary that could make it tolerable. The kind of baffling display of incompetent songwriting that is no doubt this album at its worst.


But it's not like the production is elevating the mediocre songwriting that turns up on the majority of this album. From the utter waste of the otherwise talented Kelsea Ballerini on 'This Feeling', to Winona Oak doing her best Julia Michaels impression on 'Hope' with strikingly similar vocal production to her song 'I Miss You', to Emily Warren being unimpressive and generally uncharismatic on 'Side Effects', even if the tight bass groove on that song has a surprising amount of bite to it, and I do like that song.


But between songs that feel cold and hollow like 'This Feeling', no the kind of things you want to be associating with a song about the feeling of being in love with a drop that sounds very recycled, songs like 'Sirens' that sounds like a Skrillex reject, and 'Sick Boy' and 'You Owe Me' that sound melodramatic in their attempts to cultivate some smoky atmosphere that neither song effectively pulls off, mainly because the lyrics are self indulgent and pointless.


And that pretty much sums it up. Not an artistic advancement, but a decline into pointless melodrama that was not for me whatsoever.


2 / 5


Best Songs: 'Side Effects', 'This Feeling'


Worst Songs: 'You Owe Me', 'Sirens'

Review of: 'The Pains Of Growing' by Alessia Cara

I thought I knew exactly what I was going to get with this. Alessia Cara's biggest hits like 'Here', and the track with Logic and Khalid '1-800-273-8255' have always dabbled in subject matter that showed her as a bit of an outsider in modern pop. She had the same lumbering, uninteresting production (even if 'I'm Yours' still totally holds up as a great song) that plagued songs like her hit 'Scars To Your Beautiful', but was able to bring a fair amount of nuance to the roles she played within her songs. 'Here' framed her as the antisocial pessimist at a party they really did not want to go to, and '1-800-273-8255' had her playing the role of the call taker as Logic's character contemplates suicide in the first verse. There was clearly something interesting to her song writing style that appealed to me, to the extent that I was fairly excited to cover this album.

Furthermore, and I know I've said this an awful lot over the course of these reviews, but the album also seems like it would be thematically made for me given its title and the stage I'm at in my life. I was looking forward to a refreshing pop album that would really work for me. A lot of this relies on whether or not the production that Cara has behind her can properly back her up like it does so well on 'I'm Yours' on that debut album. So, with all that in mind, how is Alessia Cara's 'The Pains Of Growing'?

This album really shed light on one thing for me; Alessia Cara is too good a pop songwriter to be wasted on production that she gets on the majority of this album. Make no mistake, 'The Pains Of Growing' is indeed a very good album, but lacking that final punch to carry it into greatness, and in order to explain why this is, we need to start by discussing the instrumentation and production, easily the most inconsistent element of this album, and I wouldn't say it was bad more that it was a bit boring and uninspired with the biggest offender being the snooze fest 'A Little More'. The album also doesn't precisely start with it's best cuts either. I'm a bit more forgiving of the slightly stiffer tracks like the lumbering opener 'Growing Pains' thanks to the swampy swell of the bass that gives that song a unique impact that is not really translated anywhere else on the album, but the stripped back production approach on 'Not Today' and especially 'I Don't Want To' might be melodic, but the furthest thing from interesting and do nothing to elevate Cara's expressive song writing. You could easily throw 'Wherever I Live' and 'Out Of Love' into this category too, but the song writing on those songs (and we'll discus this later) is breath-taking.

But if you're looking for the production to bring any kind of intensity to Cara's commentary, you might as well just give up now. The closest you're going to get is the legitimately great 'Nintendo Game' which is easily the most intricate and textured songs here, not to mention catchy.

But the biggest offender on this album is undoubtedly 'Trust My Lonely', where, outside of a stiff drum machine, all you get is a bleeping melody and some distant flutters of synth. A song that not even Cara's song writing can elevate.

But now let's get to that song writing, and I'll say this for Alessia Cara, she certainly was thorough in her deconstruction of what it means to grow up. From not wanting to let the guy go 'I Don't Want To' and 'A Little More', to questioning her personal identity on so many songs here. Take 'Wherever I Live' for instance, a song simple song where Cara discusses her sense of place with the kind of unique charm that made me like her work in the first place. 'Out Of Love' is an equally simple song as Cara hopelessly reminisces over a failed relationship wondering helplessly when it all went wrong. Simple in concept, but gorgeous in it's execution and song writing.

'Nintendo Game' is equally strong in its song writing, taking a uniquely modern approach to explaining a relationship that works exceptionally well in a present day context discussing young love written by someone that understands that context.

'7 Days' might be even better in it's contemplation of whether or not a God would look down on Earth and be proud of what they did in creating us, all crafted to fit into a pop context whilst still carrying a considerable punch.

But that leaves is with 'Easier Said', probably the best song on the album. The line 'Healing and patience are lovers / Don't place the blame on your heart just to shut 'em up' might be the best line I heard in pop in 2018, especially coming out of an album so driven by it's desire to understand what it means to grow up, and everything that comes with that, whether that be questioning your faith, your place, or anything else. Beautiful song.

To conclude, this is an album that I want to love, but ultimately can't due to inconsistent production. There are some gems, though.

3.5 / 5

Best Songs: 'Easier Said', '7 Days', 'Nintendo Game', 'Wherever I Live', 'Out Of Love'

Worst Songs: 'Trust My Lonely'