Day: 26 May 2015

  • COMMENT: Unless You Take A Selfie Did It Really Happen?

    Selfies. We’ve all read how that it is the word of the past couple of years. The buzzword that sums up the zeitgeist. They’ve mutated now to the point for the true selfie aficionado, the timer on your camera phone is your New Best Friend. Of course the true classics of the genre still occur in a bedroom or bathroom. Or if really bored, on public transport. Swiftly uploaded to social media with a snappy caption.

    However as a Gay Man, I’m aware of a whole other sub category. This is the locker room selfie. Yes, the post workout shot in a mirror, usually accompanied by words like ”Arms Day!” or ”Making Progress!!”. These are the selfies that invariably elict a groan as they pop up on the newsfeed. Whilst eyeing that half empty packet of digestives with a mix of regret and guilt.

    I know personally I once deleted an acquaintance from Facebook who not only posted a daily locker room selfie (I felt I knew the geography of his gym changing room better than my own kitchen) but also posted an album entitled ”My New Vest”. Twelve pictures. Wearing a new gym vest. From different angles. That was my tipping point.

    Each picture elicited comments of ”Looking Good!”, ”Getting Big Buddy” or an ever articulate ”Grrrr!!!”. And indeed he was impressive, if way out of proportion (it was plainly not often Legs Day). So it was all for validation. Or vanity. Or both. Well, yes. But the cult of the selfie also stems from a basic need for material.

    Newsflash: bodybuilding existed before the invention of camera phones. Also people bought new clothes prior to the dawn of the Internet. But now we live in an age when if something is not documented and uploaded, did it really happen?

    So a self portrait is if not a substitute for conversation, then an artificial starting point for it, provoking comment or ”likes” in a quick, obvious way. And being good at social media is reliant on a constant stream of Something. In a short attention span, sound bite world then it can only exist if we constantly upload the new and the current. We’ve all cottoned on that anything is fair game. A new vest, you on your daily commute to work, a pumped pair of biceps. It’s why Instagram exists at all.

    Every day is Judgement Day. We share glimpses of our bodies on the internet, be it via a post workout snap or a holiday beachwear photo all the time. Now you know what your work colleagues look like in shorts. You may not necessarily want to but… And as human beings it’s virtually impossible not to compare. The sheer number of images that exist makes it inevitable.

    Growing up in the 1970s, cameras were wheeled out on high days and holidays. Having a picture taken was An Event. Something for Christmas, Birthdays or Holidays. Now sitting at home bored and watching telly is an event. A quick fiddle with your iPhone and the world can see your sitting at home, watching telly, bored face. Boredom and the mundane is worthy of being documented in the rush to fill a vacuum with new material to share.

    In a similar way, the accessibility of cameras has changed the way we view our bodies. The naked selfie, like those we send to a potential or current lover. We are part of a generation that can do that. In the old days, which seem like the Stone Ages now, no one would dare take anything ”rude” to Boots for developing.

    Horror stories abounded of the nice lady down the road who was dragged out of the local chemist by the Vice Squad and labelled a pornographer just because her husband was feeling artistic one evening. And Polaroid cameras were all well and good but now we are surrounded by the instant technology for capturing images.

    More means to photograph ourselves means more opportunities to view ourselves. More room for self criticism. The massive world of images of each other that engulf us is a constant invite to comparison. We are now more aware of how each other look undressed. A casual lying in bed on a Sunday morning selfie tweeted to our followers is now not only an invite to judge ones bedlinen but to survey the muscle tone in ones arms and shoulders.

    Of course this is not to say that everybody is frantically uploading near naked pictures of themselves. There are many who never would, which in its own way is just as telling. The absence of a casual (or posed) display of flesh in itself becomes a statement. I have a good friend who swears he would rather die than post a shirt off photo on Facebook as he ”doesn’t have the body”. Not strictly true. He does indeed have a body. He is also a smart, attractive man who exercises regularly. So why the insecurity?

    But also I understand the reason why. In a time where gym selfies have become a genre all in themselves, where fit, well muscled men can upload pictures of themselves and complain they are not yet big or defined enough, then is it that much of a surprise? And yeah, many of those same ripped fitness types are stereotypically vain, egotistical tossers brandishing their camera phones like a weapon. Just as many however look at the pictures and see only what they consider flaws. Just like those of us who never break a sweat.

    That’s the other thing about selfies; we dismiss them a lot of the time as vanity. Yet we still look and judge. We show people a split second of ourselves. It may be contrived, edited but 15 years ago did you ever dream you would see an old school chum straight out of the shower, getting ready for a night out in the privacy of their own bathroom? And what do you think on seeing that? That her taste in bathroom tiles is a bit suspect. Oh and hasn’t she put on a lot of weight…

    Our selfies say a lot about ourselves. How we view each others says more.

    Opinions expressed in this article may not reflect those of THEGAYUK, its management or editorial teams. If you’d like to comment or write a comment, opinion or blog piece, please click here.

  • RESTAURANT REVIEW | Ember Yard Soho

    Ember Yard Soho is Timeout’s number two destination restaurant at the moment. Chiltern Firehouse is their top-of-the-pops. Leaving the reservation arrangements to the last minute meant THEGAYUK had more chance of interviewing Banksy than securing a table a Chiltern. Ember Yard could squeeze, literally, a table for two in at 9.45pm. Leaving plenty of time for pre-dinner sharpeners.

    A busy gentleman greeted us with beaming pearly whites and led us to the table. It’s a good job neither party was of a large persuasion. We were wedged into a corner table, thus making lav trips a bit like putting ya fave skinnies on after they’ve been washed.

    Our waitress Gabriella appeared at all the appropriate moments, guided us through the menu and suggested all our tapas. Gabriella had an air of landlady about her, she was natural and knowledgeable.

    The venue has a cosy, contemporary loft-apartment feel with dark wooden floors, pillars, beams and grey walls. There’s a mixture of seating, from high stalls and counters to tables, chairs and banquettes. All warmly lit by bulbous exposed light bulbs dangling from pipes on the ceiling.

    The place was full of diners that could no doubt walk, or jump in a rickshaw home.

    We went straight in with vino and opted for the Mas Macia Blanc Catalunya 2014. One word in the description pulled us towards this minerally, ripe-apple-enriched number: honeyed. We should have been shooing bees away once the cork was popped.

    Ember’s cuisine is inspired by Spanish and Italian chargrill methods of cooking. The menu is broken up into bar snacks, tapas and a couple of larger dishes to share.

    Each plate arrived as soon as it was ready.

    First up, burrata with chargrilled ciabatta, heritage tomatoes and wild garlic pesto. Gabriella’s favourite. It was like cutting into a chocolate fondant with a melted centre. The mozzarella outer layer hides a buttery smooth core. A great balance of crunch and creaminess all elevated by a right hook from the pesto.

    Next to appear, applewood-smoked bream carpaccio with pomegranate, coriander and bottarga. The sea bream was slightly overpowered by the salty fish roe and coriander. Zesty, delicate and enjoyable.

    To follow, courgette flower stuffed with goat’s cheese and drizzled with honey. If you’re going to clog your arteries with fried food this is the way to do it. The strong flavour from the cheese lifts the courgette while the honey brings a floral element to the dish. The three amalgamate like a pair of Grenson brogues, a crisp-white Burberry shirt and slim-fit Nudie indigo jeans.

    And then, roasted and chargrilled Ibérico pork ribs with quince glaze and celeriac purée. Once we’d tackled the charcoal, fig-like-flavoured crispy shell the meat slid off of the bone. The textures worked. TGI’s should come and take notes.

    The last dish, smoked and grilled beef burger with pickled courgette, chilli jam and scamorza. Perfectly formed. The chilli jam, or chelly, left a sweet but fiery undertone.

    If you need an excuse not to don ya frilly apron and turn the oven on, Ember’s burrata will suffice. We ordered a second.

    Pud came in liquid form.

    One glass of Finca Antigua Moscatel. The first sip unravels a silky layer over the tongue, followed by a sweet frill.

    And a glass of Lazio Shiraz. A peppery and berry perfumed little tinker. Reminiscent of those cherry-liqueured chocolates you get from M&S at Christmas. But much more palatable.

    The bill was a reasonable £106.16. Chiltern Smiltern. We still had enough in the kitty to swing around a pole at The Village, hit the Shadow Lounge and spill into an Uber home.

    Reviewed by Thabian Sutherland
    Ember Yard
    60 Berwick Street
    London
    W1F 8SU
    Tel: 0207 439 8057
    info@emberyard.co.uk
    http://emberyard.co.uk
    STAR RATING: ★★★★ (explained)
    PRICE: £££ (explained)

  • FILM REVIEW | Sexing The Transman

    When the opening credits roll in Buck Angel’s new documentary and you see that it is an ‘I Love My Vagina Production’, you know that this is going to be a no-holds-barred look at demystifying the whole aspect of sexuality of trans men.

    What the charismatic handsome hunky Angel does is fill this highly unusual ‘sex education’ movie with scenes of explicit sexual activity to ensure that we are shocked enough not to forget his message of how liberated these men became after transitioning.

    In a series of in-depth interviews Angel talks to a several FtM (female to male) trans people about how they felt alienated from the bodies that they were born with and their decisions to transition into a male persona. They all had a great deal in common as they discussed the surgeries to get rid of their breasts, and how the effects of taking testosterone changed their lives in ways they never expected.

    Before transitioning some of them had played the traditional female roles with their boyfriends, some of them were in relationships with lesbians, but once all the hormone treatments kicked in, they all seemed to notice that their sexual libido shot through the ceiling and they started to be much more fluid and open to all different types of people to have sex with. Most of them also followed the same route that Angel took and opted not to have ‘bottom surgery’ with the end result that have started to be proud of the vaginas that had disgusted them previously, and now they were being penetrated and actually enjoying it.

    They all unanimously agreed that transitioning had changed their lives completely and for the better. Some of them are now in relationships, some have sex with other FtM guys like themselves, some like sex with men, some others like it with women. In terms of gender they all feel male. In terms of sexual orientation, they are very different – some of them are heterosexual (they like sex with women), some are gay (they like sex with other men or FtM men) and some like to experiment with men, women and FtM guys.

    As an outsider, it is often hard to get beyond our preconceived ideas of gender and the labels that society insists that we all use. One of Angel’s talking heads was the comedienne Margaret Cho who perfectly articulated her take on it all. Her sexuality had been ‘straight’ and then ‘lesbian’ and then she realised that she loved men sexually, and trans men in particular. She now identifies, as being queer as that, she feels, is not limiting and it makes sense to her as ‘gay’ simply doesn’t cover who she is. And she aptly sums up the feelings she shares with many trans men by saying that she is happy with strap on’s…’a dick is a dick, whether it’s been bought or grown.’

    The message that is loud and clear in Angel’s film is that the effects of injecting so much testosterone is that it makes you aware of many more possibilities and that your sexuality is never finite whatever your gender is. I am however also convinced that we would have completely grasped that concept without nearly all of the film’s subjects getting naked and playing with themselves on camera.

    Above everything, Angel is a powerful advocate for making this community visible and giving them a voice, for which he needs to be applauded for.

  • RESTAURANT REVIEW | L’Escargot

    With a rather grand welcome from the fabulously loud front of house, we were taken to our seats giggling as he continued to tickle us with his wit.

    The grand element continues, taking in our surroundings. It’s a posh crowd- a mix of business bods and rich romantics (one couple in particular really should have hired one of L’escargot’s private rooms). The lights are dim, and I find myself sinking into the comfy seat whilst admiring a lot of classic décor touches that surround us.

    We were brought a selection of warm, homemade crusty breads with a moreish tapenade- being advised that the selection of tapenades and bread accompaniments often change seasonally. After forgetting completely where I was and asking for Prosecco in a French cuisine restaurant, we asked the sommelier’s recommendation on the Roses available. Rose has gained a better reputation recently and there are some lovely varieties out there now. We went for the Bandol Rosé, Dom. La Suffrene, C. Granvier, 2013 (£38.00). Which you have to try- fantastic. Their wine list is ridiculously extensive so you have plenty to suit your taste!
    To start I went for the Foie Gras with kumquats & brioche (£18). Despite this being straight from the fridge kinda cold, the quality coming through was great, and they had not messed around with the dish at all- Foie Gras in it’s simplest and best form. Even the word kumquat makes me want to gag so these were left at the side of my plate.

    My friend went for the Six Snails with garlic & parsley (£12). The snails were plump and came easily out of their shell. Great garlic flavour and the oil in the dish made an amazing dip for the bread, of which we were offered more of at this point.

    After our table was “crumbed down”, our mains shortly followed. Clearly I had the taste for suffering that day as what followed my Foie Gras was a huge slab of Veal (£18)- a massive portion of well cooked meat in a light lemon breadcrumb. With the menu being a la carte we ordered a few sides that I found on the small side for their price.

    Green beans cooked in garlic (£5) – perfectly cooked. Dauphinoise (£6) – there is never enough dauphinoise, but this portion of creamy garlic potatoes and cheese was minute. New potatoes (£5) cooked with herbs, these had slightly too much bite for my preference, but I always say rather al dente than mush with vegetables.

    The other main we ordered was the Sea Bass – crispy skin and succulent flesh served with a sauce vert- lemon, cream, parsley. This really was a lovely dish and I’m not normally a fan of sea bass but the execution was flawless.

    So very much looking forward to the desserts at a fine French restaurant, I was not disappointed. Cream cake extravaganza. The tarte du jour (£6) was an almond galette. Uber rich and uber tempting to re-create that Smack The Pony sketch with, where they face plant the dessert tray whilst slurring jibberish-French lingo.

    Double teaming the cream cakes we also took on the Paris Brest – made with choux pastry, hazelnuts and bursting at the seams with cream. So simple but so good my favourite of the two. My love for praline is insatiable.

    The food is very simple, but very well done. For me this is a restaurant serving fantastic food with seasonal changes, and a lovely professional (but humorous) team. I personally feel that the pricing is a little over, but L’escargot has been regularly voted one of the best French restaurants in London, so I would encourage you to take a look and experience for yourself.

    An extra star goes for the venue itself. The venue of L’escargot is huge (four floors). You don’t quite realise being sat in the restaurant how many more levels and rooms there are to the place. With six rooms for hire, I feel this really gives L’escargot a unique edge.

    The different rooms are named simply after the colour of them (Blue, Violet, Red etc.). There is also an upstairs exclusive club which you will need to contact L’escargot for more details on. But it is rather swanky up there, spotting some Versace home ware pieces as we walked through. Ask for the grand tour.

    If you were to become a member it means you can take advantage of exclusive hire of any of their rooms, free of charge. Dinner packages are available pre and post-theatre (2 or 3 courses – £17.50/£21.50).

    They also have a dog-friendly club policy offering complimentary food & treats for your pup.

    REVIEWED BY: Jordan Lohan
    ADDRESS: L’Escargot, 48 GREEK STREET, LONDON, SOHO, W1D 4EF
    WEBSITE: http://www.lescargot.co.uk
    STAR RATING: ★★★★ (explained)
    PRICE RATING: £££££ (explained)
    TIPPING POLICY: There is a discretionary 12.5% service charge added to your bill.

  • FILM REVIEW | Seek

    Twenty-something-year-old Evan Brisby is ambitious. Currently working on a gay magazine that covers the local community in Toronto his hometown, he aspires to bigger things and so sends samples of his writing to The Gazette, one of the city’s daily newspapers.

    ★★★

    He doesn’t get offered a job but the editor is suitably impressed to give him the assignment to write a freelance piece on the city’s nightlife, something that shy Evan is not really an expert on. He does, however, accept the challenge, as he knows that this could be his big break, and he also knows that Aidan his colleague at the gay magazine will be able to connect him up with exactly the right sort of people.

    Aidan comes up trumps and hooks him up with Hunter who despite the fact he is Evan’s age is evidently THE king of the night who runs clubs and hosts parties that are the best in the city. It is also obvious that Jordan quickly takes a shine to his interviewer who is so single-minded and determined to get the best story he can, is totally oblivious to his new admirer. Evan is also distracted by the fact that he cannot shake of the memory of a recent ex who very inconveniently keeps popping up in his mind and his dreams quite regularly.

    This micro-budgeted homegrown movie from first time writer/director Eric Henry is evidently partly autobiographical and besides being a fond love letter to the city of Toronto, is very much about different kinds of acceptance. When Evan is not shadowing Hunter for his article he is still doing his regular writing job that includes interviewing people like the gay couple into fetish sex, or the straight couple who have embraced the husband’s cross-dressing. Even when he is off-duty having a drink he has an uncomfortable encounter with an old man looking for company. Very admirable reminders about everyone needing to find their own path to happiness, but still a tad too preachy and really unnecessary to the flow of the story.

    Kudos to the fact that the production values of the piece that are much higher than one has come to expect from movies of this type. Henry helped this by making good casting calls using Adrian Shepherd-Gawinski a very impressive newbie as Evan, Ryan Fisher as Hunter, and hunky male model/actor Matthew Ludwinski as Evan’s lost love, even though the script he gave them had more than the occasionally grimacing moment.

    The whole affair is an enjoyable boy-lite romance that may not stretch your mind too much, but if this is a genre you like, will nevertheless put a big smile on your face when you see that everyone does in fact live happily ever after in the end.

     

     

  • DVD Review: Silicon Valley

    Where would we be without HBO? They keep churning out good programmes – and this Silicon Valley is no exception. Think Sex and the City with geeks, and penises, and the main characters are all men, and mostly virgins, and did I mention they were geeks? But I think you get my drift.

    ★★★★

    The premise is simple. In Silicon Valley, California, everyone wants to be that tech start-up that gets bought by the big boys for the big bucks – but in order to do that, you need the idea, the app, the techie bit that doesn’t actually matter in this review, but these 5 guys have it. They have come together as part of a hot house, somewhere to work on ideas, in exchange for a percentage of their product – it’s a roof over their heads and someone to bounce ideas off and get help if and when they need it.

    Over the course of the 8 episodes in series 1, we meet all 5, flesh them out as characters and watch as they face the ups and downs of bordering on a genius and totally inept at everyday life – and a potential billionaire. Richard is the idea man, a stereotypical geek, shy, nervous, awkward around people and in crowds, but full of ideas and potential.

    When his product is put before several possible buyers or backers, he’s given a choice – take the money and run but sign away the rights or take some startup funds and sell a small share of his company and also get the business knowledge and guidance needed to succeed in this cut-throat world.

    The rest of the series follows his adventures or mis-adventures with his 4 buddies and their possible backers. It pokes fun at the whole tech world, highlights some of the anomalies, the sheer wealth available, and is host to a lot of in-jokes!

    The cast is made up of pretty much complete unknowns, and the series is the better for that – I liked that I got to binge watch as these boys grew and matured, learning from mistakes as they go along their journey. The writer, Mike Judge, drew on his own Valley experience back in the 1980s and this shows – it needed a gentle hand to make the jokes and still produce something where you care about the characters.

    This is the real deal and cannot wait till Season 2 – yes, I’ve checked IMDb, there is a season 2!

    4 stars – minus one as some of it goes way over my head at times

     

  • Julian Clary To Rub His Ring For Panto

    Punters are you ready? King of Camp, drinker of Blue Nun and fister of politicians, Julian Clary is ready for Panto.

    Following last year’s record-breaking production of Jack and the Beanstalk, Birmingham Hippodrome has announced another all-star cast for this year’s action-packed pantomime Aladdin, which runs from Saturday 19 December 2015 until Sunday 31 January 2016.

    Julian, 56, who will play Spirit of the Ring, (insert ring jokes here) will be joined by MARTI PELLOW, LEE MEAD, MATT SLACK and ANDREW RYAN.

    Julian Clary has established himself as one of the country’s most recognisable and popular stage and television entertainers. He has turned his hand to comedy, acting, presenting, writing and in 2012 Julian won Celebrity Big Brother. As well as his autobiography, Julian has become an accomplished novelist with a number of best-sellers to his credit. He is a hugely- popular panto performer and has headlined some of the biggest pantomimes around the UK, including Dick Whittington at Birmingham Hippodrome opposite Joan Collins in 2010. Julian plays the Spirit of the Ring.

    Hurrah! Get Booking campers.

  • Frameline Festival Has The Gayest Promo Ever

    We have been to a few film festivals in our time but we can say without a doubt that the brand new trailer promoting San Francisco’s Frameline Festival is by far the best we have ever seen It is also probably the gayest too.

    Now in its 39th year Frameline is the world’s oldest and largest celebration of queer cinema. It so worth the trip, that’s if you even need an excuse to visit San Francisco itself. After all, there is no place like here.

    Watch it below

    www.frameline.org

    @RogerWalkerDack

  • Just What Do The Scientologists Call Poppers?

    Are you still calling your favourite inhalant ‘poppers’?

    Well according to the Church of Scientology’s ‘Foundation For A Drug-Free World’ you are so behind the times. They have been touring New York City public schools teaching children about the evils of some fo the world’s more popular recreation drugs. Parts of the information they are imparting are the street names that are now used for inhalants.

    We are not quite sure where/how they discovered these terms, maybe some leading Scientologists filled them in… but calling poppers names such ‘Satan’s Secret” suddenly makes us think maybe we have underestimated them.

    Poppers that is, not the Scientologists.

  • FILM REVIEW | Freaks (1932) Cinema Re-release

    ★★★★ | Freaks (1932) Cinema Re-release

    Hollywood Classics presents a cinema release of “Freaks” – in cinemas from 12th June 2015

    This classic opens with a sideshow barker shouting about his latest addition, without showing it immediately builds some tension, as you want to see this freak. The audience around the cage gasps and screams and so sets the scene for that back-story, the story of how the freak came into being.

    A beautiful circus trapeze artist, Cleopatra, takes an interest in Hans, a dwarf who works in the circus sideshow away from the main ring. She has ulterior motives though as her interest is more about Hans and his inheritance than in Hans himself. Hans has his head turned by this beauty, and forgoes his loving finance to pursue this highflying love.

    What he isn’t immediately aware of is that she is carrying on an affair with Hercules, the circus strongman. At their wedding party, a drunken Cleopatra tells the sideshow freaks just what she thinks of them – huge mistake and this group of friends close ranks and plot. Together, the freaks decide to make her one of their own.

    Tod Browning, the director and producer, drew on his own experiences in the fairgrounds and circuses of America to create this once shocking film. He was given leeway by the studio system to create this horror after his success in creating Dracula. He intentionally showed the “freaks” to be the ones with a code of honour and a sense of justice and the so-called normal cast as the ones with murderous intentions.

    Tod also managed to interweave sub-plots that built on the “freaks” having normal lives, such as the co-joined twins who each have romances, the armless wonder who performs everyday tasks with her feet – remember folks, in 1932, these were shocking images, things never before seen, hence their place amongst the circus sideshows.

    It seems impossible to believe now, but after test screenings in New York, the film was pulled after one lady threatened a lawsuit – claiming the film had been so shocking, she had suffered a miscarriage! The film was butchered and reduced from its original 90 minutes to just over 60, with some of the more shocking scenes removed. There were extended images of the freaks attacking Cleopatra and the scene where Hercules, her lover, is castrated was also removed.

    The initial barker scene was added to give it some context, but despite this and the other cuts, it lost money on it’s second release and despite Brownings earlier work with Lon Chaney and Bela Lugosi, his career was effectively over – Hollywood doesn’t forgive or forget easily!

    The film was considered overly exploitative over here and was banned in the UK for over 30 years but even with mainly negative reviews, some saw this as a masterpiece, a true gem of film-making with even the Rotten tomatoes site giving it an overall thumbs up, stating that time has been kind to this film and the US National Film Registry adding it to its archives as being culturally, historically, or aesthetically significant.

    It isn’t easy to watch, in this age of PC conformity, you do question its making, it’s potential to exploit – but if you can, put that to one side and consider it in it’s historic context.
    Take a peek if you can, in its intended surroundings – aim for a real cinema with Rococo fittings and real organ music. Failing that, go see it at your local multiplex, but DO GO SEE IT.

    A huge 4 stars – not as scary as it once was, but excellent historical perspective and amazing cast

  • Putting The 2015 Ford Focus Through Its Paces

    The common or garden hatchback has had a bit of a rough time of late. With everyone and their dog all after a high-riding SUV like the Nissan Juke or a ‘premium’ hatch like the BMW 1-Series, mass market offerings such as the Focus can be overlooked. The question is, should you ignore the current trends and give one of the old favourites a chance?

    First impressions are very good, the new corporate Ford grille has been criticised for looking a little bit too Aston Martinish (is that really a problem?) but here it’s handsome with just the right amount of aggression.

    Our test car was also painted a striking metallic blue and shod with some tasty 18” alloys wrapped in low profile rubber. Climbing inside this top spec Titanium X model, you are welcomed by a chunky leather steering wheel, half leather seats and Ford’s Sync 2 combined navigation and infotainment system, something you can read more about in June’s tech special issue of The Gay UK Magazine. There’s plenty of nice squishy plastic although premium car fans won’t be impressed by some of the cheaper plastics on the centre console and lower reaches of the dashboard. You can tell the range starts at less than £14k that’s for sure. Nevertheless, there’s plenty of space, everything is clearly laid out and not unattractive either.

    Keyless go means you don’t have to insert a key, just have the fob on you and thumb the starter button.

    The 2.0 diesel fires quickly and settles into a subdued idle, you still know it’s an oil burner but refinement has come a long way even in the last 5 years. Our test car came with Ford’s Powershift dual clutch automatic gearbox, similar to VWs DSG system and promising similar benefits. In almost all situations it smoothly shuffles between ratios with a noticeable shortening of shift speed in sport mode. There’s a built in ‘creep’ mode like an old school auto which makes manoeuvring easy with the car even holding you on the brakes for a hill start. Economy should be as good if not better than the manual too.

    The only fly in the ointment is if you go from pottering about to suddenly needing a burst of acceleration, something that can make the gearbox hesitate for a moment before delivering the performance you need. It never actually caused me an issue but does knock your confidence in pulling out onto a busy roundabout or carrying out an overtake. Sport mode helps but does tend to leave the car in too low a gear while the manual control buttons on the shifter don’t feel particularly intuitive. I get the feeling the optional wheel mounted paddles would be the ideal solution and make you feel like Lewis Hamilton to boot.

    The Focus has always been renowned for its handling so I had high hopes for this latest model even as a diesel estate. As with most new cars these days, the steering is electrically assisted. It’s nicely weighted and gives some feedback of what the road is doing but does feel a little gloopy just off the straight ahead like the wheels are turning in treacle. It’s a minor gripe however and one that most people wouldn’t even notice. In terms of fun and balance, I found the car hampered by having too much grip. This may seem like an odd thing to say but you have to be going seriously quickly to feel the inherent balance of the chassis.

    Once I had found my testicles and chucked it into a bend at speed you could feel the chassis working hard at both ends, resisting the urge to plough straight on and putting a very big grin on my face. I think smaller wheels would not only mean you can have more fun more of the time but you’ll also save a few quid replacing tyres and get a comfier ride. Although the Focus coped well with larger bumps and undulations, sharper ridges could thump through the cabin thanks to those skinny sidewalls. For the majority of people on the majority of journeys though, the Focus would prove to be a safe companion that you’d have to do something very stupid in to get out of shape round a bend.

    Overall the Focus made a compelling case for itself. It looks good, handles well and was very well equipped. It was also incredibly practical with plenty of room for 4 passengers and luggage with even more space if you folded the seats down.

    It did disappoint slightly with regards to economy though, being sensible I averaged around 43 mpg with a mixture of A-road, dual carriageway and town driving. Although this would no doubt improve as the engine loosened up (it was delivered to me with less than 1000 miles), I was still hoping to see better fuel consumption. My biggest complaint however was price. Admittedly I did ask for a fully loaded test car for the tech issue but even still, £29,615 for a Ford Focus diesel did surprise me.

    Personally, I’d be tempted by a lower spec model with a few choice options to bring the price down. At around £20-£22k and optioned with the adaptive headlights, Sync 2 and with less bling the Focus would be very tempting.

    Pros

    Handles well

    Punchy yet refined diesel

    Styling

    Cons

    Low rent interior plastics

    Worse than expected economy

    Price