Qatar lost 1-2 in an exciting match yesterday against Algeria, which qualified to face Tunisia in the final at 5pm on Saturday. ⚽ Arab Cup finals: After being defeated 0-1 by Tunisia yesterday due to an own goal by our team in the last seconds of the match, Egypt will meet host Qatar in the match for third place next Saturday at 12pm. You can check out cinemas and showtimes at. Overall, we absolutely loved the new Spider-Man (even though the ending made us tear up) and we’re excited to see where this new take on superhero movies will take Marvel to next.ĭon’t forget to sit through the credits: there are two scenes at the end that link the film to further Marvel multiverse releases. Of course, there were some really badass fight scenes, but there was also a narrative of second chances and addressing your feelings and flaws that worked in some places during the film, but seemed too forced in others.
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The movie dives back into the multiverse and it really wreaks havoc on poor old Spider-Man.Īn era of ‘woke’ superheros? This became apparent when they introduced a black Captain America, but it seems that Marvel is really targeting a ‘woke’ audience and this film is a huge example of that.
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The film was full of surprises and will definitely act as a throwback to every Spider-Man film or video game you’ve ever played.
The audience was super engaged and there were a handful of scenes where everyone started clapping (flight landing style). “I Can’t Dance,” which made the cut, stuffs bluesy guitar into four minutes of corny pop.The new Spider-Man adds a “make love, not war” spin on traditional superhero flicks: We’ll try not to spoil anything for you, but the new Marvel film Spider-Man: No Way Home is definitely worth a watch in the cinema.
An epic such as “Supper’s Ready” (left off this set list) spirals through endless tempo and key changes over 23 minutes. And “The Lamb Lies Down on Broadway,” originally a showpiece for ex-member Peter Gabriel’s operatic weirdness, became a tight gem, uncluttered by grand aspirations. “Follow You Follow Me” got its tenderness and intimacy amplified exponentially. The hypnotic piano riff, wonderful vocal melody and thumping beat of “That’s All” shined. (It should be noted that Collins’ drumming and those layers he put on it changed how people played, recorded and produced drums for a generation).īut when the band rearranged the three songs for just acoustic guitar, electric piano, bass and a compact kit, the songs’ essential elements revealed themselves. As silly as this take might be, often Collins, Banks and Rutherford hide their hooks in overly long song suites or layer them under loads of production. (Occasionally, the group split the difference between Top 40 and prog powerhouse, see “Mama.”)īut the stripped-down mini set at the center of the night proved what makes Genesis magic: good tunes.
The band crushed together minor melodic masterpieces and international superhits “Throwing It All Away,” “Tonight, Tonight, Tonight” and “Invisible Touch” into a roughly 10-minute block. Over the nearly two-and-a-half-hour set, Genesis indulged in plenty of prog: “Firth of Fifth, “Domino,” “Home by the Sea”/”Second Home by the Sea.” It also celebrated its pure pop.
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A “Behind the Lines”/“Duke’s End” medley crashed from the stage like a true progressive rock opus: a series of keyboard and drum crescendoes that could soundtrack either horses galloping across a Scottish moor or the awe-inspiring descent of a “Close Encounters of the Third Kind” UFO.
The stuff Collins, Banks and Rutherford knew wouldn’t come close to the Top 40. Truly a final tour - Phil Collins can no longer play drums because of nerve damage (he can barely walk and sat for 90% of the performance) - the evening opened with the strange stuff.
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