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Abi Taphouse

Review: Yesterday

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I was dubious, I won’t lie. I was not incredibly excited to see a film that centred around what seemed such a bizarre and risky plot. We enter into the world of Jack Malik (Himesh Patel), an aspiring musician who has been battered by the cruelty of the industry, despite his manager/best friend,Ellie’s (Lily James) relentless support for him and his career. After one final performance, he decides it’s time to give in and begins to cycle home, casting aside Ellie’s pleas to believe he will be successful. In a freak, worldwide blackout, Jack is hit by a bus. And the only thing he seems to find more disturbing than the loss of his front teeth, is the fact that no one seems to be understanding his references to The Beatles. And so ensues, perhaps, the most surprising two hours of my summer.

Danny Boyle’s take on the tropes painted them in a different light, thanks to his refreshingly original plot. Ellie, the unrequited, yet unrealised love wasn’t placed at the centre of the film. Although not quite insignificant enough to label it a sub – plot, Ellie was a factor that shaped Jack’s journey, rather than dictated it. When so much of cinema is dictated by romantic plots, it was nice to see this marginally sidelined, just for a while. It’s not that I don’t enjoy a good love story, of course I do. But I don’t always want to watch a love story slyly disguised by the premise of a different plot, that falls victim to a dominating love story.

It was so much more than pictures on a screen or words on a script.

Yesterday knew exactly what it was. It didn’t try to be overtly hilarious, it didn’t try to be desperately cool and modern, it simply told a story. It was so much more than pictures on a screen or words on a script. It told a story about belonging, about truth and true love and about the power and importance of music. Throughout the film things happen: people cry and laugh and talk, they change clothes and develop in their own ways. But none of these events are more important than another. What Danny Boyle does so cleverly, is he makes the the film precisely the sum of its parts – all the parts add meaning, emotion and power – culminating into a film that moved me further than I would have ever guessed. It might not be winning an Oscar for cinematography, and perhaps Himesh Patel won’t be nominated for a BAFTA, but none of these things really matter in this film.

Yesterday has the lighthearted charm of a classic British comedy, with dry humour, a sprinkling of awkward moments and a really strong feel – good factor. It may not be a film that I’ll watch year on year, but it is a film I’ll remember. And, as a person who can hardly remember what I ate for breakfast, that means a lot.

Soundtrack to Our Lives

Soundtrack to Our Lives

Exeposé Music writers share their stories of significant songs in their lives.

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Charlotte Forrester

When I introduced ‘Disco Tits’ by Tove Lo to my housemates Cam and Eva, we had no idea it would be one of the defining tracks of our uni years. It’s featured in nearly every one of our prinks playlists, including ‘Fozz & Eva’s Birthday Bash’ when Eva and I turned 19. The three of us had a very messy night (particularly me – TP cubicles give me deadly flashbacks now) and we showed everyone our matching dance routine to the tasteful lyrics “I’m fully charged, nipples are hard, ready to go”. This is our last term living together as ‘The Motherhood’ (our group name), but this song will always remind me of the last two years sharing a place with these girls. If I’m ever interviewed for Desert Island Discs, I’ll be mortified that ‘Disco Tits’ will be one of my choices. But at least Cam and Eva will be laughing at me having to say the word “tits” on BBC radio.

Anna Romanovska

On a dreary July evening in 2017, I found myself at a Coldplay concert in Copenhagen, courtesy of my dad’s attempt at supporting my music taste. What was supposed to be a good-hearted Christmas present turned out to be an anxiety-ridden nightmare. When my throat started tightening up while watching Chris Martin hopping around on stage, I froze. It felt like my anxiety just slapped me in the face. I couldn’t breathe. So, I ran out of the concert hall and into the nearest bathroom stall, with tears streaming down my face to the sound of ‘Paradise’ in the background. Perhaps, on some faithful day, I’ll finally be able to get through an entire Coldplay song without a flashback to tearfully calling my dad saying I’ve had a panic attack, profusely apologizing for ruining his present. But for now, I’ll stick to switching stations every time they come on the radio.

Abi Taphouse

The lights grew dim across the floor. A single disco ball hung from the ceiling as ‘American Boy’ by Estelle rang out of the speakers. I stepped forward. Only eight years old, it was my first professional debut and the crowd went wild. Haven had never seen such talent. Just a few miles east of the A376, a star was born in a glittery, purple skirt.

My competitors put forward a great range of talent, worthy, but not quite good enough to beat my amalgamation of beginner’s hip hop moves and amateur musical theatre enthusiasm. I bopped to the top, just as Troy and Gabriella taught me to, and I like to think I did them proud.

It was a fleeting encounter with fame as my mum, dad and adoring fans cheered me on. To this day, every time I hear Estelle’s familiar tune I am transported back to the spotlight of Haven, Devon Cliffs.

Sam Thomson

The ‘record room’ in my house in Cheltenham (named due to the fact it housed my dad’s extensive vinyl collection) contains a smiling yellow plastic flower which, when switched on, fills the room with a heart-warming tune.

Producing a tinny rendition of ‘Build Me Up Buttercup’ by The Foundations, barely audible over the sound of the motor making the flower dance, the object holds an iconic position in my childhood memories. I’ve never been much of a dancer, but you better believe that six-year-old me was busting some moves to that song.

The passion in those vocals and the warmth of those keyboard hits are enough to put anyone in a good mood for at least a week. These days I don’t need my dad to lift me up to the shelf any more, but the flower still gives its performance every now and then.

Chloe Edwards

In early 2016, I had just returned to Exeter after a slightly rocky first term as a Fresher adjusting to university life. EUTCo had put on a brilliant production of Angels in America, and as I left Northcott Theatre, I reflected on the performance and term ahead. With a new set of modules to get stuck into and a sense of familiarity after the Christmas break, I finally began to feel more settled at Exeter and as though I belonged. As bizarre as it may sound, the evening marked a turning point for me for that reason. The play had used U2 ‘I Still Haven’t Found What I’m Looking For’ as the audience took their seats, and every time I hear that song, I am reminded of the moment I felt like I was actually going to be able to happily survive my time at Exeter. Now, I am a fourth-year who’s soon to fly the Exeter nest. Bono might still be looking for a sense of peace and feeling settled, but I’m pleased to say I found mine.

Kamilla Bell

As a nine-year-old, music taste does not usually cover a wide scope, but for me, it was AC/DC’s ‘Big Jack’ from their 2008 album Black Ice that was the best part of the journey home with my dad. Not a second was wasted listening to this rock and roll masterpiece. The car ride home from Tae-Kwon Do was a mere four minutes, but this time was well spent. As I clambered into the front seat my dad would hit play on this anthem and we would spend the next three minutes, 57 seconds head-banging away to the power vocals of Brian Johnson. Let’s just say that over the six years I attended Tae-Kwon Do, the six years of two car rides home a week, my air-guitar skills were tuned to a fine art and have only been practiced to perfection ever since. Even 10 years later car rides with my dad enlist the help of our old friend ‘Big Jack’ for a journey of rock-and-roll appreciation.

Alexia Oerter

When preparing for a Christmas trip to Australia, I compiled a playlist that I ended up listening to on a loop for the entire two weeks I spent there. And one of the most important songs on that list was ‘To Get to Know You’ by Winterbourne. I absolutely needed to get to Sydney on 22 December for my friend’s birthday, even though I finished my exams on the 20th and could only leave the morning after. Or is it still night when you wake up at 2am to catch a flight? Three planes and 24 hours later I arrived at Sydney airport where I was immediately tackled by my friend. She gave me her favourite book series to read while I was there – now whenever a book by the same author comes out, I’ll listen to the playlist I compiled. And whenever I go to visit her in Australia? You can be sure I’ll be playing Winterbourne’s ‘To Get to Know You’.

Exeter young people strike for climate change

On Friday 24th May, Exeter YouthStrike marched for the third time, calling for the government to take action on climate change. Starting outside Devon County Hall, protesters gave speeches and invited people to come up and speak. At just after 11.30, the group marched along the pavement to Bedford Square in Exeter town centre, where there were further open mic opportunities. At 1.45, they moved on to Bury Meadow Park for final speeches and the end of the rally.

Image credit: Abi Taphouse and Harry Caton

A group of student strikers also attended a meeting with local council members earlier in the day. They are said to be attending a follow up meeting in which they can lay out more practical plans for reducing Exeter and Devon’s environmental impacts.

This strike comes just days after Exeter University declared a climate emergency and the government passed a ban on many single use plastic items to take effect in April 2020.

A group of student strikers attended a meeting with local council members

Image credit: Abi Taphouse and Harry Caton

During the march, a section of the protest moved out onto the road, encouraged by an Extinction Rebellion protester. To the annoyance of the police present, the protester shouted, “it’s a protest, come out and block the road!” However, he only gained a few followers and protesters quickly moved back onto the pavement.

The Extinction Rebellion activist said: “If we just conform, and stay on the pavement, and be quiet, and be nice, and wait at the traffic lights, then you will just be marginalised. And [government action on climate change] will be kicked down the road for another 30 years!”

Extinction Rebellion organiser, Caspar Hughes, who has attended rallies in Exeter and London and was arrested when protesters held Waterloo Bridge, was pleased with the turn out at the strike. Regarding student strikers meeting with the council, Hughes said: “the only reason that is happening is because of the tandem workings of Extinction Rebellion and the Youth Strikes coming out and repeatedly getting themselves in protest and crucially non-violent direct action.”

There have been a number of rallies in Exeter in recent months, both by Extinction Rebellion and the YouthStrike movement.

Image credit: Abi Taphouse and Harry Caton

“my school, they made us all look like we were stupid for going to the strikes, but what we are doing is standing up for our future.”

Local school children who spoke at the rally said: “[The strikes] are extremely important to our future … my school, they made us all look like we were stupid for going to the strikes, but what we are doing is standing up for our future.” Students had been denied exit from their school but managed to leave to join the strike, citing how important it is to them.

Image credit: Abi Taphouse and Harry Caton

In a twist seen as ironic by some attendees, the protesters also received a lot of support from people driving past. Many honked their horns, receiving cheers in response. The protesters then called for drivers sitting in traffic to “turn off [their] engines!”

It is the third YouthStrike rally to walk the streets of Exeter, with its large turnout suggesting it is unlikely to be the last.

Review: Dead to Me

I began watching Dead to Me on Netflix on Saturday night and despite the fact I had an exam on the Tuesday afternoon, I had finished it by Sunday morning. The balance achieved between the very real and traumatic loss of Jen’s husband, Nick, and the easy watching aspects of the series that Netflix was trying to create, work in perfect harmony. The plot is substantially engaging and dynamic, if slightly predictable. But I would go as far as to say that I did enjoy it. It was quite satisfying to be able to predict the twists and turns and it made them no less entertaining.

‘Dead to Me recreates the convincing realism required to carry off a comedic take on a brutal murder.’

Despite the nature of the series, it does not make you feel sad. There are moments of raw emotion from the characters but they are not intense or long lived enough to really make you feel it too. Some see this as a flaw, I see this as a bonus. I didn’t want to watch something sad because, frankly, I didn’t have the time for any emotional trauma. Had I watched the trailer and realised the programme revolves around a tragic death then I would not have started it. Instead, it pulls on themes of drama and murder mystery, along with the obligatory comedy elements. It channels the vibe of recently (tragically) cancelled Netflix series, Santa Clarita Diet. If you enjoyed that, you will enjoy this. Watching Drew Barrymore viciously tear apart local Nazis was bizarre, but only if you really thought about it. Dead to Me recreates the convincing realism required to carry off a comedic take on a brutal murder.

The most intriguing aspect of the series is the dramatic irony that we see throughout. The whole plot relies on the fact the audience know what some of the characters do not. This is what makes it so predictable but then so rewarding. We watch not for the shock factor, but because we want to see our predictions come true.

‘We watch not for the shock factor, but because we want to see our predictions come true.’ 

The one real downfall of Dead to Me, for me, was the ending. In what had, up until now, been a relatively convincing storyline, the ending seemed to undermine everything the characters had built and had been shown to be. I walked away feeling disappointed in the fact that Netflix seem to have thrown away anything they had built in this series, to ensure they could make another. It was blatantly obvious that they wanted to keep open the possibility for another series, but in doing so, compromised the ending of this. It seems to be a common occurrence for Netflix to deliberately write an ending that means they can renew it for another series, even if they decide not to (Santa Clarita Diet RIP). Although it may be satisfying for their bank accounts, it is not necessarily satisfying for the fans, or the integrity of the show. Netflix are producing so much content at the moment, and it is hugely influential in the streaming world, but they run the risk of losing their status for an easy buck. Not cool, Netflix, not cool.

Overall, Dead to Me, is something I would recommend. Up until the ending I was quite enjoying it and perhaps it was just me being fussy. Perhaps Netflix have an even better second series up their sleeves. We shall have to wait and see.

Review: Wine Country

Any film starring Maya Rudolph (Bridesmaids, Grown Ups, The Good Place), already sets a precedent that it will be exactly what you expect it to be. Mix in a big ‘ol spoon of Amy Poehler (Parks and Recreation) in her directorial debut and you get Wine Country. A mildly heartwarming tale of old friends who go on a trip to celebrate a 50th birthday. The biggest shock of this film is that not all goes to plan, right behind the fact that they drink copious amounts of wine. But something about this film makes the incredibly predictable narrative (if you can call it that), rather endearing. I wouldn’t watch it again, but I don’t regret watching it either.

‘I didn’t like it, I didn’t hate it.’

The plot of the film is relatively obvious from the outset, but that didn’t make it any less entertaining. Channeling the casual mid-life-crisis vibes of Grown Ups, and the attempts at a comedy take on serious issues that are so common on screen now, this film is precisely what it says on the tin. There were moments of laughter, moments of mild concern and moments of complete ludicrousness. It didn’t have the element of, what I like to call, “shove it down your throat comedy.” In which actors such as Rebel Wilson try so hard to not only be funny, but signpost the funny and stick a nice big bow and arrow on the funny. I didn’t feel like I was being expected to laugh out loud every three minutes in Wine Country. This was most definitely a relief as I could just watch the film for what it was, without feeling like I was really missing something that everyone else was laughing at. I didn’t like it, I didn’t hate it.

One credit to the film is that it did attempt to tackle some serious issues, but these issues were (mostly) pushed into the position of the butt of the jokes. They may as well have said, “We are women, we are going through menopause, we are hysterical or horny.” But, Poelher has a long way with words and decided to skirt around the point. It was hardly revolutionary in its depiction of a female friendship group. The simple plot and interspersed moments of comedy lends itself to a night in with – wait for it – your friends and a bottle of wine! (Pause for gasp) It was clearly attempting to convey the importance of friendship and the journey of drifting away, and back to, your friends. But the lack of depth undermined any real emotional connection to the film. This is becoming somewhat of a theme for Netflix originals, occasionally they come out with something amazing, but quite often their original productions lack one aspect or another.

‘the lack of depth undermined any real emotional connection to the film’

The best way I can describe this film is that it is two dimensional. (You know it makes sense) It has a good cast, a nice setting and a standard plot, but it lacks any real depth. Perhaps if I was also a 50 year old woman then I would have felt it resonated more with me. But I am not. So, unless you are a 50 year old woman, Wine Country will most probably provide you light entertainment for 100 minutes, a couple of mild to relatively substantial laughs, and a fading memory of a film that, in the current landscape of cinema, made a very fleeting impact.