Si's Sights And Sounds

As the City Of Culture 2013 gets closer, a local girl made good returns home. Si's Sights And Sounds looks back on a memorable occasion at the First Derry Presbyterian Church

"Art and music are basic human functions. The most common way to become involved with music is to listen to - or attend - a musical event."
-- The Reverend David Latimer

The high walls and fine acoustics of the First Derry Presbyterian Church make it an excellent venue for any kind of choral event. Especially the homecoming of Derry soprano Margaret Keys, whose soaring, operatic vocals have earned her countless fans both abroad and at home. One approaches her performance with the Kings Chorale Choir with considerable expectations; and I am happy to say they are met.

The Belfast-based King's Chorale immediately succeed in giving the impression of enjoying themselves and in conveying a holy message. Their well balanced harmonies, speedy tone and "no frills" approach earns deserved applause, before the time comes for Keys to perform her first selection of songs.

She's wearing a purple dress, but, luckily for both her and us, the colour of said dress doesn't match the look on our faces, as her home grown sense of humour and powerful voice quickly raise everyone's spirits. We get to enjoy an operatic take on The Lord's Prayer, a controlled rendition of "Morning Has Broken" and a heartfelt performance of "Bless This House", but for this writer, her version of "Tears In Heaven" still comes out on top. She once told me that she likes to sing crowd pleasing songs "with a touch of class", and that's exactly what this is. I might even argue that she outdoes Eric Clapton here.

By the time we hear The King's Chorale again, both the tenors and sopranos have become more prominent, as if Keys has inspired them. They carry this new found soul and joyous tempo into the unexpectedly uplifting "God’s Choir" and the very Aaron Copland-esque "Hand Me Down My Silver Trumpet". The thought of Western-themed music directly alongside more traditional pieces sounds rather jarring, yet it works pretty well here. "Hallelujah We Shall Rise" isn't quite as memorable, but it does give the basses a chance to stand out.

As the second half opens, Keys returns in a very fetching white dress. Even more fetching is her beautiful rendition of "Nella Fantasia" (from The Mission) which arguably resonates more than any other piece she performs on the night. Yes, even the soft, slow-burning "All Through The Night", admirable renditions of "Bring Him Home" and "Clare Benediction", not to mention a fine performance of “You’ll Never Walk Alone”, which literally concludes her evening – as a soloist, anyway – on a high note.

But what's most of note here (pun intended!) is not just how at ease Keys feels, but how at ease she makes everyone else feel, be it the choir, audience, congregation, photographers or journalists. A little smile, a drink of water, a few photos on her iPhone camera and a passion for chocolate – at one point, she treats us all to Cadbury’s Roses! – is all it takes. More than that, her camaraderie with her fellow performers – particularly local singer Willie Loughlin – seems effortless, undoubtedly inspiring his booming, evocative rendition of "Wind In The Willows".

It's left for the exuberance, passion and harmony of the choir, with Keys in tow, to conclude the evening on a high note for everyone; and leave one looking forward to what we will hear next from this hugely talented soprano.

Margaret Keys will next be performing at the Titanic Quarter for a BBC Christmas Special Broadcast on December 21. For more information, check out her official site.

It's Bond, it's Daniel Craig, and it's definitely worth watching, but on the whole it feels like the late noughties "Bond revolution" has come full circle

Ah, Cool Britannia...

To watch Skyfall is to be reminded of Pierce Brosnan's James Bond flicks and also a quote that was once applied to former US President Bill Clinton – that is to say, something that tries to be all things to all people will eventually earn no gratitude. It's the compromising, coy outlook of director Sam Mendes and the fanboyish tendencies of screenwriter John Logan that make this 50th anniversary outing less than what it could have been. Of course, it's not the self-indulgent disaster that Die Another Day was – with a cast like this, how could it be? - but it has an unfocused nature that hangs over the film like an incurable malady. A writer like Logan is great at creating standout moments, but his scripts make no sense when contemplated (I'll continue to believe that the background work of Stephen Sondheim, Tim Burton and the cast truly made Sweeney Todd what it was) and this mantra just about rings true for Skyfall. It's very tempting to argue that the Bond series has fallen into epic self-congratulation again following the welcomingly brutal detour taken during the early Daniel Craig years.

"Where's my air gun?"

One of the joys, if you can call it that, of Casino Royale and Quantum Of Solace was watching 007 cope "on his own" in a brutal world where no one seemed fully certain about who they knew, where they were going or what they were doing. Elements of this are retained in Skyfall's plot, a blend of cyber-terrorism, all out terrorism and personal vendetta revolving around chief antagonist Raoul Silva - portrayed by a barely present Javier Bardem - while Bond and Judi Dench's M are forced to confront both their past and their future, all whilst a series of action scenes, big speeches and newly iconic introductions are taking place. It's a highly promising set-up, but what we get amounts to not that much more than Die Hard 4.0 blown up to epic proportions and with a much weaker "villain". It's not that Bardem needs a lot of screen time to succeed – he was effortlessly commanding in his all too brief cameo in Collateral– but he's working with the wrong director. There's little in Silva that's truly intimidating, a real condemnation of Sam Mendes' ability to direct actors (as time goes by, Kevin Spacey is proving the exception to the rule) and a sobering reminder of what could have been had Michael Mann or the Coens been directing Bardem. There's no sense of menace here; Jesper Christensen, as the even more marginal and shadowy Mr. White, was far more frightening.

"What am I doing in Octopussy?"

If Casino Royale was clever enough to tie itself in with the banking crisis by making money the root of the story – likewise Quantum Of Solace with modern day terrorism - Skyfall seems to exist in a cloud, like neither Royale nor Quantum even happened. It’s as if Mendes cannot master the clarity, interconnectivity and emotionalism that made Nolan's Batman trilogy and the first two Die Hard flicks such successful films. While it’s true that Bond’s "me against the world" mentality – brought up in the last two films because he eventually felt he had no choice – is retained here, it fails to resonate on the same level because of Mendes' uncertain flippancy. There are moments where one feels like we're watching Daniel Craig in a Roger Moore film – an awkward concoction indeed. Far too much about Skyfall feels redundant, whether it's the title tune (bland), Berenice Marlohe's "Bond Girl" (who gets a predicable denouement) or the self-indulgent references to previous Bonds (I counted at least four in the pre-credits sequence alone).

Skyfall is at its best when it concentrates on the elements of loss and mistrust hinted at in Royale and Quantum, and also when Mendes stops trying too hard, allowing both cast and cinematographer to shine. There's plenty here to keep Bondians tickled, such as likable, convincing performances from Naomie Harris and Ralph Fiennes (both were due a big break, and I'm happy to see them get it here), the highly amusing introduction of the new Q (Ben Wishaw) and the inimitable Albert Finney. The pleasures we ultimately get from Skyfall seem geared to capitalise, perhaps overly so, on the goodwill carried over from the London Olympics; and we know it's not going to last.

Fans will probably argue that it is best that the Bond series seems to be going in this direction – that it's no longer "pretending to be smart and realistic" – except the smart pseudo realism of the Daniel Craig era has been the very essence of its appeal. Iconic though the ending feels, it also leaves one with a feeling of unease, the same unease Mendes displays when directing this film. He doesn't seem to know if Bond should be a remedy for the zeitgeist or a reflection of it – and by trying to have it both ways, he ends up with something that's far less than the sum of its parts.

Stephen Rea brings his considerable screen skills to the Derry stage in a pair of dialogue-driven, character-based thrillers

The cast and crew of "Farewell" and "Half A Glass Of Water". Also included are Culture Company CEO Shona McCarthy and David Alderdice, Director, British Council Northern Ireland. Photo: www.cityofculture2013.com.

Much has been made of Field Day Theatre Company's "historic" return to the Derry Playhouse this week, and with very good reason. Their most recent productions, Farewell and Half A Glass Of Water, are an exceptionally edgy pair of plays, sometimes humorous but never flippant and always focused. They primarily seek to examine the underestimated effects of denial, and how one attempts comes to terms with his or her mistakes in an increasingly demanding and troublesome social landscape. They're plays both for our time and the ages, featuring men who find themselves prisoners both in a cell (sometimes, literally so) and out of it.

The central characters in each play, John in Clare Dwyer Hogg's Farewell and Eli in David Ireland's Half A Glass Of Water, strongly resonate thanks to the efforts of Belfast's own Stephen Rea, who also directs Farewell. An astonishingly subtle and forceful actor, capable of dissolving into any role, Rea is the sort of performer we are fascinated by no matter how many riddles his characters talk in or how reprehensible they seem.

And we immediately sense that there's plenty of the latter in Farewell, when he enters to something even more haunting than the sound of silence; the ghosts of Paddy (a creepily understated Charlie Bonner) and Mark (Eugene O'Hare, coming across like a less in-your-face Red Hand Luke). We realise that he has murdered both men, and is facing having to deal with the prospect of telling his wife Ann (a dynamic Brid Brennan) the whole truth about his violent past, all while contemplating its negative impact on his fatherhood. There's far more to this than your run of the mill "daddy issues" – when John expresses regret, you genuinely feel it. It's a tribute to Rea and his cast that John's constant wallowing in self-pity is interesting, rather than tiresome.

The performances and direction give Farewell an extremely intense feel – in particular, I applaud the decision to have John turned away from the audience while Paddy is lecturing him about the ghosts of his past, as we can tell it’s almost too much for John to bear – but I must also credit Dwyer Hogg’s strong scripting. The dialogue and characterisation consistently keep you guessing: who is the "farewell" of the title really intended for, John's victims, John's son, John's wife, or John himself? And she's done it without offering any one of her characters the pat closure they are clearly looking for.

Similar things can be said of Half A Glass Of Water (hereafter Half A Glass), but if Dwyer Hogg has successfully grounded her play in a contemporary, local, familial reality, David Ireland has gone for a seemingly more minimalist, but no less rich, approach.

As with Farewell, one's perception of the two-person Half A Glass consistently changes as it moves along. We initially side with Rea's Eli as he is forced to deal with twenty-year-old Whitney (the excellent Conor MacNeill) and his inconsistent, naive, wrong-headed ramblings. Eli's not only trying to teach Whitney about the inappropriateness of the words he uses – the young man talks in a blackly funny manner that's even quite disturbing at times – but also about his actions. It is thus a relief to hear Eli's wise, world-weary words of wisdom: "What you say and how you say it says a great deal about you as a person", but he has a shocking revelation in store for us that almost entirely turns the tables. What we have here is an exceptionally clever "opposite sides of the same coin" dynamic where we never know if the metaphorical glass of water is half full or half empty for our characters. Like Farewell's John, Eli and Whitney have created a criminal past laden with demons that they may never be able to put to rest.

Both Farewell and Half A Glass are clever illustrations of how one man's selfishness (John claims he is out for the good of his family, Eli puts it down to frustration) can have more of an impact on the society around him than he may have bargained for. The misconceptions of Ann and the naïveté of Whitney are no less compelling and fascinating than the shame of both John and Eli.

The final performances of Farewell and Half A Glass Of Water will take place tomorrow night in Derry-Londonderry's Playhouse Theatre at 8 pm. For more information, click here.

The latest Legenderry development is open for business. Si's Sights And Sounds went to check out the City Of Culture's newest "coffee corner"

Free of the commercialism of a Starbucks, a Costa or even a Caffe Nero, Christmas music gently plays in the background as we are blind to the hustle and bustle of even the popular Continental Market. The barista and waitresses wear stylized T-shirts advertising "Great Coffee In The Heart Of The City". Having now tasted one of their cappuccinos (not to mention their delicious spiced organic carrot soup), I can safely argue that this claim is justified.

It's been a bit of a wait, but Derry-Londonderry might finally have a coffee house truly worthy of its cultural title. Situated at 1 Guildhall Street, the Legenderry Warehouse No. 1, converted from... well, a warehouse, has attracted customers by the bucket load on its opening day with its retro décor, comforting ambience, and, of course, their menu. And with full backing from the Culture Company, not to mention a perfectionist approach to service, who's to say it won't get even better?

The idea for Legenderry Warehouse No. 1 evolved from talking to other local business people who wanted to do something for the City Of Culture year. Co-founder Karen Duncan, owner of Bang On The Door, says: "The ideas spread from simply selling merchandise to opening somewhere that would sell both good local food and inform everyone of what's going on in the City Of Culture year. We also wanted somewhere that would make people aware of what’s available in the arts and crafts that maybe people don’t know about."

Indeed, the feeling persists that there are lots of things happening in Derry-Londonderry that people still aren't aware of, and Duncan believes that this opens a terrific opportunity for a friendly promotional initiative like the coffee house.

"We're aiming to create a really friendly vibe. Something a little different, with excellent coffee and food, and where the customer will always feel welcome and comfortable."

The designers have retained more than a little bit of the "warehouse" aspect of the building, making it look similar to Belfast's Clements' coffee houses before their noughties makeover. In other words, "part warehouse, part coffee house" – a unique look that Duncan hopes will sell to both tourists and citizens.

"We want people to come in and get a feel for the locality of Derry and what it's truly about. And this is only the beginning. We'll be opening a retail space next door, for City Of Culture merchandise, a lot of local craft, local art, local photography and all sorts of things. More than that, we are aiming to have a presence at the big events going on throughout the year, so that people can buy Legenderry coffee there too."

A Legenderry Coffee House, a Legenderry Mall and Legenderry Gallery... basically a case of using the identity of Legenderry to create something even more "Legenderry" than Derry itself! And you can't say fairer than that.

"The reaction's been really, really good," adds Caroline Gilliland of Bang On The Door. "And even if there's something that people don't like, we're looking to find out about it. That way, we can look to make the experience perfect."

Mayor Of Derry Kevin Campbell says, "When you walk in, you feel like you're in London. It's going to have a massive footfall, too, because of how close it is to both the shops, Ebrington Square and the Peace Bridge. The location really couldn’t be any better."

For more on Legenderry Warehouse No. 1, check out its official site.

Si's Sights And Sounds revives some old memories and makes some new ones at a Christ Church charity service

Remember when, as a child, you looked forward to both watching and performing in Christmas concerts along with and in front of the rest of your family? Carols By Candlelight is a great excuse for this writer to feel young again by joining in congregational hymns, and to be enlightened by a series of very talented performers, some more familiar than others. It's an intriguing mix of earnestness, joviality, professionalism and all round musicality, ideal for warming the cockles on a chilly weekday night.

Children of all ages from the Hickey School Of Music offer a punchy, gutsy and varied selection of Christmas carols, with their brief but bouncy "Santa Claus Is Comin' To Town" impressing most of all. No jazzing up here, just an exceptionally determined "what you see is what you get" performance from everyone involved – and the Christ Church audience truly appreciate this. Even more appreciated is the presence of Derry tunesmith Eoin O'Callaghan, aka Best Boy Grip, and a rendition of "Monster And Me".

Alas, the acoustics of the church aren't really suited to his strong piano ballads, but the congregation don’t mind. It’s clear that even if O’Callaghan hasn't quite got a grip on this venue, he's still one of Derry's best boys in the eyes of us all – and in the season of goodwill, little else matters.

More novel and interesting is Anne Marie Hickey & Caroline Millar's duet, "Silver Bells". Hickey's understated tone dovetails nicely with the strident, controlled operatics of Millar.

If the Foyle U3A singers, conducted by Jim Goodman, aren't quite as vibrant as Hickey's "children", they succeed in their own professional manner. To Derry eyes, it's a case of playing "spot the voice", with the past and present (and future?) of the Londonderry Musical Society – including Denise O'Boyle, Rionach McGlinchey, Caroline Millar, Colin Clarke, Richard & Elizabeth Charlesson and Donald Hill – lending a helping hand, with Hill's booming, reassuringly recognisable voice leading the way on at least two of their three songs.

Eireann Hickey's harp solo, "A Christmas Lullaby", is beautiful enough that the music speaks for itself – gorgeous in its deceptive simplicity. It's followed by Meabh McGinley's strikingly soulful performance of "The Night Before Christmas", a song that is definitely worth listening out for. McGinley, who shot to fame during the successful City Of Culture campaign of 2010, is clearly back in the limelight with a bang. If only she had picked a better song than Robbie Williams' "Angels" to play next – years of overplaying have turned what once seemed like a classic pop tune into something extremely irritating. To McGinley's credit, though, she warbles with a regretful, world-weary feeling (a sign that she's as weary of hearing the song as I am, perhaps?), ensuring that one sort of warms to it as it goes along. Her jazzy vocals and passionate piano playing elevate the rendition.

A gentler tone is required after McGinley's energetic musical displays, and we get it thanks to both another pitch perfect Rionach McGlinchey solo (this time, it's "In The Bleak Midwinter"), and a soothing collective performance from St Eugene’s Cathedral Choir, featuring the talents of event organiser Denise O'Boyle. Her solo vocals for "O Holy Night" pack quite a punch.

After a final congregational carol, it's home time for all. It's been a calming, ceremonial, charitable affair, and everyone's spirits have been raised for the holiday season.

Following a screening of Jump at the 25th Foyle Film Festival last month, director Kieron Walsh and producer Brendan Byrne were more than happy to spill the beans...

Was the adaptation process, from stage to screen, a difficult one?

Kieron Walsh (hereafter KW): Brendan read the play seven years ago, and he thought it might make a good film. But making it was difficult - it went through two rewrites and we had to tinker with and add in certain elements, such as a reimagined opening voiceover. I knew that a "too happy" ending with our central characters running off into the sunset together would have been ridiculous. You can get away with something like that on the stage, but not in film, where you have to eradicate the theatrical sensibility. There were some nice scenes in the play that worked well on their own, but they added nothing to the play itself.

Watching the film reminded me of Pulp Fiction. And I remember Quentin Tarantino saying that he wrote it in a linear manner first before making it non-linear. Did you use the same approach here?

KW: No, it was written as non-linear to begin with. We kind of followed Jean Luc Godard's quote, “Films should have a beginning, a middle and an end – but not necessarily in that order.” TV is linear, but you can mess about a little with movies, and that’s exactly what we did.

Brendan Byrne (hereafter BB): Although I do believe Lisa McGee, the playwright, was inspired as a 15-16 year old when watching Tarantino.

Were you well received in Derry?

BB: We were very sensitive about filming in Derry, but we were welcomed well. Our connection with the area helped us, as did a documentary about suicide I had made. And seeing the film again, I think that there's something really positive for anyone who has contemplated taking that "jump". It's one of the stronger interpretations we've had of a live issue.

KW: Nothing in the play spoke "Derry", but I felt that filming it there was important because of how both the city and the Foyle Bridge could be presented on the big screen. It's a beautiful place, and the bridge was just asking to be displayed in cinemascope.

What kind of approach did you go for when making Jump?

KW: We wanted to put an anti-suicide message out there without being too heavy-handed. The approach we wanted, and the approach we took on in the end, had some kind of magical quality - not Ken Loach, more fantastical.

Should dramatists write their own screenplays?

BB: I think it depends on the medium. In TV, or theatre, I would say "yes". But filmmaking is a vastly collaborative medium. There's many more individually nuanced things you can fit into your film, to create something more visual.

Where's the film going now?

KW: It will be released in March 2013. Be sure to keep in touch with how things are going on Facebook.

Mat Whitecross and Ray Winstone talk about their new film, Ashes, following its Irish premiere at the 25th Foyle Film Festival

Mat, you have a tremendous CV for such a young director. What was it like directing something of this magnitude?

Mat Whitecross (hereafter MW): I drew from my personal experience. My father had Alzheimer's, and while he was going through the last few years of his life, I wrote down everything that happened along the way. What I wanted, in the end, was a third person presentation of the disease based on his experience, but made a bit more palatable on screen. And when Ray arrived to record some dialogue, I thought he would be perfect for the role (of Frank, the Alzheimer's suffering ex-gangster). He has such range, and he's played a lot of "hard" people.

Ray, what was it like to have a part like this come your way?

Ray Winstone (hereafter RW): At first, you find yourself really flying. Truly good roles come along once in a blue moon; a lot of other roles just pay the rent. But there's also the fear factor; you do doubt yourself during the process. Being an actor is a schizophrenic profession, where you're always dressing up pretending to be someone else.

To me, you've got to approach a movie about Alzheimer’s as if it were a thriller; otherwise, it can turn into a documentary. It's the kind of movie in which you can do nothing for the other actors who are with you. It was upsetting. It increased my awareness. It really brought it home.

Mat, when directing Ray, did you just let him "go with it", or did you approach it through your father's experience?

MW: We looked at what happened to Dad, and I got the idea of how to portray Alzheimer's at its various stages. Then we read a script and spent a day with the Alzheimer's Society. The big decision was: at what stage would we take it from? Where would we start?

It must have been fairly challenging for you, Ray...

RW: I don't think there are any rules to follow with a portrayal like this. Your character, for example, is the sort who can play the piano when he least expects it. It's like being a layman; looking in from the outside. In a way, it kind of reflects real life, because of the clarity of it all. I think that, at times, you have to break out and truly show the monster that lies underneath. There was a bit of improvisation involved, and I found myself using muscles that I hadn't used for years. It was a very demanding part to play.

It was also kind of difficult getting into character, quite terrifying really, because you need to know if you're "doing it right". When I do a film, any film, I always like to feel like I'm finding my way.

Was it therapeutic for both of you?

MW: I think the "therapy", as such, came from getting something positive out of such a negative experience, from watching Ray playing Frank, and from realising that there is an audience out there for films such as this one. It's been very moving for me to show the film to all of you. We had such a great time on set. We need to vote with our feet to ensure these kind of films continue to be made, because even though they've gotten easier to produce, they’ve become harder to distribute.

RW: It reminds me of when I made The War Zone (another film with frightening subject matter) and wondered, "Why am I doing this?" But then, you speak to the director and realise that you are doing it for the right reasons. That helps.

MW: Having Ray on board also helped – immensely. Ashes would never have happened without him. It takes a certain kind of actor to say "I believe in this project no matter what the finances". That's how small films get made these days.

Did you draw inspiration from other films, Mat?

MW: I did. My dad used to love gangster films, and I tried to draw from those kinds of thrillers. I was particularly influenced by David Lynch and especially Lost Highway, my favourite film. But I personally feel that if you keep looking at specific shots from specific films, you're in danger of borrowing them unconsciously. What Ashes did was act as an antidote to the more "musical" films I’d been doing. It saved me from being typecast as a director.

And then there's the inevitable comparison to Rain Man...

MW: It hadn't occurred to us, really. But it is one of the most popular films of all time. So rather than specifically borrow from it, I decided to do a little variation on it. The worse Tom Cruise feels at the beginning, the more he redeems himself later on. And with Jim Sturgess's character feeling so vulnerable at the start of Ashes, the inspiration worked well for me.

There were flashes of humour in the tale of a guy "losing his faculty". Were you at all conscious that you may be "treading the line" a little?

MW: When you watch Ashes, you're not laughing *at* someone, but at how surreal the scenario is. The film contains the sort of gallows humour that helps you get through difficult situations. It's about more than laughter; it's about recognising the reality of it all. It's not about cruel humour, but a cruel part of life, and the only way to deal with it is to laugh. There's something beautiful and heroic, also, about the "little moments" that occur during Alzheimer's.

Ashes was made on a low budget with a tight schedule. Do you favour small films like this one, Ray, or bigger films like The Departed?

RW: It's a shame, really. Most of the films you truly want to make have low budgets and don’t pay very well. But making Indiana Jones 4 and The Departed has given me the chance to make these films in the first place. I've been fortunate to make my name in a game where I've met people from all over the world. It's been an educational experience.

Mat, how did you find directing a character you knew really well to someone you didn't know at all?

MW: I've been very lucky. Ray has the patience of a saint. His portrayal, amazing, emotional and very tough at the same time, really brought it home.

In closing, Ray, what's the best advice you can give to actors?

RW: To me, it's like anything you do; it's all about observation. I wouldn't really know where to start. But I know that if someone is making a film for the right reason, then that makes it easier for any actor.

Si's Sights And Sounds measures up two "great adventures" against one another

Come on Bilbo, we're getting bored...

It used to be that grand, epic adventures, with their brave new worlds and iconic characters, really were everything in cinema. The joy and charm of these films lay in their deceptive simplicity, how their extremely effective technique truly made the big screen big. Think Star Wars, The Empire Strikes Back, Raiders Of The Lost Ark - literally dubbed "The Return Of The Great Adventure" on release - or the Lord Of The Rings trilogy. Films like these can be a nice alternative to Batman-and-Bond-esque "serious spectacle", but neither The Hobbit: An Unexpected Journey (hereafter The Hobbit I) nor Life Of Pi are the answer. Unnecessary 3-D? Check. Overly long? Check. Pretentious? Check. Seen-it-all-before feel? Check...

The only thing unexpected about The Hobbit I is just how much of a self-satisfied bore it is. As if stretching a three-hundred page book out to three films and over nine hours wasn't a barmy enough idea, Peter Jackson has taken everything we disliked about his career-defining saga and amplified it to unwelcome proportions. The story of Bilbo Baggins (Martin Freeman) and his "thrilling" quest to help some dwarves retrieve gold stolen from them by a dragon is told in a shockingly laborious, pointless and empty manner. It's a desperate work by a desperate man trying to relight his directorial fire after his not-so-Lovely Bones misfired with the critics three years ago. Excepting Andy Serkis, who is as lively as ever as the schizophrenic Gollum, the entire cast is off their game. Ian McKellen, Cate Blanchett and Hugo Weaving look tired, Richard Armitage is no Viggo Mortensen, James Nesbitt feels out-of-place, and Martin Freeman never looks like he is playing a major fantasy character. It's rather sad to contrast Freeman's Bilbo with the wide-eyed vulnerability and soulfulness of Elijah Wood's Frodo and realise how far the Lord Of The Rings saga has fallen.

With its 48 frames-per-second 3-D, The Hobbit I looks like a video game where the viewer wishes he or she could have control of the participants, but doesn't. Some scenes, especially those featuring Gollum, are quite entertaining, but have been done better before. And there's no sense of progression, no feel that the journey will amount to anything – just one repetitive battle scene and fake looking creature (or vista) after another. The very bad slapstick humour (it feels offensive to watch McKellen and Nesbitt laugh and belch at Bilbo’s table near the beginning and realise that they are getting paid a lot for simply going through the motions), pompous dialogue and deus ex machina eagles (naturally) exacerbate things.

Anyone who argues that the original Lord Of The Rings trilogy was any better only because we were "younger" and "more naive" is missing the point. Peter Jackson's transition from cult filmmaker to Oscar-winning director has drained all the heart, energy and ingenuity out of his work, the same things that made his previous journey to Middle Earth, like Star Wars, a true bonding experience. To this day, I will never forget the joy of watching The Two Towers in a packed field at the Oxegen music festival; the same joy that The Hobbit I has tried so desperately, but failed, to reproduce. It's as obvious a cash grab as anything in cinemas these days. Why bother with this bloated pantomime when you can hear Leonard Nimoy tell the whole story in less than three minutes?

What now, Richard?

Less of an unexpected journey and more of an expected one can be found in Ang Lee's adaptation of Yann Martel's Life Of Pi, a simple story of a boy, a boat and his tiger lost at sea following a storm. Piscine, or Pi (his preferred nickname, since his actual name sounds like another word for urinating when spoken) is the prototypical Spielbergian dreamer or idealist, someone who can't fully grasp responsibility until his eyes are open to the outside world. His titular life, told in flashbacks, is a conventional voyage of both survival and self-discovery, and quite an entertaining one at that. It's a shame, then, that the two-hour running length, religious references and detailed imagery – which does not need 3-D to be beautiful – lead us to believe that there will be much more to the film than this. Because there really isn't. For all Lee's skill with sight and sound, the film fails to be truly fulfilling. I personally expected something heavier than an enjoyable riff on Cast Away In A Boat with a tiger standing in for Wilson.

Still, Life Of Pi retains a certain appeal. Most, if not all, viewers will relate to Pi getting bullied at school and finding (then losing) his first true love. One also feels for him when his father smirks after a calculated exercise in showing Pi that tigers aren't quite as nice as he thought they were, and when he is later forced to form an understanding with a tiger – who he nicknames "Richard Parker" – at sea. The "bond" between Pi and Richard is an effective centrepiece for the film, a human alternative to all the images Lee flings in our face; some of which carry more weight than others. Ultimately, though, it's too much of a visual showcase and not enough of a visual story. Too much style, and not enough substance.

"Sometimes, (a) leap of faith is all we need to step out of our comfort zone..." – The star of independent film Bogland tells us about the experience of making the film and her own acting career

Tell us how it all began for you.

I've always wanted to act, however, wanting to do something and actually doing it are completely different things. I was studying abroad, at the University of Missouri in the United States, where the theatre department were holding auditions for Pride And Prejudice. Having had no prior acting experience, I took the jump and auditioned with one hundred theatre students – I got the part of Lydia Bennet. Subsequently, I was assigned the role of assistant vocal coach within the play. To further my experience with coaching and speaking I ventured into online TV presenting upon my return to Lancaster University. Sometimes, that leap of faith is all we need to step out of our comfort zone.

How and why did you choose to get involved with Bogland?

For any actor, the process is always an audtion. I tirelessly searched for auditions within my locality, and came across Bogland. As a young actor starting out, it's important to choose projects that genuinely interest you, otherwise that passion for the project will not translate onto the screen. Being in Bogland gave me the perfect opportunity to showcase what I had to offer as an actor; the chance to portray someone who was striving to maintain the balance between domestic and social normality against a criminal underworld.

Tell us more about your character...

Amongst all the bloodshed and criminal dealings in Bogland, Andrea Connelly serves as an archetype of normality. We have a young girl who's torn between the criminal activities of her dying father and psychotic brother, yet strives to maintain the balance between good and bad in a highly domestic setting. She is the moral focal point of the film, which serves as her connection with the viewers.

How did you approach playing Andrea Connelly?

Before you can approach a character, you need to understand the character. Every actor has their own method; I tend to envisage, or more simply, imagine, what's happening to that character in that situation. Doing this gives you a certain type of perspective so that you can see their life from the outside looking in. Once you've done that, you can then place yourself within their situation. Upon first impressions, Andrea didn't seem like a major character in the film; however, as filming progressed, the significance of Andrea became more apparent to me, thus, reminding me of the power of empathy in any portrayal.

What was director David Harkin like to work with?

David is a real team player. The success of any project depends on the strength of a team. While David was overseeing and essentially directing what happened on set, our input as a team was important and that was something David appreciated and integrated on set.

What was the atmosphere like on location?

Contrary to the tone of the film, the atmosphere on location was very positive. It is important to take into account that Bogland was filmed with little to no budget; however, that was a factor that never concerned us. With limited means, we became more resourceful, and more dependent on one another to work together as a creative unit, while at the same time fostering friendships in a situation where we were all working towards a project together.

How, in general, was the experience of making Bogland for you?

Making Bogland served as a raw introduction into the world of independent film making. When you can make a film on no budget, you learn that it's the common goal of the team that will get you to the finish line.

What's next for you?

I hope to hone in on the skills I've learnt from theatre and film acting at the Rose Bruford College Of Theatre And Performance in London. For now, it's finding the right role that will stir my interest but most importantly, ignite my passion as a performer. An actor never stops learning; it's all about the doing and it's all about the practise.

Si's Sights And Sounds looks at a series of independent "issue" films that gain resonance through their highly personal nature

Legendary sci-fi writer Harlan Ellison once argued that "we're all the same person under different skins" and his point is very well illustrated in a recent series of character-based movies where every single person is mixed-up and uncertain. Now, you might think that a film about Alzheimer's disease, like Ashes, would have nothing in common with the more "Tarantino-esque" (an overused adjective, in my humble opinion) Jump and the genuinely gritty Bogland, but you'd be surprised. All three of these films are about individuals that carelessly neglect the potentially great ramifications of what they do, and pay the price on all levels. They're not just about sufferers, but "sufferees" – a spin on the "old chestnut" of one person's story interlinking with others, towards a conclusion that you may choose to see as hopeful. Or not. One man's death can be another man's awakening in a world of families, murders, drugs and flashbacks, all converging into an intriguing, thrilling mosaic.

Click here to read a Q & A with "Ashes" director Mat Whitecross and star Ray Winstone

The sight of a young man running through the rain – Rain Man, geddit? – during the opening minutes of Mat Whitecross' Ashes should give you an idea of what to expect from the film. Except while Ashes is a little like Barry Levinson’s Oscar winner, it's also something less epic, iconic and straightforward, but more intimate and forensic. It retains Rain Man's road movie aspect while arguably entering less clichéd territory. It is an exceptionally well-researched drama-cum-thriller, featuring the great Ray Winstone in yet another fine multi-faceted turn as Frank, a former gangster suffering from Alzheimer's disease. Jim Sturgess is almost equally as good as Frank's son Jamie, who finds himself dealing with an unexpected need for readjustment after capturing his father from hospital and going on a typical "road trip". Cue hi-jinks, horror and the odd moment of hilarity, and not necessarily the kind you'd expect.

The post-modern grit and brutality of Ashes can make it a painful experience for some, especially those who have lost or currently have a relative dealing with Alzheimer's. But Whitecross' realist and occasionally humourous approach helps make the whole thing oddly heart-warming. You can never really tell what's going to happen next, either. Yet what really elevates Ashes above the stereotypical road movie, even Rain Man, is that it gets right to the heart of Frank’s character, to the point where we feel less like passive observers and more like fully-fledged participants in his life. Ashes is about more than Jamie's development as a person; it’s about whether both Jamie and Frank, who have more in common with one another than either would surely like to believe, will truly lay the demons that haunt them to rest.

Click here to read a Q & A with "Jump" director Kieron Walsh and producer Brendan Byrne

Equally grim existential demons haunt our central characters in Kieron Walsh’s Jump. Both Greta Feeney (Nichola Burley, looking and acting like a more world-weary Jayne Wisener) and Pearse Kelly (Martin McCann, excellent) are literally "on the edge" on New Year’s Eve in Derry. They are miserable people looking for meaning, or a means to an end, in a miserable world. And in Jump, they and their inevitable chemistry are the centre of a twisty-turny narrative featuring numerous confused souls, both young and old. The film clearly owes a debt to Pulp Fiction, but to these eyes, the film is more reminiscent of the ambience and character dynamics of the likes of Lost In Translation and Collateral, in that the "buzz" and "excitement" around our protagonists isn't enough to drown out the lifelessness and soullessness they clearly feel.

The film is highly effective as a "mood piece", where the hustle and bustle of Derry City Centre and landmarks, especially the Foyle Bridge, are repeatedly used to create a spectacularly gloomy atmosphere. But, like Ashes, this is one of those films where the characterisation, and in this case, black humour, transcend the film's visual appeal. Greta and Pearse aren't Juno characters – they're not quirky for quirky's sake, they are genuinely closed off in a world that only appears dangerous to them. If the connection they make is predictable, the movie certainly isn't.

Click here to read an interview with "Bogland" star Ekaterina De Rossi

Similar things can be said about David Harkin's Bogland, which creates its own gritty mood via a much less ambitious but no less resonant tableaux. The film’s sonic, in-your-face, glamour-free approach is highly commendable. With no budget to work with, Harkin must rely on a solitary camera, thumping imagery, locations, sound and his cast to create some sort of atmosphere. And within that, he creates something memorable, a no-holds-barred illustration of the consequences of involvement in the local drug culture on all sides. It's a very claustrophobic, haunting picture, one that might even cause some viewers to turn away from the screen in fright, but that, presumably, is the intended effect. Its handful of shocking moments and strong character acting will remain with you after you have finished watching – and as a side note, Ekaterina De Rossi, the most human performer in the film, and Shauna Lawson are definitely two to watch out for.

Si's Sights And Sounds looks forward to the City Of Culture 2013, offering a handful of suggestions for improvement while remaining cautiously optimistic

"We can deliver and we will."

-- Colum Eastwood MLA, former Mayor Of Derry-Londonderry, writing in 2010

It's hard to believe it's only a matter of hours until the City Of Culture officially begins.

Oaky Doakes!

The old Culture Office may have died, but the spirit of the city hasn't died with it. In many other parts of the town, there's been a rebirth. Ebrington Square is a sight to behold, as is the Peace Bridge. There's now a lovely walkway along Queen's Quay (admittedly at the cost of extra parking, but that's a small price to pay). Both Watersiders and Citysiders have a larger selection of coffee houses, both local and franchised, to attend (which will get even larger with the arrival of Caffè Nero in the New Year) and Brunswick Moviebowl is every bit as special a cinema as we hoped it would be. Shame it is so far out of town.

However...

If there's one thing that really, truly needs improving, it's the transportation system. While the Peace Bridge has made the Cityside that much more accessible for Watersiders, and vice versa, we are still living in a rather remote city with amenities that can be rather difficult to reach. There is no motorway running in to the city to cater for the largest "extravaganzas" at the new Vital Venue in Ebrington. With a brand new ASDA supermarket set for Crescent Link Retail Park, additional traffic congestion looms. In fairness, Brunswick Moviebowl can be reached by bus, but with its popularity increasing by the day, why not change the service slightly and ensure that buses can access the cinema directly for special blockbuster or gala screenings? And while Translink got it right with their bus stops near the DW Fitness Centre, that service is not coming often enough. Derry's best known gym is open until 10 pm on weekdays and not everyone has the luxury of the car. Which only reminds us that we'll be without a train line for a third of 2013.

Lisa Hannigan

Arguably, the arts and entertainment scene, as happy as I am with it, needs a little tinkering with too. What happened to the joyous musical nights in Magazine Street? I still have great memories of enjoying Ocean Colour Scene, Lisa Hannigan, The Divine Comedy and the Super Furry Animals in Derry's small (in terms of size) yet massive (in terms of heart and cultural effect) venue, The Nerve Centre. Is it inconceivable that our projected success for next year can convince similar artists to return? We should also utilise Mason's and Sandinos - through hosting artists such as Gemma Hayes, Duke Special and Two Door Cinema Club, they have proven themselves to be very effective gig venues. And imagine what the Millennium Forum could still hold, let alone the Vital Venue. I've a sneaking feeling that we could still learn more than a thing or two from our neighbours up the A6, and what's been staged at the likes of the Mandela Hall, Spring & Airbrake and the Waterfront.

When we won the City Of Culture honour, we were naturally basking in an optimism akin to Obamamania while being rather apprehensive over what was to follow. Essentially, "Just Say Yes" was our "Yes We Can" - except we haven't. Not yet.

Of course we cannot forget that the economy and troubles threaten to undermine our hopes. But, to paraphrase the only US President who has ever visited Derry, there is nothing wrong with our city that cannot be cured by what is right with our city.

This article isn't so much a criticism of what's to come as a passionate call to really, truly do things right. We've spent two and a half years preparing for this moment. Do we want it to go off with a bang, or with a whimper?

Let's make it happen...

(UPDATE, 01/01/13: And it's gotten off to the perfect start - watch a short clip of last night's celebrations below! Thanks to Rory McSwiggan for the video.)

Dustin Hoffman goes behind the camera for a cordial musical dramedy that hits the right notes, for the most part

Sort of a Full Monty meets Richard Loncraine's Wimbledon, Dustin Hoffman's Quartet is about as polarizing as its director's characters tend to be. It's amiable, yet safe; it's smooth, yet conventional; it's charming, yet a little calculated. Those who see the Ben Braddock's and Raymond Babbitt's of this filmic world as a superficial and irritating series of tics will find little to be impressed by here; however, those won over by Hoffman's all too easy to take for granted brand of charm will find plenty to like. With the aid of a marvellous cast and an intelligent screenplay, Hoffman transfers the strengths of his screen persona into every one of the on screen characters, investing deceptively one-note individuals with plenty of life and warmth. It is, in terms of its upper class English nature, "a jolly good show", plain and simple.

Reg (Tom Courtenay), Cissy (Pauline Collins) and Wilf (Billy Connolly) are three of many talented, retired musicians residing at Beecham House retirement home. Reg likes teaching music theory to young people (his class on the difference between opera and rap is one of the film's highlights), Cissy, despite her good nature, is losing her marbles, and Wilf still fancies himself as a lothario even at this stage of his life. (Is it a coincidence, I wonder, that his surname is Bond?)

When the arrival of diva Jean Horton (Maggie Smith) arouses both tension and interest, it becomes a case of whether Jean and Reg, once romantically involved, can patch up their differences; and whether the four can reunite to reprise their quartet from Rigoletto at the institution's annual gala.

There are moments of minor darkness amidst the genial pluck and good humour amongst the Beecham House residents, but the pleasures of Quartet are largely of the what you see is what you get variety. As lively as the quartet (there's that word, yet again) of lead actors are, they're not really stretching their range; hence the casting of Billy Connolly is both a Godsend and a slight detriment to the proceedings. Without him, you'd have too solemn a picture; with him, it’s like he's regurgitating his stand-up routines in a professional surrounding. Still, he and the rest of the cast, including a typically curmudgeonly Michael Gambon, remain fun to watch (how could they not?) and there's an especially lovely turn from Sheridan Smith as the doctor in charge of the house. She's come a long way since her Two Pints... days.

It's only unfortunate that the shrewd characterisation and leisurely tone give way to a more uncertain, more conventional final act, but at least Hoffman ends things in an amusingly ambiguous manner. All in all: it's not bad. Not bad at all. And one final note: It's definitely worth your while to stay through the credits, and not just if you love classical music.

Si's Sights And Sounds watches as three of Derry-Londonderry's best-known musicians kick-off the City Of Culture year in style

The Home Grown Performers

When BBC Radio Foyle's Mark Patterson introduces the Millennium Forum's first live event of 2013 by likening it to a "party" that "feels like a "Clipper reunion", he's not far from the truth. For all three of the artists who will play tonight performed at the Clipper festival last year to deafening and joyous applause. One wonders, however, if they will be able to replicate the feel and atmosphere of said event in the confines of an auditorium. Well, we need not worry.

Paddy Nash and Diane Greer.

Although midway through his set, it seems that Nash and his Happy Enchiladas have their doubts: "We're more used to playing in front of bar crowds, so why don't you all just turn around and chat with your drinks?" It's a joke, of course. But it's also a likely attempt to ease the pressure that comes with playing a homecoming gig in Derry's most prestigious indoor venue. And it works; every member of the audience laughs. In an environment more akin to a very popular public house, there's a capacity crowd, loud applause after every number and good spirits – just what the doctor ordered for the first event on Derry's cultural calendar.

Nash and the Enchiladas are a rare breed indeed – communally warm, gently satirical and unapologetically local. When the idiosyncrasy of their instrumentals, dress sense and topical lyrics isn't rubbing off on everybody, they're amusing in truly unexpected ways. Like when Nash's "partner in crime" Diane Greer belts out the first verse of "Barefoot In Verona" through a megaphone and no one seems to notice; at least until Nash switches it off, that is. If he doesn't quite capture the open air magic of last July’s Legenderry occasion, few concerts could; and on the whole, it's an ideal start to the evening.

Bronagh Gallagher

From pulp about friction to a star of Pulp Fiction, then, as one of The Maiden City's most famous exports, Bronagh Gallagher, takes to the stage. And it's a real treat. Gallagher's deep, throaty vocals mix with a very jazzy backing band to create a uniquely versatile, booming sound, something simultaneously rich and unpretentious. Whether one chooses to be spellbound by backing vocalists Jordan and Shelley Buckspan, impressed by the rhythm of drummer Caolan McLaughlin, or amused by Gallagher's refreshingly close-to-home and amusing stories, the overall effect is the same: sublime. It may sound like excessive praise, but: a cornucopia of tasteful humour, tasteless (but good-natured) humour and a musical tapestry featuring (but surely not limited to) country, western, jazz, blues and soul; seriously, what's not to like? Gallagher's fearless and alluring approach to this concert is inspiring, the perfect tonic for a crowded Forum.

Paul Casey

Paul Casey is equally impressive, but what else would one expect from Derry's Mr. Dependable, especially on this occasion - his occasion, as he also organised it? Knowing that the Forum does not give his audience the freedom to stand up and dance, he sacrifices his more catchy numbers, for the most part, in favour of the more chilled-out, melancholy, drifting moodiness of his latest album, Big World. It works extremely well, exhibiting his well-honed musicianship while giving the punters a well-earned breather.

Still, Casey hasn't forgotten that we're also here to laugh and enjoy ourselves, and "Thanks For Letting Me Crash" and especially "Far" see to this, the latter song causing me to drop my notebook and clap along with everyone else. To me, "Far" sums up the whole evening; boisterous, bright and breezy, the sort of thing you never really want to end. And it hasn't, yet; there's still time for the audience to join Casey, Gallagher and Nash for a rendition of "Stand By Me" before the obligatory quest for albums, signatures and catch-ups, where all three of the stars are extremely receptive.

Other events in 2013, including the forthcoming Sons And Daughters concert, may yet give Derry more international recognition. But the city will never forget the power that lies within its roots – and what we've seen here epitomises this.

A crowded Millennium Forum

(Photos by Gerry Temple.)

Si's Sights And Sounds has a soft spot for the musical version of Victor Hugo's famous novel - to date, it is the only musical our writer has seen in London's West End. Hence we've decided to do something a little different with our review of the film...

For the very first time at Si's Sights And Sounds, we've invited a special guest reviewer to share his or her opinion on the "work of art" being reviewed. Today, we welcome the thoughts of arguably the biggest Les Misérables fan in Derry-Londonderry, avid musical lover (and aspiring stage star!) Amy Astbury.

Read on as Si and Amy compare and contrast their views. (Spoilers ahead.)

Si: As just about every fan of musicals and classic literature knows, Les Misérables (or Les Mis) tells the story in song of Jean Valjean, played on screen by Hugh Jackman. After stealing a loaf of bread condemns Valjean to almost two decades’ worth of imprisonment, he breaks his parole and decides to make a new name for himself, even as Russell Crowe’s persistent Inspector Javert is on his track. Two more decades on and Valjean, under a new name, is prospering as both a mayor and businessman; that is, until he makes the decision to take Cosette, the child of Anne Hathaway’s dying whore Fantine, under his wing and raise her. Further complications abound when Cosette (Isabelle Allen as a child, Amanda Seyfried as an adult) grows up and falls for Eddie Redmayne’s revolutionary Marius, who Eponine (Samantha Barks, reprising her role from the West End) admires from afar; all while a city uprising and Javert's dogged pursuit of Valjean continue.

(Addressing Amy) Adapting a musical to the big screen can be a really tricky business. Do you think Tom Hooper, relatively fresh off his success with The King's Speech, manages to pull it off?

Special Guest Reviewer
Amy Astbury

Amy: I think that he has done a truly stunning job. If you go to watch the film expecting to see the stage version then you're going to be let down. You kind of need to go with a clear head. You learn so much more from the film than you do from the stage musical, and the sets look great too.

Si: I'll add that I've always liked the familial relationships that develop between mentor and pupil in his films, and how the central characters face their antagonists; think Brian Clough and Peter Taylor vs. Don Revie in The Damned United, or Bertie and Lionel vs. Edward in The King's Speech. He's done it again here with Valjean and Marius vs. Javert, except he’s not working from as good a script here, which is to his detriment. I don't doubt he has a vision, he's just not a strong enough auteur, in my eyes, to pull if off. To me, his techniques – repeated close-ups, live singing and almost no spoken dialogue – become a little wearing after a while. I don't think he knows whether to make a Sweeney Todd or a Mamma Mia...

Amy: I actually think that the close-ups are really effective, especially during "I Dreamed A Dream". They give you a better insight into the characters' expressions. I also think that the singing technique – live, with the actors wearing earpieces with a piano track to keep them in time with the music, which the orchestra then record over in post-production – is quite successful. That's a very good thing, as the singing is one of the most important elements of any musical film and can easily fall flat.

Si: I see what you mean, but I believe the close-ups would work better in smaller doses.

Amy: Yeah... I still prefer the stage musical, there's no doubt about that! In my opinion, no musical film can compare to live theatre.

Anne Hathaway dreams a dream...

Si: You mentioned "I Dreamed A Dream"... what do you make of Anne Hathaway? She's become a personal favourite of mine these days; probably the most improved actress of the decade, in my opinion. I think she really relishes every moment she is on screen, and recognises what makes the aforementioned song truly work.

Amy: I think she is flawless! Fantine is one of my favourite roles in this show and Hathaway absolutely steals it. When she sings "I Dreamed A Dream", I would defy anyone to keep a dry eye, for it is so heart-wrenching and you cannot help but feel sorry for her! She definitely makes the most out of her limited screen time; you can tell she's putting her heart and soul into it!

Si: I would add that she shows an aching vulnerability that’s not quite welcome on stage. Theatre audiences want something a bit more "booming", "in your face", whereas on screen things must be more expressive. Hathaway nails that.

Amy: I agree! And I must also say that the moment we see Cosette through Fantine's dying eyes is both beautiful and heartbreaking; it's one of my favourite things about the film.

Si: What about Hugh Jackman and Russell Crowe? I have to admit to being pleasantly surprised by both. The film never feels like Wolverine vs. Maximus...

Amy: Crowe has had probably the most mixed response. He obviously isn’t the greatest singer, but I think the casting definitely works. His presence and expressions are just right and him and Jackman play off one another very well!

Si: Though Jackman does butcher "Bring Him Home". He should have sung it in Key F.

Amy: I agree!

Javert vs. Valjean

Si: Yeah, it made me squirm. But apart from that...

Amy: I think Jackman is a great Valjean. He is tough, yet compassionate and definitely understands how to play it. And his singing is reasonably good too, even though, as you said, "Bring Him Home" is a struggle... his rendition just isn't strong enough.

Si: One rendition that is more than strong enough was Samantha Barks' "On My Own" (listen below). I really like Barks; her Eponine comes across as truly genuine. I do wish she had more screen time, though; her death doesn't carry the impact it should.

Amy: Yeah, she doesn’t get enough time! It is also annoying that the filmmakers cut some of "A Little Fall Of Rain" and make her death look like a sacrifice. Still, her portrayal really moves me. And I think she deserves more recognition than she is actually getting, compared to Amanda Seyfried who I don't really like in this film.

Si: You too? To me, Seyfried has always been a little flat. She isn't right for Cosette. Brings back uncomfortable memories of Mamma Mia! Eponine is far more appealing.

Amy: To be honest, I've always felt Cosette was a rather dull character and I fear she still is in this film, which is less down to Seyfried than to the role itself. She makes a good stab at it, I suppose, but I’m not keen on her voice. I feel it's a bit weak.

Si: As is her chemistry with Eddie Redmayne's Marius.

Amy: Indeed, although I think Redmayne is quite a good Marius. His portrayal of "Empty Chairs And Empty Tables" is very well done.

Si: I've been critical of the director, but I've got to give him this; he made Sacha Baron Cohen actually funny again! "Master Of The House" is kind of like Sweeney Todd in its execution.

Amy: Yeah! The Thernadiers (Cohen, and Helena Bonham Carter), I think you can agree, provide the much needed comic relief in the show! And the whole "Master Of The House" sequence is done brilliantly.

Si: In closing; any other things you really enjoy about the film?

Amy: So many; the new song, "Suddenly", the fact that they didn't cast all well known actors, and that so many well-known West End actors, including the original Jean Valjean, Colm Wilkinson, are included. We can't forget Isabelle Allen either, who's amazing as the young Cosette, or Tom Huddlestone, who plays Gavroche; his acting and singing skills are worthy of someone well beyond his years!

Being confined to one's living room does not dampen the proceedings, as Si's Sights And Sounds find themselves swept up on a tidal wave of optimism near the beginning of our Cultured year, thanks to a superb musical event

"Some call it Derry. Some call it Londonderry. Some call it Stroke City. But whatever you call it, we call it home. And home is where the heart is on this very special night."

-- Amanda Burton

To call Derry-Londonderry's Sons And Daughters extravaganza merely another "concert" would be a little insulting, as it is so much more than that – it is a stylish celebration of musical talent both young and old, an artistic exhibition for both the Maiden City and Ebrington's ViTal Venue on both the national and international stage. That this writer is unable to make the event in person and finds himself watching it on television hardly ruins the symphony, as whether you are inside the tent-like structure or watching it at home, the feeling is the same – you are there. You have to be there. If the names of the indelible One Big Weekend at Prehen Playing Fields in 2004 aren't present, then the mood certainly is – and that counts for a lot.

Why does one always get a little shiver when he or she hears the terribly overplayed, but iconic, "Just Say Yes" accompanied by images of Derry-Londonderry? Is it because the small, in terms of size, but massive, in terms of heart, community and talent, city in the corner of the North West of the island of Ireland is now looking not only especially attractive to visitors, but also easy on the eye? Truthfully, it's more than that – this city may have had its fair share of troubles, economically or otherwise, but it's ours. Our home. Same with the artists – we created them. We've given ourselves a marvellous opportunity to create and expand on a potentially superb artistic and communal legacy. As Phil Coulter would put it, the music in the Derry air is like a language all of us can understand, something crucial to our identity. And from the moment the cameras descend on the ViTal Venue – vital by name, vital by nature – one cannot help but be impressed. I've previously thought of it as Odyssey-lite on the inside, tent-like on the outside, but tonight no one cares how much of a tent it is.

Coulter's suitably wistful and convictive "The Town I Loved So Well" opens proceedings to rapturous applause, before James Nesbitt and Amanda Burton arrive at the forefront to remind us of our cultural significance in their own inimitable manner. It's impossible not to feel a great sense of local pride when hearing that the City Of Culture judges needed just twenty minutes to decide on Derry, even when Nesbitt jokes they should have probably taken ten. His sense of humour, too easy to take for granted, is well in keeping with the spirit of the event.

As are the "voices" of Derry’s own Girl Aloud, Nadine Coyle – I've said it many times before, but the contrast between her singing voice and speaking voice (what is it now? Derry-American?) has to be heard to be believed. Even her own material has never really been my cup of tea, but her energy is kind of endearing. And she looks good.

There's more variation to be found in the instrumentals of renowned Derry saxophonist Gerard McChrystal. With the crucial aid of pianist Ruth McGinley, the 2,000 capacity crowd appear slowly but surely transformed from interested observers to active participants. No better time, then, for the lovely Eva Birthistle to take centre stage and comment on "the incredible talent the city has to offer."

Like Neil Hannon. Being a Divine Comedy fan, it is hard for me to be wholly impartial, but Hannon is, and always has been, the kind of artist that easily transfixes you with the drollness of his shtick and the quality of his songwriting. Merely hearing him perform the beautiful "Sunrise" makes the set worthwhile, though it’s also fun to hear him "tell a funny joke" and hold a high note for a very long time. If he keeps this up into his later career, he'll have definitely earned the privilege of the plaque at his childhood home – 18 Northland Road, if you're curious – that he jokes about.

Amazingly, Hannon is outdone on stage tonight by Soak. The near-mercurial rise of sixteen-year-old Bridie Monds-Watson had really taken me by surprise – until tonight, that is. For someone so young, Soak displays remarkable composure, the gentle rhythm in her material beautifully complimented by both the backing band and the acoustics in the venue. You feel like you're going for a little soak in the sea, pun intended.

Dana and Damian McGinty fail to inspire similar enthusiasm, alas, though I suppose it's just a matter of taste; Dana's aloof approach has never done anything for me, and McGinty, despite his well grounded nature, comes across as a poor Ronan Keating impersonator during his solo number, which is a shame. Things get better for him, fortunately, as he combines with the Codetta Choir, Meabh McGinley, The Wonder Villains and a star in the making (more on her shortly) for a sublime rendition of "Let The River Run".

The banter and stage presence of The Undertones give us the raucous opening to the second half we hoped for, although to me, "My Perfect Cousin" comes off better than "Teenage Kicks" this time. Maybe the sound's not the kindest to them, or maybe you have to be at the Venue to appreciate both songs? Either way, the crowd are happy.

Happiness turns to wistful melancholia as Amanda Burton reminds us of the marvellous shirt factories that no longer are, leading star in the making Mairead Carlin to step forward and perform a genuinely spellbinding rendition "Scarlet Ribbons". It's a pitch perfect performance, sweet without being syrupy, sad while tinged with a hint of optimism, powerful without being overbearing. And it's followed by waving kisses and a very humble "thank you" instead of a bow. Honestly, what is not to like?

The McConomy School of Irish Dancing & Emmett Conway Pipe Band then put on a stunning display of traditional music and dance, arguably the most outright entertaining and admirable thing we've seen tonight. Coupled with easy-going, powerful acoustics and strings from Paul Brady (who's actually from Strabane!) and the backing band, it all amounts to a promising lead in to The Priests, whose strong, harmonic performances of "You Raise Me Up" and "Amazing Grace" delight the crowd.

The old James Nesbitt humour returns when he jokes that when Snow Patrol were asked to come to Derry, they "just said no"! Except, how could Gary Lightbody and Johnny McDaid really say no, especially considering their connections with the Maiden City? Lightbody's Derry-based parents are out there tonight, and he is clearly keen to put on a heartfelt show for them and everyone else. He and McDaid do not disappoint, delivering a nice stripped-back version of "Run" before singing "Just Say Yes" in a key, rhythm and manner similar to The Calling’s "Wherever You Will Go". Strange though it sounds, it works well.

The true Crowning Moment Of Heartwarming comes, however, when Lightbody dedicates "Chasing Cars "to John Hume. The mere applause at the mention of Hume’s name, let alone the crowd joining in the final chorus of possibly Lightbody's best known (and most overplayed) tune, may yet become indelible.

By the time the Codetta and Phil Coulter leave us (if you'll excuse the puns) ready to breathe the Londonderry Air again and set off for a Bright, Brand New Day, everyone has plenty of memories to take away with them. Despite the difficult times, we can only hope that Coulter is right when he says that Derry-Londonderry is on the brink of "something very special... a better future for its sons and its daughters."

(All photos: BBC Radio Ulster and City Of Culture 2013.)

Roy McCullough sells Derry-Londonderry to the general public through sights, sounds and interviews

A positively nostalgic and sometimes elegiac tone permeates Roy McCullough's living slideshow of the City Of Culture, a picturesque and musical tribute that fascinates through its interesting anecdotes, personable approach and naturalistic veneer. Like Michel Hazanavicius' The Artist, it both honours and laments a bygone era while simultaneously hinting at the possibilities that still exist within everything it explores, from choirs to landscapes to brass bands. It is, in essence, a very worthy document of the achievements and possibilities present in this now highly publicized corner of the North West of Ireland.

In an interview with McCullough, Londonderry Musical Society (LMS) President Donald Hill dishes out some fascinating trivia – did you know the LMS was originally titled the Londonderry Light Opera Society? – before going on to spill the beans on his favourite role, his favourite show, and the significance of the society in the community. While acknowledging how difficult it is to keep the society going in the current economic climate, he has some great memories; like shaving his head to play the Wazir in Kismet in 1996, recalled in an amiably tongue-in-cheek manner! The bad of the Society – notably, turning up for rehearsals late and being spotted with your "nose in the book" by the musical director! – is contrasted nicely with the good, a rehearsal of "Love Changes Everything" in the City Of Derry Rugby Club which leaves one feeling exceedingly warm. It's a sign that the LMS is truly something to proud of, something that is not due a eulogy, but a rebirth.

It's interesting how one's tastes in music can change over the years. Once a Sinatra buff, Harry Harkin tells McCullough he now prefers chorus material, making him ideal for such a versatile, thematic choir like the Doire Calgach Singers. A cordial choral performance of "Chattanooga Choo Choo" in An Culturlann nicely leads us into imagery from Grainan Fort, where it's clamed you can see five counties on a clear day: Derry, Donegal, Antrim, Tyrone and Sligo.

Cue a shot of Jim Goodman giving the Christ Church organ's keys a thorough work out with the indelible Londonderry Air, before he chats to McCullough about the Britannia Concert Band. And it's a very interesting chat indeed. The band that started playing in 1866 was rather different from the band we know today; it was no more than a flute band back then, before becoming a brass band in the 1880s, and then a brass and reed band even later on. You may also think the name Britannia came from the famous royal yacht that currently lies in a shipyard in Edinburgh, but in truth, no one quite knows where it came from... Goodman believes that the old Derry shipyard inspired it.

Goodman puts the success of the band down to strong family connections (his brother, Ken, is the current band master), team effort, hard work, Tuesday rehearsals and a high standard of musicianship. If he could wish for anything, he says, it would be greater involvement in community events and a consistently high attendance for the Showstoppers concerts, which the band do in conjunction with the LMS. The main challenge, says Goodman, amongst all the music and the fun that the band have had, is maintaining the future of the band by keeping the strong core of musicians that have helped make it what it is today. By the time we hear the band play "Love Changes Everything" alongside a still shot of the band playing at Ebrington Square, we're on his wavelength.

Derry-Londonderry, old and new, then gets showcased on a brief historical tour of St. Columb's Cathedral, the new Riverside walkway, the old railway station and the Millennium Forum. Listening to the LMS and Brittania Band perform "Love Changes Everything" together and later a performance of "Shenandoah" from the Doire Calgach singers creates a pleasantly wistful mood, one that carefully weighs the positives against the negatives while reminding us to never give up. And when we hear how the Showstoppers money has been used to help Long Tower Catholic Church and the First Derry Presbyterian Church, why should we?

Carolyn and Rachel Porter, the charming young teachers of the Porters' School Of Irish Dance, are the subject of McCullough's final interview. We were already treated to some superb dancing from their pupils earlier in the film, but now it’s time to hear more about the school themselves. Being former Irish dancing champions, they appear keen to train the next generation of high quality Irish dancers, and judging by the video footage we've seen, they're doing a great job. To them, the children they teach are like "one big extended family", and their approach and rapport has led to, amongst other things, three of their girls winning Ulster titles. You can only hope they sustain such success.

I'll conclude this piece with a little poetry.

Despite all the music and dance we've seen, most moving of all is the closing scene, where McCullough walks over a bridge full of lights; and I'll leave it to him to sum up the sights.

"Oh I know a wee spot, 'tis a place of great fame,

And it lies to the North, now I'll tell you it's name;

'Tis my own little birthplace, and it's on Irish soil,

Sure they call it lovely Derry... on the banks of the Foyle."

-- Josef Locke

Fine acting and a highly promising opening can't mask a disappointingly cold and uneven work

Exhilarating and disappointing in equal measure, Quentin Tarantino's Django Unchained is a bafflingly random pastiche, a mixture of ingredients that should be wholly satisfying but somehow aren't. One only needs to re-read that sentence to be reminded of why Tarantino is so polarizing; let's face it, his trademarks, whether they're Mexican standoffs, pop and pulp references or blatant obsessions with cinema and feet, can be applied effectively to any genre when used in the proper context. When he's on song, he can be exceptional; when he isn't, he can be irritating and self-indulgent. And I'm sorry to say Django Unchained (though Django Uneven sounds like a more apt title for it) rubs me the wrong way.

To these eyes, the film comes across as an attempt to recreate the epic swoop of Inglourious Basterds in the style of an all out spaghetti western, minus the structure, flow and excitement that raised Inglourious above numerous similar films of its ilk.

Not that you would think so from the exceptional promise of the first thirty minutes, with its stylishly retro credits and interesting set-up. A kinetic and consistently intriguing opening which sees German bounty hunter Dr. King Schultz (Christoph Waltz) free a slave, Django (Jamie Foxx) and take him under his wing slowly degenerates into an overly long and overly talky 48 Hrs. meets O Brother, Where Art Thou?, albeit in a different time period with more annoying music and a more pointlessly sprawling running time. The absence of Tarantino’s longtime editor, the late Sally Menke (watch below), is keenly felt.

Django Uneven– alright, Django Unchained - is the sort of film I feel bad about criticizing, as in a way, it feels like Tarantino's Inception. (It even has Leonardo Di Caprio in a major role.*) That is to say, it comes across as a very important and personal project for the director, but does not suit the epic bloat he thinks it requires, leaving us with a rather cold and detached end result.

What essentially salvages the picture, in addition to its opening, are strong performances from its leads (even if Di Caprio comes dangerously close to rehashing his intense shtick at one point), particularly Christoph Waltz. His slippery presence and irresistibly commanding line delivery is a welcome oasis in a desert of inconsistency. Whatever Django Unchained may lack (or not need, like a cameo from its director), it's got Waltz, and that's more than enough to earn the film a minor pass.

Ultimately, though, the only thing truly Unchained about this Django is its director – even Jamie Foxx comes across as little more than your average Tarantino hero. And Tarantino, when wholly unleashed – undeniably gifted and thought provoking but equally vexacious – can be a dangerously intolerable thing.

*It nearly had Joseph Gordon Levitt, too...

Steven Spielberg's latest, critically acclaimed work comes across as a thoughtful but rather uneasy biopic

There is a war going on in Steven Spielberg's Lincoln, and it's not very civil at all. In one corner, you have an almost certainly Oscar-winning turn from Daniel Day-Lewis in the title role, coupled with a very thoughtful Tony Kushner script. In the other, you have John Williams liberally recycling his Saving Private Ryan score, and Spielberg, not really knowing what kind of narrative he wants to tell. It's a noble attempt at both an interesting character study and a documentation of the last four months of Abraham Lincoln's life, featuring the Emancipation Proclamation, the American Civil War and the 13th Amendment. Pity, then, that the end result is more of an uneasy hybrid of The American President, Good Night, And Good Luck., and the director's own Amistad. Historical accuracy isn't really an issue, as there will always be inconsistencies and controversies in filmed biopics (that cannot be helped), but strength of storytelling is, and it's here where Lincoln is found wanting.

A cabinet meeting

The film is smart enough to raise a serious of serious questions and not offer cut-and-dry answers, in a similar manner to Spielberg's admirable but equally uncertain Munich. How significant a figure would Abraham Lincoln be, it asks, without his "war power" – gravitas and respect earned from leading the United States through the American Civil War? And how would that, in turn, have affected the issuing of the Emancipation Proclamation and the passing of the 13th Amendment? It's also interesting to watch Lincoln's various debates with his cabinet and ponder how much power a US President actually has – is he a real leader, or need he be no more than a figurehead for his administration, like Ronald Reagan was? They were powerful questions for their time, and they're no less thought-provoking today.

Lincoln is at its best when the issues raised by Kushner are matched effectively to Spielberg's sublime visual skill. In an unexpectedly subtle moment, the camera pans to a drooping bird on a branch, a sign that, perhaps, the Eagle was not exactly soaring at that moment in time, and isn’t nowadays either. Equally powerful are the rare scenes of bloodshed that we are witness to in the aftermath of the war, juxtaposed effectively with a shot of an increasingly frail Lincoln. It's a worthy depiction of how stressful times, especially wars, can really age a politician (see: FDR, Blair, Obama). Spielberg's contrasting of his rather Yoda-like Lincoln (let's face it, there are times when Day-Lewis sounds like he's just standing there and spewing proud words of wisdom) with the angrier, grumpier more realist Thaddeus Stevens (Tommy Lee Jones, enjoyably rehashing his deadpan shtick in period garb), is notable too in that it illustrates how even the best politicians may focus on what they think people want rather than what people actually want.

Apart from that, Mrs Lincoln, are you enjoying the play?

Elsewhere, you don't really know whether you’re watching a truly dry historical document or a collection of Spielberg’s Greatest Hits tossed into a bloated message movie. The portrayal of Lincoln as a family man, featuring an occasionally hysterical Sally Field as Mary Todd Lincoln and an irritatingly precocious Gulliver McGrath as Tad Lincoln, feels at odds in conjunction with the film's weightier material. Merging the minuses and even the pluses of slavery (yes, Day-Lewis's Lincoln does raise some) and the pro’s and con’s of the Proclamation with rather heavy-handed courtroom drama is both cheap and sloppy. Even the admittedly effective scenes with Robert Todd Lincoln (Joseph Gordon-Levitt, wasted), centred on his decision to fight in the war, feel lifted almost directly from War Of The Worlds and Schindler's List.

One shouldn't be surprised, then, to find shades of Oskar Schindler in Spielberg's Abraham Lincoln; the apathetic sort who gains a foothold in life and slowly but surely takes responsibility in his own inimitable way. In other words, the typical Spielberg protagonist. It's just unfortunate that Spielberg's traditional storytelling approach comes across as tonally inconsistent when applied to a script like this, thereby ensuring that Lincoln, for all its value, will not rank among the best of Spielberg's oeuvre. Rather, it is a missed opportunity; the tale of a strong central character trapped in a muddled narrative.

Karen McLaughlin of The Henry Girls caught up with us in advance of the Inishowen siblings' performance at this year's Other Voices event, to take place in Derry-Londonderry this weekend

It's your first performance as a trio in the Year Of Culture. How does it feel to come back to Derry at this moment in time?

It's always great to perform in Derry. The audience are terrific and we always get a very warm welcome. I'm a local at this stage, because I've lived here for ten years now!

How did you get involved in Other Voices?

We opened for Philip King's band, Scullion, last October in the Balor Theatre, Ballybofey. He told us Other Voices was going to be on in Derry. So we applied and got offered a slot in the music trail, then at Bennigans, and then Mark Patterson asked if we would perform there, which was a no brainer, really... we wouldn't play anywhere else!

What can we expect from The Henry Girls at Bennigans on Friday night?

Well, even we never know what to expect at Henry Girls gigs, especially in the unique venue that is Bennigans! But we will be joined by some musician friends this time so we think there will be a lot of craic.

What will you look forward to most about performing at Other Voices this year?

I think that there is a real buzz about this weekend, and I'm sure that with that much live music going on in one city at the same time there is bound to be a lot of positive energy and creative vibes in the air. We always enjoy playing at Bennigans too, as it is one of the most welcoming and cosy venues we've played at. Joe is a perfect host and looks after all the entertainers so well... so much so that we might not be able to leave!

Who else would you recommend to audiences at Other Voices?

There are so many good acts performing around the city this weekend, both day and night, so there will be plenty for everyone's tastes. We definitely recommend going to see Little Bear; In their Thousands, also from Donegal; Four Men And A Dog for the after party; Best Boy Grip; and, if you're lucky enough to get tickets to the Glassworks, Little Green Cars, Neil Hannon, Soak and loads more. But a good pub crawl is the way to do it. Be sure to see as many bands as possible, and definitely check out Bennigans!

The Henry Girls will be performing at Bennigans Bar, Derry-Londonderry, around 7 pm on Friday February 6. For more information on Other Voices, check out the official site or follow Other Voices on Facebook.

Is it Neil Hannon? Is it Paul McCartney? Not quite, but he's been likened to both... Eoin O'Callaghan, aka Best Boy Grip, enters the spotlight for the second of our special Other Voices interviews

With the release of a new EP, countless television appearances, Sons & Daughters and now Other Voices, how do you feel the City Of Culture Year has gone for you so far?

Well, January has been one of my most productive months since I launched as Best Boy Grip. I've had the privilege of taking part in the BBC Sons and Daughters event, as you mentioned, and I felt very proud to be on the bill. I've semi-released my second EP, The Clerk; with an iTunes release and physical copies imminent. I've had a slot on the BBC Arts Show and received very positive and greatly appreciated feedback. And I've enjoyed some airplay from the very kind BBC Radio Ulster and BBC Radio Foyle teams.

How did you get involved in Other Voices?

Other Voices got in contact with me and asked if I would take part in Other Voices/Other Room. They explained the setup and how it would be broadcast alongside the Other Voices Live show. As you can imagine, I jumped at the chance.

How do you feel your songwriting and performing abilities have developed throughout the last year?

I feel that I have definitely grown in confidence as a performer and I'm enjoying experimenting with different arrangements.

What will you look forward to most about performing at Other Voices this year?

Sitting at home and watching it on TV! It's a real privilege to be on the bill. It's really great PR and I'm so happy to be a part of it.

Who else would you recommend to audiences at Other Voices?

I can't really recommend any one act - but anybody who gets to see Neil Hannon, Bronagh Gallagher or SOAK is in for a real treat! There is plenty going on in the city that people will all be able to check out for free. The Other Voices Trail is bursting at the seams with local talent. In fact, why not come along and check out Best Boy Grip with a full band, including brass section, in Tinney's on Friday night. It should be a great night!

Best Boy Grip will be performing at Tinney's Bar, Derry-Londonderry, at around 11.30 pm on Friday February 6. For more information on Other Voices, check out the official site or follow Other Voices on Facebook.

Margaret Keys Comes Home

As the City Of Culture 2013 gets closer, a local girl made good returns home. Si's Sights And Sounds looks back on a memorable occasion at the First Derry Presbyterian Church

FILM REVIEW: Skyfall

It's Bond, it's Daniel Craig, and it's definitely worth watching, but on the whole it feels like the late noughties "Bond revolution" has come full circle

THEATRE REVIEW: Farewell/Half A Glass Of Water

Stephen Rea brings his considerable screen skills to the Derry stage in a pair of dialogue-driven, character-based thrillers

Legenderry Warehouse No. 1

The latest Legenderry development is open for business. Si's Sights And Sounds went to check out the City Of Culture's newest "coffee corner"

Carols By Candlelight

Si's Sights And Sounds revives some old memories and makes some new ones at a Christ Church charity service

Q & A: Kieron Walsh and Brendan Byrne

Following a screening of Jump at the 25th Foyle Film Festival last month, director Kieron Walsh and producer Brendan Byrne were more than happy to spill the beans...

Q & A: Mat Whitecross and Ray Winstone

Mat Whitecross and Ray Winstone talk about their new film, Ashes, following its Irish premiere at the 25th Foyle Film Festival

FILM REVIEW: The Hobbit: An Unexpected Journey/Life Of Pi

Si's Sights And Sounds measures up two "great adventures" against one another

Si's Sights And Sounds Meets: Ekaterina De Rossi

"Sometimes, (a) leap of faith is all we need to step out of our comfort zone..." – The star of independent film Bogland tells us about the experience of making the film and her own acting career

FILM REVIEW: Ashes/Jump/Bogland

Si's Sights And Sounds looks at a series of independent "issue" films that gain resonance through their highly personal nature

Let's Make It Happen...

Si's Sights And Sounds looks forward to the City Of Culture 2013, offering a handful of suggestions for improvement while remaining cautiously optimistic

FILM REVIEW: Quartet

Dustin Hoffman goes behind the camera for a cordial musical dramedy that hits the right notes, for the most part

MUSIC REVIEW: Home Grown 2013

Si's Sights And Sounds watches as three of Derry-Londonderry's best-known musicians kick-off the City Of Culture year in style

FILM REVIEW: Les Misérables (2012)

Si's Sights And Sounds has a soft spot for the musical version of Victor Hugo's famous novel - to date, it is the only musical our writer has seen in London's West End. Hence we've decided to do something a little different with our review of the film...

MUSIC REVIEW: Sons And Daughters

Being confined to one's living room does not dampen the proceedings, as Si's Sights And Sounds find themselves swept up on a tidal wave of optimism near the beginning of our Cultured year, thanks to a superb musical event

Music, Dance And Chat On The Banks Of The Foyle

Roy McCullough sells Derry-Londonderry to the general public through sights, sounds and interviews

FILM REVIEW: Django Unchained

Fine acting and a highly promising opening can't mask a disappointingly cold and uneven work

FILM REVIEW: Lincoln

Steven Spielberg's latest, critically acclaimed work comes across as a thoughtful but rather uneasy biopic

Other Voices, In Their Own Words - The Henry Girls

Karen McLaughlin of The Henry Girls caught up with us in advance of the Inishowen siblings' performance at this year's Other Voices event, to take place in Derry-Londonderry this weekend

Other Voices, In Their Own Words - Best Boy Grip

Is it Neil Hannon? Is it Paul McCartney? Not quite, but he's been likened to both... Eoin O'Callaghan, aka Best Boy Grip, enters the spotlight for the second of our special Other Voices interviews