Mass Effect 3 – March 9

The conclusion to the biggest space opera of the decade draws ever closer, with the fate of Commander Shepard being revealed. The best part of this game is the fact that every player’s story will finish differently, as a result of countless decisions made through the previous two titles (presuming you played them, and if not, shame on you). Endless possibilities beckon, did you punch the journalist in the face? Did you release the space beast in ME1? Did you save whats-his-face’s wife? There’s new features, such as an added element of danger to the omni-tool with an added melee blade, and even slicker combat style with everything polished up from ME2′s leap forward. There might be a slightly uneasy multiplayer mode added, but with BioWare pouring everything into this final instalment, and with no Mass Effect 4 on the way meaning no loose ends to leave open, they will be sure to end Shepard’s story out with a bang.

Max Payne 3 – March

A sequel which has been a long time coming, and from a new studio, the new Max Payne title keeps the spirit of the first two games with a more gritty edge – courtesy of Grand Theft Auto Kings Rockstar Studios (though admittedly a different branch to that creating Grand Theft Auto 5, also due this year, but the story is from the same lead writer). Always a broken character, Max is older, boozier and has a penchant for head-shaving in this game, which is set a few years after the events of The Fall of Max Payne. The signature bullet-time returns, with 360 degree shooting, as well as Max’s trusty painkillers. There’s also multiplayer on the cards, and with Rockstar calling the shots it’s sure to be something special, expect unusual game modes and there’s even dynamic maps which change in-play to contend with. With third person shooters quieter this year with no new Gears of War title, Max could well fill the void and deliver an out and out shooting-fest with real character.

Aliens: Colonial Marines – 2012

Almost 30 years after the release of James Cameron’s film, the dreams of xenomorph fans across the world could well be answered in the form of Colonial Marines. While it may have lost its original squad-based shooter dynamic, the game is shaping up to deliver as strong an alien playing experience as well as letting you fill the shoes of machine-gun and flamethrower-toting marines. There’s no heads-up display, which should make for a more immersive experience, but there is some relief in the form of the signature gun-mounted motion-tracker. There’s new alien types available too, as well as the classic xenomorph and the face-hugger, there are ‘runners’ which are faster, scout-style aliens, and you can be sure the queen will make an appearance at some point. The game is set on planet LV-426, the same place where the Aliens film is set, but some time after, and it’s been confirmed the crashed ship from the first film will feature, suggesting plenty of fan service. There have been concerns about the ‘meaty-ness’ of the Aliens’ acid blood, but this is a franchise dear to the hearts of many, which should be ecouragement enough for developers Gearbox to get it right. The developers have a reasonable back catalogue – if you omit the misstep that was Duke Nukem Forever – having contributed to the Half Life series as well as Brothers in Arms and Borderlands, putting the game on course to deliver the experience fans have been waiting for.

BioShock Infinite – 2012

From the depths of dystopian Rapture to the blinding heights of Columbia, BioShock Infinite will make you long for darkness. Another broken society, Columbia isn’t empty of life bar crazed slicers, but a functioning(ish – it has descended into warring factions) city with people milling around. One of those inhabitants is Elizabeth, who protagonist Booker DeWitt is trying to rescue from the city, which is a metropolis flying high above the Earth. Instead of walking around through corridors, you glide through the city on ‘skyrails’, as Elizabeth follows along behind. Reportedly an interactive AI, Elizabeth reacts to your actions, behaving differently depending on what you do. If designer Ken Levine is to be believed, then it should offer the most developed player to AI relationship in a game. Elizabeth isn’t just a follow-along companion though, since she has the power to reach through the fabric of space and time, but exactly how that will work is anyone’s guess. The game is far removed from the events of Rapture, with no Adam or Big Daddies to worry about, but Levine won’t confirm if and how the games are linked. Once everyone has worn out Skyrim, this is the game they will be moving on to for single player storytelling – something Irrational Games are known for.

Syndicate – February 24

The result of a genetic splicing experiment between Deus Ex: Human Revolution and Crysis 2, Syndicate could be the near-future set game of the year. In 2069 the world is controlled by corporations and business, and in the game, a re-boot of a 1993 strategy game in little more than name, you work for a syndicate – which the world is comprised of – and go around carrying out contract killings and other missions to protect the company. The real intriguing point is the Dart 6 chip, which allows you to hack into enemies and control them, causing them to shoot themselves or tell you everything you need to know, as well as more combat-based hacks, such as redirecting projectiles. The big feature is four-player coop, surely a standard in a squad-based game like this, and there are plenty of powered-up-hacker scenarios you can imagine being great fun with a few friends. The competitive multiplayer won’t hurt either.

What, no Halo 4?

That’s right, we aren’t too excited about Halo 4. It may be the game that made the Xbox, but that was a decade ago now, and we are begging for some new innovation. It might be that new studio 343 can come up with some fresh new ideas to re-invigorate the series, but for now it’s a franchise which is struggling to remain relevant, thought the multiplayer matchmaking is still something to be envied – DICE take note.

Stay tuned for more gaming news in the coming week.

James Michael Parry

Feeder – Generation Freakshow (26 March)

The kings of British mainstream rock, this release marks the trio’s eighth studio album. To have been going strong, admittedly with varying levels of chart exposure, since 1991 is no mean feat for a band in this day and age. The fact that the band have name-checked classic release Yesterday Went Too Soon as an influence is a very good sign, placing the album somewhere between the energetic rock of the album and the more radio-friendly Comfort in Sound. The fanbase will stick with them no matter how it turns out, but since the group had a back-to-basics release with 2010′s Renegades, it’s likely this album will give a single or two which will make its way to the airwaves, which is where Feeder truly shine. As always with the band this won’t just be ‘more of the same’, and lead single ‘Borders’ gives us some idea of where the style is pitched as well.

Muse (September/October)

After a stellar performance as 2011′s Reading and Leeds festivals – quite literally with a complete run-through of their rock opera crown jewel Origin of Symmetry – Muse show no signs of slowing down. Countless Best Live Act awards have been thrown their way over the years, despite frontman Matt Bellamy’s notorious shyness on stage, as well as wins for their recorded material even as recently as last album The Resistance. Of course, this is with good reason, the last album saw a departure from the rocky side to embrace the piano, will Matt throw out some more killer riffs which rival the likes of ‘Knights of Cydonia’ and ‘Citizen Erased’ with this latest release? If bassist Chris Wolstenholme is to be believed, the new album will be “radically different” from previous releases. Whatever form it takes, it will be sure to be something magical and certainly an experience not to be missed.

Matchbox Twenty (TBC)

A band which refuses to take the UK charts by storm despite acousto-rock perfection, Matchbox Twenty have been treading water for a while now, with their last full album, More than you think you are, first on sale back in 2004. Since then the band have released a greatest hits complete with new tracks, and lead singer Rob Thomas has released two solo albums. With Thomas clearly the driving force in the group, having written all the songs up to the new tunes on their greatest hits compilation, it’s fair to take his latest solo release, cradlesong, as an example of where the groups sound might progress to. So far the news is that recording has been done, even the tracklist has been tweeted by the band, but there is still no solid release date. Thomas has been keen to stress a mantra of “getting it right”, since he feels the band are now beginning to get on in years – “Realistically, how many more times do we get? So we’re going to really make this record the one we want it to be.” With Thomas’ singwriting still on board it’s hard to see how this could go wrong. The band’s first collaborative single – ‘How far we’ve come’ – was the most upbeat and catchy song of their career, which can only bode well for more tunes put together as a unit.

Enter Shikari – A Flash Flood Of Colour (16 January)

Just days to go before another injection of British hardcore. The band have been releasing one-off tracks for a couple of years since second, and far superior, album Common Dreads. This up trend is relentless, with the band’s subsequent releases ‘Destabilize’ and ‘Quelle Surprise’ filled with passion and plenty of noise. The teaser posted on the band’s YouTube channel hints at an album filled with a mixture of melodic hardcore and heavy screamo, with plenty of keyboards and killer riffs thrown in for good measure. Undoubtedly the most original band to come out of the UK for a while, this group is something to be proud of. The blend of catchiness with stop-start electronica sections carries through from their first hit ‘Sorry, you’re not a winner’, and while occasionally a bit much all in one go, the band command attention on the stage. All signs point to this power extending to their latest CD as well.

Lostprophets – Weapons (2 April)

A band which undeniably Welsh from the second you see them take to the stage, it’s remarkable how they manage to mask even their British-ness in their recorded releases. After a severely delayed fourth album, Betrayed, the band are looking to claw back platinum sales with this release, last achieved with second album Start Something. The first single from the album, ‘Better of Dead’, is a more rap-influenced tune than fans might be used to, achieving a sound closer to Linkin Park at their height, but still full with plenty of rock might. With their last effort proving a tad inconsistent, this album should hopefully land right on the mark with all the tracks delivering what fans have come to expect – rock with attitude.

The inevitable comeback album:
The Offspring (TBC) – After a fantastically received performance at Reading and Leeds, The Offspring deserve to reclaim the punk rock crown. The band are often imitated and have diminished over the years to join Green Day in American punk’s has-beens. With chief song writers Dexter Holland and Noodles still in the line-up, there’s no excuse for them coming up with something irresistable. Since they went into the studio again last September to finish up a brand new CD, 2012 could well be their year. It’s been four years now since their last album, and they are far from the heights of Conspiracy of one, but the time is right for them to remind us what they can do.

*Illegal downloads are bad, don’t try this at home kids

James Michael Parry

So, in order to kick the hype machine into gear, This Is Entertainment presents a series of articles highlighting the top five most anticipated from the world of film, music and Xbox games, beginning with the silverscreen:

The Dark Knight Rises – 20 July

Christian Bale returns (slightly higher than before) for the conclusion of Christopher Nolan’s Batman trilogy. This time around it’s a very Inception-inspired affair with Tom Hardy taking the role of big bad terrorist Bane and Joseph Gordon-Levitt joining the team as Batman’s new helper beat cop John Blake. The exciting thing about the premise is that the film is set eight years after the events of The Dark Knight, when the Caped Crusader took the fall for Harvey Dent’s killing spree. With Nolan at the helm, and several blockbusters under his belt, there’s little chance of the team dropping the ball, and with promise of antics from Catwoman, courtesy of Anne Hathaway, this is a serious contender for big hit of the summer.

The Avengers – 27 April

Another entry in the ‘Year of the superhero’, and this is certainly the big one in terms of numbers of heroes involved. Thor, The Incredible Hulk, Iron Man, Hawkeye, Black Widow and of course the top man Captain America all thrown together in one action-packed adrenaline ride – sound appealing? The balance of personalities will be key, especially with Robert Downey Jr. threatening to steal the show as king of swagger Tony Stark. Writing duties come from Zak Penn (X-men 2, X-men 3 and The Incredible Hulk) and Joss Whedon (Firefly, Serenity and Buffy the Vampire Slayer), undoubtedly an impressive pedigree, and with Whedon taking directing duties as well he’ll be sure their story gets realised with all the style and humour it deserves.

Skyfall – 26 October

Bond is finally back. After a four year absence Daniel Craig picks up the Walther PPK again to protect the people of Britain, and this time it’s in a story with the least links to the Fleming-verse, since Skyfall is a the first film not to be in any way based on one of the Bond creator’s stories. Judy Dench is back as M, and Naomi Harris is on Bond girl duty, in a story which delves into M’s past as it “comes back to haunt her”. With long-running relationships to be tested, it could prove to be the most personal story since 1994′s Goldeneye. As ever the story is being kept fairly under wraps, but don’t expect to see a return of the ‘Quantum’ organisation, although the style is unlikely to stray far from the ‘new’ Bond formula.

The Hobbit – 14 December

Before the story told in arguably the most successful trilogy of the 00s, there was Bilbo Baggins, dwarves and a very large dragon. In print a more child-friendly tale than The Lord of the Rings, but on screen Peter Jackson is creating a story on his usual epic scale. Martin Freeman is Bilbo Baggins, and was so wanted by Jackson that he scheduled in a break in shooting for Freeman to reprise his role as Watson in the Stephen Moffat’s sublime Sherlock. Sir Ian McKellen leads the band of dwarves, filled with well-known names in its own right, on their quest, as they are re-united with plenty of other familiar faces from the proceeding films (which are actually set afterwards, just to be confusing). For those with a thirst for fantasy will have no better journey than this in 2012.

The Amazing Spider-Man – 4 July

In the other side of the big superhero face-off, the return of Spider-Man sees us going back to the beginning (again) with The Social Network star Andrew Garfield as Peter Parker. This reboot, now a groan-inducingly familiar term, focuses on Peter Parker’s high school years, so no Daily Bugle or sideline in pizza delivery. Marc Webb is the aptly named director of the flick, known previously for (500) Days of Summer, has a background in music videos. Webb put together numerous micro-films in the past decade for the likes of Green Day, Good Charlotte, AFI, My Chemical Romance, 3 Doors Down, Maroon 5 and Yellowcard, which might result in a particularly poignant use of music for Spidey. The supporting cast includes Emma Stone, as love interest Gwen Stacy, and Rhys Ifans as Doctor Curt Connors, the unfortunate scientist who, after an inevitable accident, becomes Spider-Man’s nemesis The Lizard. It may be a story we’ve seen before in Sam Raimi’s 2002 film, and certainly there is a lot to live up to for Garfield in Tobey McGuire’s performance, but Webb has everything to prove with what is only his second feature length picture – plus there isn’t a goblin in sight.

Plus: Under the Radar - Keep an eye on Prometheus, Ridley Scott’s sort-of Alien prequel set in the same universe, expect the same chill-factor as you get from watching the original alone in the dark and a massively ambitious project all round.

Check back soon for the next instalment looking at the most anticipated albums of the year.

James Michael Parry

Everyone likes shiny new things, of course, (as you can see from the concept images people have created of what the PS4 and Xbox 720 might look like above) but there’s a limit to how much money people have lying about for what is, effectively, a toy. The Wii U, the direct successor to the Wii, was announced at the Electronic Entertainment Expo (E3) earlier this year, and boasts a DS-like touch screen on its controller, as well as backwards compatibility with Wii accessories such as the infinitely popular balance board.

The game-changer which the Wii began with motion control has been jumped upon by the other two companies with Kinect and PlayStation Move. While each have made an impact on their consoles, the former a family-friendly technological leap forward offering finger tracking, voice recognition and full-body control, while the latter is a clone off the Wiimote in the shape of a rollerball deoderant, its unclear whether or not their release will increase the overall lifespan of the consoles as the companies would like. Both Sony and Microsoft have said they want the technologies to extend the lifespan for another five years, marking a half way point.

The release of the slimline version of both consoles also suggests that the companies are investing time in the platform, plus there have been enhancements to their online networks, expanding what is offered and improving security in the case of Sony, who hit the headlines earlier in the year after a hacking scandal.

The expansion of Xbox LIVE in particular suggests Microsoft increasingly want the Xbox to be a multimedia hub, with streaming TV from BBC iPlayer, 1080p films and music from the notoriously-tricky-to-set-up Windows Media Centre.

Digital media and downloads are having a big impact on gaming as a whole, with publishers trying to make as much money as they can from Downloadable Content (DLC) and trying to cash in on the pre-owned games market with Online Passes for games, which mean that part of the game isn’t playable without a code either provided with a new purchase or bought through LIVE or the PlayStation Network (PSN).

On top of that there’s the question of whether on-disc games will become redundant as the UK finally catches up with the rest of the world in terms of connection speeds and people begin downloading games more readily. Will the next consoles support games on USB? SD? Micro SD? or just downloads? How would you trade-in a download game?

The possibilities are baffling, but with retail currently struggling across the board, games shops are trying to do their best to push the pre-owned market, which has better profit margins, and selling more bundle deals for consoles with games, to avoid a price war on the high street.

Even the Wii U’s announcement reflects a lack of consumer confidence, with it bringing a lot over from the Wii (including its name) and acknowledging the amount people have invested in peripherals. Nintendo is in a different place to the other two companies though, since it has so much more gaming experience it has an awful lot of brand loyalty to trade on, and can effortlessly bring its customers on-board on the strength of their ‘Nintendo-ness’.

PS3 and Xbox still have a way to go to reach Nintendo’s pedigree, but there is no denying they are household names, and have offered top quality games for their case.

The rumour mill is currently grinding out that the next Xbox will be announced at E3 next year and released by next Christmas. The likelihood of this actually happening seems low, not least because of the recent releases of the 360 S and Kinect, but also that there is just not enough time to get excited about a new console. Still, there is plenty of speculation about what games might be slipping onto a new platform.

Whatever shape the un-announced eighth generation consoles take, it’s likely it will be a very different format than the one we are used to, in the meantime we will have to try to make the most of the countless offered across the currently available consoles.

The thing to remember is that you might not be able to take those trophies, achievements, or downloaded Rock Band songs with you to a new console, so make the most of them now.

This film though, is, technologically at least, as far from Hergé’s original sketches as you can imagine, with incredibly detailed landscapes, immersive weather effects, and the most natural motion-capture committed to film since Gollum in The Lord of the Rings, and the illusion is taken a step further with 3D.

The ultimate adventure journalist, Tintin is brought to life by Jamie Bell (Billy Elliot) as he and Snowy try to uncover the secrets behind the model of a ship called ‘The Unicorn’.

Along the way he meets blundering, but lovable, alcoholic Captain Haddock, played to perfection by Andy Serkis (with all his alliterative catchphrases intact), who is a descendent of the sunken Unicorn’s captain.

From the moment John William’s vibrant score introduces a sublime Hergé-styled intro sequence, you can’t help but warm immediately to the characters. Bell plays a hero which you get behind instinctively from the first sign of trouble, and Serkis’ Haddock brings a lightness to proceedings, even through the Captain’s rich Scottish accent.

The influences of director Steven Spielberg’s earlier films are clear throughout, not least globe-trotting adventurer Indiana Jones. But though the two heroes share an era of history and a taste for a mystery, Tintin has none of the recklessness of Dr. Jones, always running rather than fighting, but don’t mistake this ginger journo for a pushover, as Tintin finds himself in a fistfight on more than one occasion.

The film’s pace drives the action at an almost non-stop pace, with a recollection from Haddock in the desert providing the most visually stunning moments of the film, making daring use of animation tricks to merge the present and the past together.

No hero’s tale is complete without a villain however, and the man determined to get to the sunken Unicorn and its treasure first is grim-faced model-collector Ivanovitch Sakharine.

Ivanovitch is given his gravelly tones by Bond Daniel Craig, and cuts through every line with venom, appearing more evil the longer he appears on screen.

The story, based on a few of Herge’s original works, was brought together by a three-pronged attack from Doctor Who king Stephen Moffat, Shawn of the Dead writer/director Edgar Wright and Adam and Joe Show creator Joe Cornish. The variety of talent has come together to create a genuine, fun and family-friendly film, shying away from the current Hollywood trend of making things darker and more moody to deliver a refreshingly positive and classic cinematic experience.

The film is enjoyable whether you’ve never heard of the young Belgian journalist who never submits his copy before, or whether you spend your Sunday nights leafing through Explorers on The Moon. A blockbuster in every sense of the word, this film commands the attention of all ages and afterwards you’re guaranteed to come out filled with optimism and a thirst for adventure.

Rating: 4/5

James Michael Parry

Thankfully Footloose, a remake of the 1984 classic, manages to avoid this pitfalls to deliver an effective and entertaining slice of boogieing.

The story focuses on Ren McCormack (newcomer Kenny Wormald), a teenager from Boston who is thrown into a quiet, small-town existence where public dancing and rock music have been banned.

The film throws your footing almost immediately at the opening with a shocking and unexpected jolt of juxtaposition, immediately making it clear this isn’t a film just about dancing.

Wormald easily convinces as the slightly cocky but charismatic city-boy, and gives the audience someone to root for. The rest of the cast is a mixed bag. Love interest Ariel Moore (Julianne Hough) manages to tiptoe around the soppiness bear trap (just), with only a stray line which remains a bit on the cheddar side. Generic bully/boyfriend Chuck Cranston (Patrick John Flueger) delivers his character with all the subtlety of a punch in the face – which, incidentally, comes up literally more than you might expect – but effectively nails the obvious stereotype nonetheless.

Dennis Quaid, as probably the only easily recognisable face, seems troubled as preacher-man Reverend Moore, finding it hard to get the balance between the reserved man of the cloth and one who is forced to deal with the horrific concept of losing his son, who died in a car accident three years earlier after attending a public gathering, which let to the Reverend and the town council banning public dancing altogether.

Andie MacDowell, the Reverend’s wife Vi, falls short the most tellingly though, in a less compelling showing than her oft-seen face cream adverts.

Luckily Miles Teller is on hand as redneck dance-o-phobe Willard to give some much-needed comic relief, and is graced with the most memorable lines and moments in the film, such as being taught to dance by eight-year-old girls accompanied by a Barbie jukebox.

Dancing does, of course, still feature heavily through the film, embracing a number of different styles, and fits in more naturally than something like a musical where characters would undoubtedly burst into it every other scene.

The choreography of the group numbers is stellar and really has some infectious energy, not least the film’s signature tune – this time around given a slightly more country and upbeat feel compared to the original.

Comparisons to the 1984 flick are inevitable and there are differences – the town has moved states and the game of chicken happens on school buses rather than tractors, for example – but really there isn’t anything which seems glaringly out of place. There are some nice nods to the original, such as Wormald donning Kevin Bacon’s signature red tux for the finale, but really this is a film of its own, making a small but clear message of everything in moderation.

In the end the film won’t convert those who can’t stand seeing fresh-faced young teens dance their socks off, but for a film about dancing, you get a fair amount more than just a quick-step.

Rating: 3/5

James Michael Parry

One of the biggest challenges to PC’s dominance is the overwhelming success of Apple’siPad and iPad 2, which reported a profit of $7.6billion in the last quarter, more than double from the same time last year and the same as the entire year’s profit for supermarket giant Tesco, with iPad sales up +183% thanks to the launch of the iPad 2. (source: BBC)

The biggest change is the diversification of technology though, with consumers able to do what they used to only be able to accomplish on a computer on any number of devices, many smaller, more portable and more convenient.

PC tried to hit back at the latter with the ‘netbook’ style laptop, a smaller version of the standard laptop designed for increased convenience, but thanks to the iPad having the ‘cool’ factor it continues to dominate.

Consumers valuing portability has shown over the past few years as desktops have increasingly given way to laptops, particularly since the price of laptops has dropped significantly. When the format was first pushed out, you couldn’t find a laptop for under £1000, whereas now you can get an entry-level laptop for £300, around the same price as the lowest grade iPad.

Smartphones are a whole other arena, with many glued to them 24/7. iPhone leads in this arena of course, with the respectable, business-friendly Blackberry and the open-source Android masses not far behind.

iPhone might be the must-have, but the real ingenuity comes through the user-generated Android Marketplace, clearly out to increase the standard and amount of applications available rather than just making profit.

How these devices interlink is another attractive feature, since the days of linked accounts and automatic remembering of passwords mean that a Facebook account can take you a long way across the internet.

The likes of Twitter, Facebook and Google+ cement the day-to-day nature of technology in people’s lives, and this is no longer something you need a PC to access.

There are still areas where only a full PC will do though, such as writing or editing document, where the limited screen space on a phone or tablet make it tricky, or graphic design – although this practice has largely been annexed by Mac. Even for reading websites you often find yourself longing for a computer when reading on a mobile, to avoid the constant need to zoom in and out.

But what next? An announcement of an iPad 3 seems inevitable, but will the familiarity and ease of use be enough to keep PCs in the running as we draw ever-closer to the Back to the Future benchmark set for 2015.

Technological development seems unlikely to move the goalposts at this stage, with computers at a level where almost all standard specifications are more than adequate for the average PC user. Speed will be the thing which will attract people, instant booting up and powering down for example, as well as better connectivity with devices, which might be improved by USB 3.0, 10 times faster than the current USB and allowing for transfers of 5.0Gigabits per second, meaning transferring your music collection to an external hard drive could take seconds rather than hours.

The inclusive, caring-sharing way of taking the technology forward seems the only way to go, with Apple’s stubbornness to cooperate or share with other businesses only allowable because of their market dominance. This Davids and Goliath setup is less than ideal, but it does mean companies will continue to do their best to overcome Apple and encourage competition in areas it can effect. Fingers crossed the giant doesn’t move to crush them, since a marketplace monopoly won’t do any favours for the industry, or its consumers.

James Michael Parry

Source: http://www.bbc.co.uk/news/technology-14490709

So it is in Tinker, Tailor, Soldier, Spy, a cerebral thriller based on John lé Carre’s 1974 novel, which delivers everything you might expect of a slice of home-grown British cinema.

The first thing which strikes you about Tinker, Tailor, other than the impressive pedigree of the ensemble cast, is how convincingly 70s everything seems. The usual period cars and fashions are present, but it’s the small details, such as lead man George Smiley’s (Gary Oldman) signature thick-rimmed black glasses, purchased during the pre-credits sequence, which ooze Cold War Britain, a rigid harsh front constantly alert to the threat of Communism.

A more useful feature of Smiley’s glasses is a clear way of working out when the story seen on screen is a flashback, since much of the film’s background is told in retrospect.

The setup sees Control (John Hurt) tell Mark Strong’s character Jim Prideaux that there is a Soviet Agent inside the secret service, known as ‘the Circus’, and it could be one of five men.

Tinker, Tailor and Soldier refer to three of the five suspects (played by Toby Jones, Colin Firth and Ciaran Hinds respectively), codenames given by control to the men so Prideaux could refer to them unknowingly in communications. The remaining two were the Poor Man (David Dencik) and the Rich Man – Smiley himself.

As part of the investigation, Control sends Prideaux to Budapest, Hungary, to find out some information about the mole, but things do not go to plan.

From here the film twists and turns as Smiley investigates what happened next, with the help of Peter Guillam (Benedict Cumberbatch), a young civil servant in a neighbouring department of The Circus, and Ricki Tarr (Tom Hardy) a former asset who returns to provide information crucial to the investigation.

The drama is gripping and complex, with only the most agile of mind able to keep things straight, but the beauty of the film is that it doesn’t matter, and often an element of confusion enhances the tension as the plot curdles to treacle-thick proportions.

The cast are convincing right from the off, and even world-famous A-lister Colin Firth manages to toe the line to convince in a supporting role. Gary Oldman holds the narrative together in Oscar-baiting fashion, his reserved style of inquisition causing even professional spies to falter, and equally displaying a delicate emotional inflection as the story touches on his troubled relationship with his wife.

This film is perhaps a little to complex for its own good, but easily equal to the sum of its parts, and with such high quality ingredients in the cast, Let The Right One In Director Thomas Alfredson has managed to stitch together the most tense and gripping film so far this year.

Rating: 4/5

James Michael Parry

We’ve already talked about the top ten random happenings from the weekend last week. Luckily for those who missed out on some of the big names (or just weren’t there – where WERE you guys?!), This Is Entertainment presents a run down of the best of the three days of top quality music.

Friday

The weather was not on-side for the first part of the festival, with showers and thunderstorms threatening for the Friday at least, but the artists would not be kept down despite the dreariness.

Architects opened the festival on the main stage, injecting an element of hardcore directly to the audiences throats. Unfortunately technical difficulties prevented the band from getting the best sound, but they still put in some of the enthusiasm which festival crowds expect, and also becoming the first band to request people to get up on each other’s shoulders.

Welsh rockers The Blackout hit the stage next, with a suitably angry banner, but despite some decent songs to their name, failed to really grab the audience’s attention – as can often be the stage during the day on the Main Stage, with the area not being backed until early evening.

Next up were pop/punk heavyweights New Found Glory (see above), now in their 14th year, who got the crowd moving with their usual blend of upbeat power-chord-based tunes. The band also played some songs from their latest album Not Without a Fight which received a mixed reaction from the crowd, though their cover of Kiss Me had everyone singing along happily.

Rise Against were the first band of the day to really make an impression, with the crowd fist-pumping along to their anti-establishment hardcore melodies (see main picture). The band opened with ‘Chamber The Cartridge’ and spewed hit after hit from their back catalogue – including fan favourite ‘Prayer of the Refugee’. The energy from the band, particularly high-kicking guitarist Zack Blair, was impressive and saw the first solid ‘mosh’ pit of the festival spring up.

With the screeching feedback of Deftonesringing in the crowd’s ears, punk/rock legends The Offspring took to the stage for what can only be described as a trip down memory lane. Aside from one misjudged acoustic number from their latest album Rise and Fall, Rage and Grace, the band assaulted the audience with energetic tunes which we know and love, and even the new song slotted into the set neatly. The highlights proved to be a reflection of the age of the audience in Self Esteem, which had many joining in with the drunken ‘las’, and a complete run through of Have You Ever and Staring at the Sun from the band’s breakthrough record Americana.

Supporters 30 Seconds to Mars got the crowd singing along to their anthemic tunes, partly due to frontman Jared Leto’s near-refusal to sing himself, and the atmosphere was energetic by the time the other Jared took the stage with My Chemical Romance.

A fiery red-haired Jared conducted the crowd through the band’s hits, though ballady ‘I Don’t Love You’ was conspicuous by its absence, and boasted pyrotechnics abound. The crowd filled the air as the band played ‘The Black Parade’ – now joined by Queen guitarist Brian May – and closed the evening in suitable headlining style.

Saturday

The sun came out for Saturday and the mood was instantly lifted. The Joy Formidable proved to be suitably lively and upbeat for the occasion, with the soft vocals of Ritzy Bryan washing over the audience – almost hypnotising them.

Indie group The Pigeon Detectives were up next to pick up the pace, with their hits ‘Take Her Back’ and ‘I’m Not Sorry’ as well as a selection from their new album, along with the customary plug. Luckily it was done just softly enough to not be irritating, and the mood suited the early afternoon slot well.

After Two Door Cinema Club had laid down some happy tunes it was the turn of household names Madness to offer up a slice of British old school ska. There was skanking across the field as, after a slow start, the band launched into classics such as ‘House of Fun’ and ‘Baggy Trousers’ before a more ‘cuddly’ ending with ‘It Must Be Love’. The group have aged well considering they formed back in 1976 – 35 years ago! Frontman Suggs can still carry a tune, as much as he ever could, though there is a slight tinge of dirty old man about him these days…but nontheless a terrific performance all round, and well received in the sunshine.

Jimmy Eat World delivered their songs plain and simple, but with such strong material at their disposal, they had no need for forced hand clapping or stage diving to command the audience’s attention (see above). The mix of songs was perfectly crafted, with usual old-school tune ‘Blister’ the only real sacrifice to cram in some songs from their latest album, Invented. The crowd were built up steadily to a crescendo in the form of the timeless ‘woah’-driven tune ‘Sweetness’.

Punking things up a notch on the Lock Up Stage were Capdown, who command a punk crowd like few others. Their raw ska/punk sound getting everyone moving to the extend that you could see the sense of enjoyment on the band members’ faces.

Keeping the pedigree of Britsh music safe from the likes of the X Factor were Pulp, who returned to Reading Festival for the first time since 1994. The group reformed for live performances this year after being inactive for the best part of a decade. The band’s charismatic frontman – one Jarvis Cocker – successfully kept the crowd entertained as the band delivered hits such as ‘Common People’ and ‘Disco 2000′ with style.

Headliners The Strokes got off to a meagre start after meandering onto the stage over 20 minutes late, but delivered their melancholy hits effectively. Tunes from latest album Angles transferred well to the stage alongside the hits from Room on Fire such as ‘Reptillia’ and ‘Last Night’.

Sunday

Rocking into the last day of the weekend were Taking Back Sunday (see above) who played a mixture of songs from their five-album back catalogue. As the set went on you could see how they have changed between their first recordings and now, but also how they still fit together despite that. The band performed well, with frontman Adam Lazzara modestly proclaiming that they were “the best fucking band on the planet.”

In a break from the music, This Is Entertainment visited the Alternative Stage in the afternoon, with stand-up comedian Jared Christmas and comedy musician Tim Minchin captivating audiences. Minchin in particular caused the tiny tent to be filled to bursting, making the man himself obscured to all but those at the very front. One particular song, ‘Context’ (not ‘Cont’ as initially stated by Minchin), brought the crowd out in fits on laughter with its provocative lyrics, arranged specifically to sound outrageous, but were in fact reasonable when followed by the next words in the song. The song was played twice, the first time with words missing, leading Minchin to proclaim “I don’t like Jews…” with the crucial context of the statement missing, so the full line reads: “I don’t like Jews…who make and distribute kiddy porn.” Only at Reading Festival eh?

Returning to the music, hardcore rockers Enter Shikari gave the main stage their heaviest moments of the weekend so far. Lead vocalist Rou Reynolds also proved to be the most active, scaling the sides of the stage and leaping from amplifiers throughout the performance, as well as getting involved with the crowd.

Fellow St. Albans band Friendly Fires were quick to lift the mood with their disco-influenced electro-pop, but by now it was time for some more punk with a trip to the Lock Up Stage for Hot Water Music. The band practically had the tent shaking as the crowd went wild for the band’s catchy tunes. ‘Remedy’ and ‘Trusty Chords’ had everyone singing along and the band finished with a cover fellow Warped Tour vets The Bouncing Souls‘ song ‘True Believers’, which pushed the atmosphere to electric proportions.

Following a reliable performance from Elbow the main event of the weekend arrived. Devon-based rockers Muse would take to the stage to perform their breakthrough album Origin of Symmetry in full.

The crowd watched with bated breath as the band was obscured behind a sheet and a poetic voiceover from a Tom Waits album echoed across the scene with speratic drum beats cueing strobe lighting. The atmosphere was tense before silence fell and the iconic sound of ‘New Born’ came from behind the curtain.

The band played out their album with a fantastic visual display for every song, each having a corresponding video behind, to give an impression of what the song is about, and smoke, pyrotechnics and lasers completing the immersive experience. Why not take a look for yourself here: http://www.bbc.co.uk/i/b0147pmw/ (though you’ll have to be quick as the link will quickly expire)

Following the album the band ran through an expert choice of songs from their other albums including Stockholm Syndrome, Starlight and Plug In Baby. The set ended dramatically with the rock opera ‘Knights of Cydonia’, bringing to an end a mesmerising display of musical brilliance.

Roll on 2012!

Top Tracks of the weekend:

1) Muse – Knights of Cydonia

2) White Lies – Bigger than Us

3) Hot Water Music -True Believers

4) My Chemical Romance – The Black Parade

5) Jimmy Eat World – The Middle

6) Friendly Fires – Jump In The Pool

7) Pulp – Common People

8) Rise Against – Savior

9) The Offspring – Have You Ever

10) New Found Glory – My Friend’s Over You

It was a tad rainy this year...

 James Michael Parry

1) Back in time

Guest appearances at festivals might not be the oldest trick in the book but they are sure to get people talking. This year saw both Queen’s Brian May and Led Zeppelin’s John Paul Jones take to the main stage with My Chemical Romance and Seasick Steve respectively.

2) Exit to the city

Upon leaving the arena this year you may have noticed it had a more ‘people traffic’ vibe than usual, that’s thanks to some fancy LED screens which show which side of the entrance/exit is the side to head for. It meant the general crowd-crush factor was reduced this year.

3) I predict a riot

When something as significant as the riots happens, everyone is talking about it, and the rock ‘n’ roll kings of the age were keen to have their say too. Preachy speeches were rife all weekend, but Rise Against win the prize for tying it in best, following their talk with a cover of ‘White Riot’ by original punk-rockers The Clash.

4) Keep it like a secret

Speaking of Rise Against, the hardcore rock group sneaked onto the BBC introducing stage on Friday to spring a surprise set on the crowd. The weekend’s usual double play went to Frank Turner, who played the Main and Lock Up Stages on Sunday.

5) Speed of sound

With the weather working against vocal harmony all weekend, it’s no surprise the Main Stage suffered. Friday was worst affected, with vocals severely lacking for several bands throughout the say, and often guitars being somewhat muted as well, even when close to the front. Luckily, things were sorted out by the following day.

6) Animals

The sights and sounds of Reading Festival, the campsite in particular, are always a strange thing to behold, but this year there was an epidemic…of tigers. Wherever you looked there was people dressed up in all-in-one suits of various animals, but tigers proved the most popular. Unfortunately they weren’t as much fun as a group dressed as The Smurfs who started a technicolour Fight Club on Saturday night while waiting for Jarvis Cocker and co to take to the stage.

7) Caught in the mosh

The ‘celebrity’ sightings weren’t confined to the crowds though, at one point one individual dressed as Toy Story’s Buzz Lightyear, could be seen thrashing around in the mosh pit. Not content with wearing a Buzz Lightyear costume, he also had multicoloured long platted hair – talk about attention seeking! The crowd went wild though, leading to chants of “Buzz! Buzz! Buzz!” by the end of the set.

8 ) Devil on my shoulder

Crowd participation isn’t everyone’s cup of tea, but many bands this year didn’t give onlookers much choice. Aside from Jared Lehto (of 30 Seconds to Mars) insisting people jump (JUMP!) every other song, there were calls by at least four bands – probably more – to see as many people on other people’s shoulders as possible. Perhaps rock-stardom gives you selective vision so you can’t pick out anyone from the masses unless they are slightly elevated to the height you are on stage…

9) Out of space

Visitors to the Radio 1 Stage this year were in for a surprise, not only has it gained an extra screen, bringing it up to the Main Stage’s total of three , but also almost doubled in size. In a move designed to baffle serial Reading-goers (or those out of it on various substances), the tent has had an extra portion sewn through the middle of it, opening out the rectangular structure of old into a fan shape.

10) Operation Ground pound

BBC Three visited the festival this year, and spent some time with Huw Stevens on the Main Stage. Though seemingly completely random, there was some a scientific basis for their visit. Apparently someone decided Reading Festival was significant enough to be classified on the earthquake Richter Scale. In order to complete the mission, the audience had to all jump simultaneously, and then boffins across the river a short distance away would read the earthquake produced. Despite everyone jumping, Reading Festival only measures 0.7 on the Richter Scale, hardly earth-shattering…but nonetheless you have to condone scientific use of rock and roll.

So there you have it, a full and in-depth review of everything about Reading Festival will be coming to This Is Entertainment in the next few days. For now have fun working out the bands behind all the song references used as titles in this article, each point from 1 to 10 has been released as a song name…enjoy

James Michael Parry