Along with Dwayne Tryumf and Jahaziel, Guvna B is probably the most recognised Christian rap artist within the UK.
Now releasing his third album, Secret World, there is a large amount of maturity to Guvna’s music. Be the first to know the latest and best news around Gospel music.Premier GospelPremier holds names and addresses on computer for the purpose of keeping supporters up to date with their ministry and other issues of Christian concern.
Studio Ghibli, the company responsible for such well-loved animated pictures as Ponyo, Princess Mononoke, and Spirited Away, has done it again. Many of us read The Borrowers as kids – but if not, you’ve probably seen any number of the film adaptations (which, one assumes, is why the studio didn’t call this one The Borrowers: Let’s Try This Once More). Arrietty doesn’t bother with 3D, and as a result it feels elderly, a bit nostalgic – and I mean that in the best way possible. The interiors of the walls, where the Clocks fend off cockroaches and crickets for food, are rendered with lush detail; a ladder of staples and a bridge of nails become perfectly sized for climbing. Hiyao Miyazaki, one of the most renowned Japanese directors of our time, contributed to Arrietty only with “planning and screenplay,” leaving the director’s chair to Hiromasa Yonebayashi. Arrietty doesn’t tug the heartstrings quite like many Disney pictures do – there is danger and intrigue, but the film’s major focus is friendship and love. Arrietty enjoyed a nationwide release due to Disney’s help, but it probably won’t break the box office. New animated picture gives Pixar a run for its money, offers wit and smarts amid loving satire of Spaghetti Westerns. Gore Verbinski is a rare director whose films span all genres, one who remains in the shadows even though his movies kill at the box office (Verbinski is responsible for The Ring and the massively popular Pirates of the Caribbean films). The film opens on a Mariachi band of burrowing owls in sombreros serenading the audience, inviting us to “enjoy our confections” as they sing us the tale of our doomed hero. Every hero needs a leading lady, and in Rango’s case it’s Beans (Isla Fisher), a sassy frontierswoman (lizard) whose only flaw is her natural defense mechanism—to go completely stock-still at random moments.
Like last year’s Best Picture nominee Toy Story 3, Rango is thoroughly charming because it deliberately strums those self-referential, witty chords that delight us so. What truly makes Rango exceptional, though, is that Industrial Light and Magic’s animation may have Pixar’s artists shivering in their cowboy boots. Rango may not see quite the level of success last year’s major animated pictures did, but it is sure to delight adults with its intelligence and children with its impeccably executed animation.
Pixar Animation Studios strutted into the hearts of moviegoers everywhere with the click of Woody’s bootheels and the pew-pew of Buzz Lightyear’s laserbeams in 1995’s Toy Story. The inimitable, irrepressible toys are back for a third film, and they’re up to all new antics. Somehow or other, the animators and writers at Pixar manage to make even the most mundane objects fascinating, lovely, hilarious, and even terrifying.
Toy Story 2 released in 1999, so technology has changed incredibly since that film, but of course Pixar kept up.
No thanks to James Cameron’s big budget indulgence Avatar, 3D is experiencing an awful resurgence right now. Without divulging too many details, Toy Story 3 will leave audiences giggling, nostalgic, and even teary, seemingly without effort (though of course production of a Pixar film takes years upon years, so there’s plenty of effort). No one knows better than Disney that, come time to adorn the Christmas tree, light the Menorah, or decorate for whatever holiday you may celebrate, audiences pine for light-hearted entertainment. Cut to years later: an older Tiana is working herself to the bone as a waitress to buy an old sugar mill so she can open a restaurant.
On a visit to the city, Prince Naveen of Maldonia, over whom Charlotte swoons—she’s finally going to snag herself a prince!—proves to be a smarmy, self-centered joke (with a heart of gold).
Tiana is a major (and welcome) departure from most Disney princesses, the majority of whom are lily-white and have straight, shiny locks. Adults and children alike will find themselves enchanted with Disney’s original retelling of a very American story, and with the animation that renews the vibrancy and brilliancy of a singular American city. By nature the plot is a kids’ story, but in Anderson’s hands, the foxes, badgers, weasels, rats, and bunnies are clad in dapper corduroy suits, living a very civilized life beneath the humans’ noses. Anderson fans will love that his directorial style is still present in a medium in which you’ve never seen him before. Though his style can be overly quirky and a bit affected, Anderson’s films generally get you laughing, and this one’s no different. Fantastic Mr.
As one of the pioneers of the scene that emerged in the late noughties, (despite his young age at the time) Guvna has been a mainstay ever since.
The early youthful exuberance and passion behind some of his more feel good tracks have now been replaced by more pensive and calculated subject matters and topics. It’s just sort of a different “it.” Ghibli’s The Secret World of Arrietty is based on Mary Norton’s 1952 children’s book The Borrowers. In tone, it’s like a sunnier version of Don Bluth’s 1980s animated masterpieces (particularly The Secret of NIMH). When the tiny Arrietty first peeks into the vastness of the human beans’ kitchen, the wind whooshes through her ears: it’s an immense place, as massive as the Grand Canyon to her.
Yonebayashi’s film comes with less “comic madcappery” than other Ghibli films, to quote a friend.
Although the garden and the cars in the film are undoubtedly Japanese, the cottage in which Shawn and the Clocks live is peculiarly Victorian in style. Shawn’s ailing heart and divorcing parents force him into a life of leisurely misery, while Arrietty’s family’s paranoia keeps her from adventure.
In conjunction with Nickelodeon, Verbinski’s latest offering is this weekend’s animated Spaghetti Western Rango.
Thanks in part to Pixar and Adult Swim, adults nowadays adore American cartoons just as much as (and sometimes more than) their wee offspring. Forthwith we meet a crooked chameleon with a lopsided head (voiced by Johnny Depp, who can apparently do anything) acting out a lonely fantasy with a broken Barbie doll and a wind-up fish.
He meets the smarmy, power-hungry Mayor (Ned Beatty), an aged turtle in a wheelchair who promises his people water and offers them spooky religious imagery. It pokes at overplayed, legendary Western thematic material while remaining droll and almost—but not quite—too smart for its own good. Every scale on Rango’s chartreuse face, every strand of fur on the tiny desert pigs, each downy feather on a turkey’s visage, is lovingly rendered. Its characters won’t burrow into your heart like the beloved robots of WALL-E or the dejected toys of the Toy Story movies, but for a springtime evening in the theater, they’ll certainly do. Since then, the studio has made nary a mishap (with the possible exception of Cars, which was hit-or-miss but charming nonetheless). Lest we forget, fifteen years have passed since the first movie, and little Andy is seventeen and headed off to college. Those of us in our mid-twenties may remember how horrific the Frankentoys from Toy Story were, how malevolent the cruelest child can be through the animators’ lens.
Toy Story 3 features sequences that will appeal to everyone—filmic techniques reminiscent of ‘80s romance, ‘40s noir, spaghetti Westerns, and classic action movies.
The toys employ a cell phone to lure Andy to the toy box, Andy’s sister Molly wears iPod earbuds in one scene, and Woody uses an internet mapping program to find his way home. With the magic of gorgeous animation, lovable characters, witty writing, and snappy, smart editing, Pixar has pulled out another winner: Toy Story 3 is a movie everyone, young and old, will enjoy. This year’s The Princess and the Frog has already earned a lot of press due to its protagonist, Tiana, the very first African American Disney princess in the history of the company—which was founded over 85 years ago. Two little girls, Tiana, with gorgeous cocoa-hued skin and plain clothes, and Charlotte, a vivacious little white girl in princess pink and ruffles, listen intently as Tiana’s mother Eudora recounts the fairy tale The Princess and the Frog. She drops a few coins into one of many coffee tins labeled RESTAURANT before she plops, exhausted, onto her bed.


When a greedy voodoo shadow man, Facilier, turns him into a frog, Naveen appears to Tiana, begging for a kiss. Her dark skin and curly hair make her an ideal role model for the girls who have long yearned for an idol who looked the least bit like them. Fox is a pleasant return to classic stop-motion animation, a technique little used anymore.
He has a penchant for title cards, and his films sometimes play as though they’re a series of vignettes rather than a cohesive whole, which can be sort of annoying in an adult narrative film. Fox may not appeal to very young children, but Disney’s soon-to-be-released new cel animation The Princess and the Frog should fill that gap. Since his emergence around 2007, Guvna has put out six projects including two albums and two mixtapes.
Whilst this is no slight on the content of his music in the past, it is clear that Guvna has encountered some testing times in his Christian walk (as most of us have) which have influenced his music.The album begins with Home (E16), a song that displays Guvna B’s talent as a very skilful MC. 01743091) with two fully-owned trading subsidiaries: Premier Christian Communications Ltd (no. The combination of a British children’s story and Japanese setting make the movie a very odd combination of cultural artifacts and wrinkles in time.
Father Pod (voiced in the American version by Will Arnett), mother Homily (Amy Poehler), and spirited teenage daughter Arrietty (Bridgit Mendler) leave the confines of their home only to “borrow” small things the “human beans” won’t miss: sugar cubes, buttons, cookies.
Its animation, particularly scenes in the garden outside Aunt Jessica’s house, is absolutely gorgeous: peonies and wildflowers leap from the screen in vibrant watercolor, a decrepit bridge arcs over a tiny stream, and a fat, grouchy kitty stalks among the wildlife. As human beans ourselves, we in the audience get to experience our world from a different perspective. Hara is a bit of a nutbar, and Homily is a screaming worrywart, but the movie offers few big laughs and fewer totally bizarre moments. Artful crown molding, dark hardwood floors, grandfather clocks, and lush carpets fill the home, though its inhabitants wear Japanese sandals. One wonders if it’ll find its audience: kids are likely to find it unexciting, and adults (except the nerdy ones who’ll see any Ghibli movie) are likely to expect something it isn’t. Before the lights go down on Friday’s matinee, toddlers coo and squeal while their parents tiredly munch popcorn. In any self-respecting flick a true hero has to suffer through a spell of self-doubt, and Rango gets his. John Logan’s (Gladiator, The Aviator) elegantly written screenplay uses language that will soar high above kids’ heads—you’ll hear the words “annuity,” “malfeasance,” and “conundrum,” among others.
Fair warning, though: these critters are more frightening than cute—particularly Rattlesnake Jake (Bill Nighy). The latest addition to the Pixar stable, Toy Story 3, is no different: from start to finish, it’s a near-perfect family film. As we all know, when you’re seventeen any reminder of your childhood is an insult, so when Andy’s mom harangues him to donate his toys, he calls them “junk” but secretly plans to keep them in the attic. Adults will find the homage charming, and children will experience those tropes through new eyes. Likewise, Buster the dog has gotten old, fat, and gray, but is still adorable, and Molly and Andy are the same good kids they were—just a little bigger.
Pixar is the one and only studio that gets a pass on 3D: they know exactly how to do it right. All three have lovely, soft Southern accents: instead of being played for laughs, their speech patterns are genuinely pretty. As she rushes back to work, a brass band dances down the street as Randy Newman croons, “Dreams do come true in New Orleans!” The city, which since Katrina has been imbued with a sense of tragedy, comes alive in Disney’s hands. When he offers her money for the restaurant, she can’t help obliging, and as a result she transforms into a slimy (mucus-secreting, actually) green amphibian herself.
Cinderella and Snow White are famously hardworking Disney princesses, but they were enslaved as a punishment for their beauty (notably by jealous older women), and their stories culminate in finding Prince Charming. Dahl’s novels, which have helped usher many a disgruntled kid through the travails of childhood, don’t condescend to the young, but there’s an element of whimsy that makes readers want to live in his world. The film went through a long and rigorous production beginning five years ago, and the result is well, fantastic.
Fox (Meryl Streep) raid the neighbor’s chicken coop (as foxes do), and she confides that she’s pregnant just as a trap falls on their heads.
If you look around the rest of the UK, it is clear that he has had the highest work rate and the benefits have been in the quality of his output. Kids’ stories about bravery, about overcoming one’s biggest fear, are a dime a dozen – but subdued, sweetly evocative ones are about as rare as good action flicks. When human bean Aunt Jessica brings home her sickly nephew Shawn (David Henrie), the Clocks’ world explodes. It seems like Yonebayashi strove to make a film that would appeal to a worldwide audience and sacrificed some of the wackiness in the process. A gorgeously outfitted dollhouse, replete with miniature Victorian decor, is a dream home for the Borrowers. In any case, it’s a lovingly animated movie that transposes your perspective, makes you think about believing in magic.
As the film opens, introducing our reptilian protagonist, children’s giggling punctuates every movement of the lopsided lizard. It follows a surreal, ludicrously self-aware path, and the writing has a very “Coen brothers” feel. Verbinski consulted with Academy Award-nominated cinematographer Roger Deakins, and as a result the animation is brilliant—were it not for the, you know, talking animals, you’d think the desert landscapes were real.
If you long for the days of John Wayne, wish for the smarts that were lacking in the acceptably adorable Gnomeo and Juliet, or just have a love for Johnny Depp, you’ll appreciate Rango. Plush-and-plastic cowboy Woody (voiced by Tom Hanks) spouts generic lines like “There’s a snake in my boot” when you pull the cord in his back. Things go awry, and the crew of toys ends up at Sunnyside Day Care Center, which seems like heaven on earth…until the toddlers arrive.
Although nothing flies out of the screen at the viewer, as in last year’s Coraline, Toy Story 3’s animation is downright gorgeous. Charlotte swoons over the idea of marrying a prince while the independent Tiana remains skeptical. The animation is strikingly beautiful—colors pop, architecture sings, and the music pays loving tribute to the original home of jazz. The two frogs head into the swamps, meeting a gator who longs to play jazz with the humans, a Cajun firefly in love with the Evening Star, and Mama Odie, a nutty voodoo priestess who lives in a wrecked ship in the bayou. Tiana’s work ethic comes from her desire to be independent and build her own destiny—wonderful traits to offer today’s little girls.
The sets are beautifully detailed, the puppets’ every hair defined, and each movement is choreographed lovingly (as, one assumes, it had to be, since the film is effectively a series of photographs of puppets). Though they’re living quite human lives, the animals slowly realize their talents lie in their own nature—foxes are clever, bunnies fast, moles good at digging, etc. Anderson evidently acted out scenes himself during production, then sent video to the puppeteers and animators overseas. Further, a visitor whips out a smartphone to look up a pest control company, but Hara uses a rotary phone to call them. Hara, Jessica, and Shawn each have very different responses to the existence of tiny people, and the movie asks us to contemplate which one we would have: greedy excitement?
Shortly, though, the kiddies grow weary and adult chuckles and guffaws soar over the kids’ heads.
In the lively, southwestern-influenced soundtrack you might recognize a similar yodel to the famed music from Raising Arizona, and inept but lucky Rango bears a tonal resemblance to H.I.


And thank the Hollywood heavens Verbinski didn’t see the need to make Rango in 3D—it’s pretty perfect as is.
Buzz Lightyear (Tim Allen), a spaceman from Star Command with working wings and LCD lasers, has a voice all his own.
Likewise, everyone played with toys when they were small, and there are more than enough recognizable toys to make even the most jaded of us nostalgic. In Tiana’s vivid imaginings, Art Deco lives and breathes as flappers dance the Charleston and sip champagne in a decadent restaurant in the heart of the south. Naveen falls in love with Tiana, and she realizes that her restaurant dream means nothing if she has no love in her life. At one point her landlord chastises her, “A little woman of your…background…would have her hands full trying to run a business like that.” Well, she shows him. His films tend toward the pretentious, and he uses a broad cast of actors repeatedly in his movies. According to IMDb, Anderson used a Nikon D3 camera, which allows for higher definition photography, and the film was shot at twelve frames per second instead of the normal twenty-four. Fox works as a newspaper man instead of killing chickens, and their petulant son Ash (Jason Schwartzman) strives to live up to his father’s expectations. The pleasure is in the incongruity between the civilized costumes and the distinctly wild animal behaviors. Though this left some of his crew disgruntled, it certainly speaks volumes about the value of our communications technology.
And one thing’s for certain: you’ve never seen a movie that looks like this, but you should.
All three companies are registered in England & Wales with a registered office address of 22 Chapter Street, London, SW1P 4NP. What ensues, as you’d assume, is a gentle friendship punctuated by danger in the form of bitter housekeeper Hara (Carol Burnett). The cat, Nina, is a monster (much like Dragon in Bluth’s NIMH) the likes of which humans will never have to encounter (we hope, anyway). We are here in 2012, the movie seems to say, but this place is floating in the past, bobbing between cultures. A supporting cast including piggybank Hamm (Wallace Shawn), Slinky Dog (originally voiced by the late Jim Varney, replaced in Toy Story 3 by Blake Clark), Mr.
From the spinning arrow of “The Farmer Says” to the paratrooper army men to the Chatter Phone, there are toys here for every generation, and to see them come to life with such realism is terrifically satisfying. Surely we’ve all heard that blowhard at parties elucidating at length why film can’t be art.
She’s a fantastically feminist character who, through her integrity and hard work, achieves her dreams.
Understated line delivery, artfully composed shots, and a focus on dysfunction alienate some viewers while drawing ardent fans from the other end of the spectrum. As a result, the characters’ movements are a little jerky, a touch that clues the audience in to the stop-motion animation.
As audiences we’re used to talking animals in little animal attire, but rarely do Disney’s cavorting critters (or at least not the “good” ones) indulge their true natures. Anderson based the film’s set on the town in which Dahl lived and worked, recorded actors’ voices outdoors to add reality to the soundtrack, and included details that show his adoration of the source material.
The upshot of this is that you tend to get a lot more synergy between production and lyrics, as both know the emotions that the project is trying to portray. Of course, Nina eventually decides the Borrowers are not worth eating and helps to bring Arrietty and Shawn together for a final goodbye (someone at Ghibli loves cats). It’s rated PG, so no worries as to whether or not it’s appropriate for your little one’s delicate sensibilities—but it may not suit her tastes. In Dirt, the chameleon christens himself Rango and impresses the townsfolk (owls, moles, lizards, and other desert creatures) with his flair for dramatics. Westerns seem to be experiencing a resurgence (mostly at the hands of the Coens, in fact), and Rango will certainly bask in their newly restored success.
Even those who didn’t exactly grow up on the Toy Story films likely find the movies joyous and entertaining.
The puppetry allows for cute touches (for instance, a “pregnancy glow” is portrayed by an actual fox-shaped lamp).
Fox can’t stay away from his foxy nature for long, and recruits the opossum Kylie and his nephew Kristofferson to help him begin executing his Master Plan—to steal from the three biggest, baddest, ugliest farmers in the land, Boggis, Bunce, and Bean. The Foxes, badger, and opossum are distinctly wild animals, and they kill chickens, ripping apart their dinner with wild furor. Adults, though, will find themselves chuckling at film-school plot machinations and playful jabs at Western tropes. It’s not too long before they make him Sherriff—and task him with finding precious agua to keep the town alive.
Potato Head, Rex the dinosaur, and a trio of claw machine aliens, scuttled, hopped, and sprang into our hearts in the first and second films. Her motto is “watch out boys, I’m coming through!” Though her story includes a few tiaras, a flawed Prince Charming, and a number of hurdles, she’s not your everyday Disney muse—and that’s the best thing about the movie.
Fox, with Dahl’s fanciful novel providing a great backdrop for Anderson’s regimented directorial style. Unfortunately, the farmers catch on and begin a fruitless attempt to catch the critters as they burrow farther beneath the ground, finding new and different ways to outfox the baddies (pun intended).
Anderson cuts away from any fowl murders, of course, and Kylie the opossum even comments, “there’s blood and stuff!” But nonetheless, it’s amusing to see animals acting like animals as well as taking on human characteristics.
Secret World doesn’t face this problem as JimmyJames delivers sonically. Stylistically, this is very much a grime album.
The recent resurgence of the genre means that this project fits very well in the current climate within the UK. The chorus is one which is relatable to any Christian who is feeling discouraged with their own actions, or the actions of those around them.
In the chorus, Guvna spits ‘it’s never too late’, declaring the message of hope that runs alongside the Christian faith.At times there is even an old school garage feel on some of the tracks, especially tracks 9 and 10, Show Me The Way and Time Ago.
Whilst many in the UK have tried to replicate the current popular sounds of the US, it’s refreshing to hear a very much UK sound with Guvna embracing his roots.As someone who has been following the UK Christian rap scene for the last 10 years, Show Me The Way in particular stands out. Some of the problems have been well publicised, so I’m grateful that Guvna addresses these issues with an open heart, not professing to know the answers to every question, but still professing the truth.For many, the stand out song will be track 6, Nothing But the Blood. The song utilises a sample of the well-known hymn of the same name and features veteran gospel artist Deitrick Haddon on the chorus.
The song showcases Guvna’s versatility as an artist, as this is one of his strongest rap performances.
There is a real sense of honesty as he breaks down the core gospel truth of Christ being all-sufficient. In terms of features, the strongest performance comes from Nick Brewer on Track 7, Someone’s Watching. It’s very rare you hear a bad verse from him, and he continues that trend here with a typically ear catching verse packed with complex flows. It was particularly nice to hear C4 on Time Ago representing Birmingham in a genre that has been dominated by London over the years.The fact that there are two international features from the US on Secret World showcase the reputation that Guvna B has built over the years. The song samples Guvna’s most recognised and celebrated song, Kingdom Skank, giving it a new twist. The lack of which probably speaks more of the lack of UK rap artists around at present, and it also probably wouldn’t have fit in the context of the project, but still, a good cypher never goes a miss!Guvna B's album Secret World is now available on all digital platforms and in HMV stores up and down the country.



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