Bourne To Entertain

Yes, I took part in yet another one of those Orange 2-4-1 Wednesday deals and went to see Matt Damon in The Bourne Ultimatum last night. Thankfully I prepared by watching the first two 'Bourne' films on Sunday and Tuesday nights (thus proving you can never have enough Matt Damon) so I was clued up on what was going on. This is one movie where it really is necessary to see the prequels. Generally I am not a fan of trilogies as they invariably lose their impact and feel more like they are made to make money rather than entertain. The Bourne Ultimatum is a very big exception to this, and without revealing any plot it gives more impact than the first two. It's also more exciting (though this could be on account of the fact I saw the first two only on television), the fight scenes are even better and the story does not deviate from compelling. As a side note - Julia Stile's performance in this series improved with each film, emerging as a candidate for a more central role should a fourth 'Bourne' be created.

Verdict: Go see it (and thank me afterwards.)

On the stereo this week is a bunch of new stuff I have picked up on Sunday... firstly Kate Nash's debut: Made Of Bricks. I want to rave about this offering as the hype should have me doing. Sadly I can't. Billed to be the next Lily Allen, the lyrics are not half as sophisticated as her mentor's, with such tunes as 'D*ckhead' becoming patently dull after 30 seconds. Even the lyrics on the insert are wrong, missing or badly spelt on many of the tracks. The album begins with a pointless intro before the hit single 'Foundations', which is the big drawcard. 'Mouthwash' follows with a rather cack-handed feel to it. Almost like someone making up a song on the spot, singing about the first thing they can see. 'D*ckhead' as mentioned is appalling in every sense and a complete snoozefest. Redemption is made briefly in the next 2 tracks, 'Birds' which is tuneful and quirky and 'We Get On' which is of a more 'Lily' style. Sadly, form disappears in 'Mariella' and 'Sh*t Song' which makes leaves you wondering why Ms Nash felt obliged to add these on - both childish attempts at songwriting. Next up is the bizarrely titled 'Pumpkin Soup' which offers no reference to pumpkins or soup though it does extend the barriers of the style on this album by way of incorporating some very 80s effects. Thankfully the album makes a late and partial comeback with its final 3 tracks: 'Skeleton Song', 'Nicest Thing' and 'Merry Happy' all very listenable.
Overall: nothing special (I'm hoping she's alright live though).