Author Archives: Ben Gould

Robin van Persie and the last great Manchester United moment.

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It’s 22 April 2013, and Man United run away with the league by some margin (11 points), Sir Alex Ferguson’s final squad easily his weakest ever to dominate the 38 matches of England’s top tier. It was the meekness of the competition at the time, coupled with a peak van Persie, what done it. Captured from Arsenal in the summer, here was a flying Dutchman – and formerly a ‘sick note’ – hell-bent on a first Premier League title after a near-decade spent languishing with post-Invincibles Arsenal.

Not many saw Sir Alex Ferguson’s retirement coming that year, but the omens were there in Groundhog Day gloom in the Champions League. In retrospect it’s as if he knew the outfit couldn’t get any further in Europe, that it was time to release himself from continental heartbreak.

That volley, though. In this simply majestic goal the best of the Fergie years are encapsulated – the pure aesthetic qualities of football, the possibilities beyond 4-4-2 Anglo-Saxon ‘hoofball’. Moyes, van Gaal, and the snores of Mourinho, the Red Devils haven’t had a moment like that volley since. Bring back Fergie.

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Bigfoot on London Road, Edinburgh.

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I must confess I found this most amusing – three seats symmetrically arranged for the grand spectacle that is a foot sculpture in a park. Is the purpose to sit there and stare at it? Amidst the dog shit and the litter, the football casuals and the junkies, this monument to the human foot is the regal gateway to Leith.

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The Predator (2018) is hell in a cinema.

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I’ve had shites that were more enjoyable than The Predator (2018), and one time in 2014 in Tokyo I shat out nothing but green water for 11 straight days. How can you go from peak Arnie circa 1987 to this garbage? I thought right-wing US governments were meant to bring about a seismic change in film discourse? Like, proper satirical stuff masquerading as flag-waving propaganda. Apparently not.

This film was so fucking atrocious I fell asleep for half an hour, spilled Coca-Cola on my £11 Sainsbury’s jeans, and had a dream about Warwick Davis dropkicking Kenny Baker into the Death Star. My movie-watching colleague had to wake me up with smelling salts.

Worst film I’ve seen in years.

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Wee drizzle on London Road.

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I’ll never understand why the alleged ‘hard-as-nails’ denizens of Edinburgh shit their nappies when the rain arrives; you’d think it’s a hurricane descending upon The Burgh, Bill Paxton en route with his gear.

Here is a standard ‘thunderstorm’ … and a pale local (based on physiognomy most likely a junkie) with an umbrella eyeballing me as he sucks on a lollipop. Wanker.

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Berwick-upon-Tweed.

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A secluded beach in Berwick-upon-Tweed, which is I have been told the northernmost town in England. It’s alright; the Morrisons is large and there is also a McDonald’s. And this wee beach is sort of cinematic. The locals speak funny – a bit like Gazza but slightly more coherent.

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Sundays.

DSC_1238.JPGEach time I add cranberry juice to the Southern Comfort I feel a little less of a member of the male species. Inadequate, that’s the word.

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Lost got … lost.

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Remember a TV show called Lost? It was semi-gnarly for the first eight or something episodes. And then it was like … total shite, and of course meaningless. I never saw a narrative so pointlessly meandering, and I’ve sat through Fellini’s (1963).

By the second season I wish the plane that crash-landed in the pilot episode would have blown into smithereens. Utter pish. I still to this day don’t know how it ended.

The thing jumped the shark and all that.

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The Buzludzha monument.

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No, that’s not a UFO or something out of Prometheus (2012); it’s the awfully baffling Buzludzha monument in Bulgaria, an admittedly futuristic remnant in the brutalist architectural style from the country’s wretched dalliance with communism. Like all pillars of the Eastern Bloc age, it reveals the hubris and folly of the state. No wonder that vast Soviet experiment went tits-up when instead of making the economics work, governments were concentrating on this nonsense. The thing, whatever it is, cost a fucking fortune.

The monument’s interior – mosaics of commie stalwarts – is closed to the public. The official line is that it’s now too dangerous to enter, but one suspects it’s frankly too embarrassing a spectacle.

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It does reveal a truth, though – the lengths totalitarian states will go to awe the worker bees into submission.

Further reading:

https://www.atlasobscura.com/places/buzludzha-monument

https://www.atlasobscura.com/articles/the-forgotten-communist-monoliths-of-bulgaria

https://www.lonelyplanet.com/bulgaria/veliko-tarnovo-central-mountains/travel-tips-and-articles/bulgarias-ufo-the-spell-of-the-abandoned-buzludzha-monument/40625c8c-8a11-5710-a052-1479d276292a

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Davey Scatino/Robert Patrick in The Sopranos.

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He’ll be forever remembered as the T-1000 in Terminator 2: Judgement Day (1991), but even for such an iconic role (and underrated performance as he was genuinely more terrifying than Arnie in the 1984 belter) I can’t help but feel Robert Patrick would have been cast in way more ‘gnarly’ movies had he not gone semi-liquid in ’91.

His role as Davey Scatino in The Sopranos is the best he’s ever given; the bloke is a loser, a degenerate gambler, a failed con artist … and you believe every moment of it. Robert Patrick is versatile and not just liquid.

Halloween (1978) at 40.

 

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Halloween (1978) is always watched on Halloween in my Gorgie palace of peculiarities. It’s tradition, much like how Jingle All The Way (1996) – the best worst Christmas movie ever – is viewed on Christmas Day with a bottle of hard liquor artfully concocted in a budget supermarket car park. It’s 40 years now that John Carpenter’s revolutionary horror has been kicking about. It has unfortunately spawned an absolute smörgåsbord of pale imitators; almost every horror in a multiplex today uses Halloween (1978) as the template. This is, however, a common theme throughout genre cinema. Die Hard (1988), for example, takes the same role for action movies (Die Hard on a boat, Die Hard on a plane, etc).

The film has the creepiest atmosphere and is just masterfully shot; one gets the feeling that every single frame was storyboarded to perfection à la Hitchcock. There’s a complete lack of gore – it’s not needed, and that old cliche about imagination trumping the visceral is on full display here. And it’s that William Shatner Captain Kirk death mask. Who the hell came up with that? Michael Myers sans the mask just wouldn’t work. Mass entertainment auteur cinema, and the original ‘slasher’ if we place Psycho (1960) in the high-art basket, Halloween (1978) makes Halloween more Halloween.

 

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