What a shame to read of the death of Bill Paxton. Not only was he was my wife’s favourite actor, but he had a very, very cool CV: The Terminator, Aliens, Near Dark, just for starters, while his directorial debut, Frailty, was a much underrated horror-thriller. RIP Private William Hudson.
I was kind of double-screening so I’m not sure if I missed something or it was just a bit nonsensical, but…
.. questions in comments
Cult rapper MF Doom and Word Magazine favourite Sade — together at last.
If you think you might like this, then you definitely will.
Sad and mystifying decision. Unlike almost every other message board ever (this one excepted) they were actually useful. I’ve spent many a happy hour working out what Kill List or Denis Villeneuve’s Enemy was all about via threads on the IMDB message boards. I can’t see this kind of info going elsewhere, despite what the owners say.
So anyway. There I was thinking about the different phases or genres of music I enjoyed growing up, how one led to the other and how they formed a little map of my life, when I thought it would be a great wheeze to form a chain of albums to represent these different phases.
Why? Nostalgia, I suppose.
First, you have to decide on your different phases – as many or as few as you like. They could be ‘Thrash, Death, Doom, Nu-Metal, Grime’. Or ‘ZTT, PWL, R&B, TSB’. Mine are:
Post-Punk, Goth, Indie-pop, Baggy, Hip Hop, House/Techno.
What I’ve picked (based on my mood today rather than some kind of definitive best-of) is in the comments below. I’d love for you to have a go, too, but will fully understand if you think it’s a pointless confusing faff.
Bit of a public relations nightmare for Dreamworks and anybody else behind ‘A Dog’s Purpose’. Footage has emerged that seems to show the mistreatment of a dog during the shoot. It’s not a good look for a film that purports to celebrate the special bond between humans and animals, and while all involved say they’re shocked and saddened and looking into the matter fully, the film’s premiere has been cancelled as PETA calls for all right-thinking folks to stay away. The saying that there’s no such thing as bad publicity probably doesn’t apply in this case.
As well as wondering how on earth they can come back from this, I wonder if this sort of thing is far more widespread than we know. How many film crews are currently examining their consciences. Horses in particular seem to get a hard time on film.
Awesome, just awesome.
With the film about to start, our local cinema invites its patrons to relax, sit back and enjoy the show, illustrating this concept with a picture of a young woman whose ponytail is flipped over the back of her seat.
Evidently the cinema approves of this practice. Indeed, they seem to be encouraging it. Nevertheless, it has caused a difference of opinion between myself and Mrs Bangs. Although we’re are agreed that doing this would be wrong on a flight or even on a train journey, both of which involve the need to interact with the back of the seat, we differ on its acceptability in the surroundings of a cinema. One of us say, No, it’s wrong; the other says it wouldn’t bother them.
What do you think?
Year: 2016 Director: Michael Bay
Two and a quarter hours long, about two of which is real-time combat, 13 Hours: The Secret Soldiers Of Benghazi is one for all those who found Black Hawk Down a little bit slow and lacking in action.
Canny enough to namecheck Black Hawk Down as an obvious antecedent, 13 Hours is similarly based on a real-life incident, in this case the 2012 ‘Battle Of Benghazi’, with our plucky, outnumbered grunts facing down wave upon wave of marauding jihadists rather than Somali militia. Real life serves the makers well, shifting the action from a consulate location, where the film’s skill at evoking the sheer noise and confusion of war leaves you wondering, like the grunts, what the fuck is going on, to a second setting where, without wanting to give anything away, things settle down a bit, though with no let-up in the action. There’s a car chase scene which is just wow. More gunfire, night vision, sniper scope and RPG action than you can shake a stick at.
Director Bay, returning to the kind of form he first showed in The Rock, consistently finds new ways of framing the action, producing startling » Continue Reading.
Year: 2014 Director: Greg McLean
The original ‘Wolf Creek’ in 2005 ruled my world with its slow, stealthy build-up, brilliant use of environment, brutal kills and none-more-nihilistic outlook. The story of backpackers meeting grisly ends at the hands of an Outback serial killer, it didn’t do much that was new, but did it with a brio, cynicism and nastiness rarely seen since ‘The Texas Chain Saw Massacre’.
Fast-forward to 2014, when I was among those curling my lip at the very idea of ‘Wolf Creek 2’. It had been a long time. And after all, ‘Wolf Creek’ didn’t need a sequel. It is what it is. Reviews decrying it as a workaday retread lacking those very things that made the original unique served only to reinforce my ‘Wolf Creek 2’ prejudice, and I waved it off the boat.
Click forward two more years to October 2016, when among a treasure trove of birthday gifts was a box set of the ‘Wolf Creek’ TV show, something I didn’t even know existed until that moment. The idea of a series treatment of ‘Wolf Creek’ intrigued me way more than a straight-up sequel, particularly since the cover shows a kick-ass chick with a » Continue Reading.
It’s a tough call to choose your favourite Wu solo joint – between 1993 and 1997 every release was gold. For me, however, the top three are GZA’s ‘Liquid Swords’, Raekwon’s ‘Only Built 4 Cuban Linx’, and Ghostface Killah’s ‘Ironman’, which celebrated its 20th birthday on October 20. There’s not a bad track on the album but the opening, ‘Iron Maiden’ is truly stunning. Better still, this clever chap on YouTube has added the right footage to the film dialogue samples. Happy birthday, Ironman!
Justly famous for his breathtaking freestyles (see YouTube for details), A-F-R-O is being talked up as the future of hip hop. Dunno about that, but I think this is awesome…
Everybody loves King Kunta, right? This cover is good on all levels.
I’m not 100 per cent sure, but I think this may be the first ‘proper’ thing that Derrick May has done since System 7’s ‘Mysterious Traveller’ album in, eek, 2002, while the press release goes even further to say, and I quote, it’s ‘the first record May has worked extensively on for the better part of two decades’. Crikey.
Either way, it’s a pretty heavenly slice of techno the way mother used to make, and has all the hallmarks of the master. I can’t stop playing it.
What does it sound like?:
It’s been a while since there was a genuinely essential Banco De Gaia album. His formula of Whirl-Y-Gig Dub meets Eastern chanting has somewhat calcified over the years, making the last decade a bit of a fans-only experience.
This, however, is something a bit different. The ‘old’ Banco is still very much in evidence: dub, tick, eastern chanting, tick, but there’s evidently been some kind of in-house shake-up, a recalibration of approach, because he sounds fresher, more full of beans than he has in an age. Put it this way, for the last ten years each album has rendered at least one jaw-dropping track and a bunch of filler, but this is soup-to-nuts gobsmacking. Whether it’s the frugging dub of ‘The Princess And The Sky Goat’, the blowsy prog rock of ‘Burn The Witch’, the irresistible exotica of ‘No Hablo Italiano’ — each song seems of a piece, moving the album forward in ways that genuinely delight the ears and stab at the emotions. I’ve tinkered with labels for i: ‘psychedelic dub’ is the one I was going to propose, but the truth is it skitters away from pigeon-holing, and just is. Give » Continue Reading.
We often talk of bands changing our life, and usually mean it in a positive, or meaningful, open-your-mind type of way.
But what about the opposite? Occasionally I wonder if I bought into The Smiths’ I’m-lonely-and-unloved aesthetic a bit too enthusiastically, but that just made me a bit of nobhead rather than effecting any profound alteration. Perhaps it’s simply impossible for a band to change your life for the worst? Maybe bands don’t *really* change your life at all?
Yesterday I saw my first Christmas tree of the year, AND was sent my first Best Of 2016 list.
Any other early sightings?
What’s your favourite? Whole Lotta Love, Kashmir, You Really Got me, Beat It, Song 2….
Last night on Channel 4. It’s been heavily publicised for its strong cast, in particular a return for Robbie Coltrane, as well as its topical subject matter — that of an old school entertainer being accused of historical rape.
Personally I thought it showed promise without being an especially strong episode. It was a little self-conscious: a strange colour palette, the lighting on Andrea Riseborough, Andrea Riseborough’s performance, the are-they-speakers-or-are-they-extractor-fans? decor… And there were a couple of odd, implausible interludes. Did you really believe that he would spend the night with his fancy woman at that exact moment? Do lawyers really come rushing into your home in the early hours? These moments had me doubting the veracity of the police interview, which seemed to be made up of random, but connected personal questions. At first I’d thought, ‘Wow, this must be how they do it.’ Now, I’m not so sure.
On the plus side, Julie Walters and Coltrane were ace, I really liked the music and like I say, I thought it showed promise for the future. No more long dream monologues, though, please.
Any other thoughts?
Being a fan of this track, I was overjoyed to come across a list of the film samples used and thought I’d share.
“Let’s hear some music!”, “We’ve got us some good’uns.” — 2000 Maniacs
“Be with me.”, “Here I go.” — Lifeforce
“Well hot doggie!” — 2000 Maniacs
“This guy is crazy. Okay, you break these windows and get me that body.” — Dead End Kids/Bowery Boys movie
“Soon the frontier will be down.”, “Bow to their new emperor!” — The Last Starfighter
“Alright … Scotty, there has to be.” — Star Trek? (sounds like Kirk?)
“You’re blind, buddy.”
“Pushed to the edge.”, “Pushed to the limit.” — Late ’70s tv commerical for batteries???
“Collection time.” — Deathwish
“Now you’re going to die.” — Supergirl
“Close your eyes, I love you.” — Lifeforce
“You will die, lover boy.”, “One by one. [chainsaw effect]” — The Evil Dead II
“This is our celebration.” “Don’t move now, we’re going to start.” — 2000 Maniacs
These seem to be doing the rounds, some eight years after the event, and they make gripping viewing…
I’ve just read a good piece on The Quietus about the Gang Starr album ‘Hard To Earn’ in which its author Angus Batey talks about a sample used in the track ‘The Planet’. (continued after the break)
Year: 2016 Director: Jean-François Richet
Though Mad Mel Gibson’s forthcoming ‘Hacksaw Ridge’ heralds a return to the kind of directorial event film-making for which he’s famed, he’s been prepping the ground with a series of smaller, mea culpa acting turns, ‘The Beaver’, ‘Get The Gringo’ and now this.
Ergo, ‘Blood Father’ opens with Med Mel – I mean, his character, John Link – confessing all at an AA meeting. He’s done bad stuff. He’s sorry. He wants to begin again. Whether or not you forgive him is irrelevant. The question is whether you want to watch him, and the fact remains that from ‘Mad Max’ to ‘Apocalypto’, whether in front of the camera or behind it, Gibbo’s always turned out fascinating work. Not necessarily good work, mind you, but always with a welcome dollop of ‘what the fuck?’
Here he seems to be channelling his most commercial character, Riggs of ‘Lethal Weapon’. In fact, if you can imagine that Riggs has retired, grown an awesome beard and now works out of a caravan as a tattoo artist, only to be dragged into a violent feud involving his daughter, you’ve got the measure of ‘Blood Father’, both in terms of plot » Continue Reading.
Salut! Comme je suis nouveau sur le site je pensais que je devrais me présenter pour dire que je l’habitude d’être un lurker mais maintenant j’ai décidé de venir pour le plaisir et ébats!
A l’exception de ‘Auf Wiedersehen Pet’, Optimus Prime et Galvatron, j’aime toutes les choses énumérées dans ‘Can U Dig It ?’ par Pop Will Eat Itself, en particulier The Fall, Bruce Lee et ‘The Good, The Bad and The Ugly’. J’aime aussi electronica, hip hop, post-punk, dub, industriel, hard techno, films d’horreur et des romans d’horreur. Je ne veux pas le stationnement égoïste, et je pense secrètement Morecambe et Wise sont un peu trop cher.
Cela me est en un mot. Je l’espère de faire votre connaissance bientôt!