Journey is for me not only one of the best games I’ve played this year, but it is also one of the best games I have played ever. It is a profoundly beautiful, spellbinding, immersive and interesting game that I would play a million times without getting tired. One of its most brilliant elements that I still can’t get over is the magnificence of the score. It completely mesmerizes you from start to finish.
Films starring an array of famous actors and actresses have become increasingly popular in recent years. Unlike who will probably never get that formula right since they have little care for story and the all they see is money, the British aren’t so downright stupid. As it was the case with the excellent Love Actually, the British can create heartfelt romantic comedies with an impressive ensemble work because they know the value of character and story. And when you are lucky enough to have an ensemble filled with veteran actors and actresses, it’s only fair to have a material that will deliver the goods. Such is The Best Exotic Marigold Hotel.
Recent widower Evelyn (Judi Dench), retiree Graham (Tom Wilkinson), couple Douglas (Bill Nighy) and Jean (Penelope Wilton), racist Muriel (Maggie Smith), horny singles Norman and Madge (Celia Imrie) are swept by the promise of a luxurious, entertaining and unique experience of the Best Exotic Marigold Hotel. But once they arrived in India they discover that this so called luxurious hotel is anything but, as the rooms are a mess, the walls are falling apart and so forth. While the hotel might not be what was promised, each attendant gradually discovers the magnificence of their surroundings.
When I saw the trailer for The Best Exotic Marigold Hotel a while back I wasn’t expecting much, but for the film then to deliver one of the most joyful experiences I’ve had with any film this year was utterly unexpected. Even though the film paints an overly colourful, beautiful and positive picture over India that while somewhat believable, still feels a bit too sugar-coated. It is the performances and the presence of genuine character arcs that ground the whole proceedings. Every cast member in this film hits all the right notes as one would expect, most notably though are Maggie Smith, Judi Dench and Bill Nighy.
Maggie Smith is for me the best part of this film. Her dead-pan humour is absolutely hilarious, as practically every single line brought laughs and laughs. Like only a seasoned actress can, Smith makes her racist character very relatable, likeable and joyful to watch. Her character does some questionable things, but you can tell that deep down this is a very caring woman who is simply a bit cynical after the things that have happened to her. It’s really great to see how she changes throughout the film and surprisingly becomes the rock that holds all these other troubled veterans together.
Judi Dench as the protagonist carries most the film effortlessly and flawlessly. While she has some moments of humour, her story is more of an exploration of who she is. This country gives her some answers and makes her realize what is important in life. And how taking risks is truly the only way not only feel alive, but to also make something of yourself. Dench’s chemistry with Bill Nighy is also palpably brilliant and after this film they both should seriously make more films together. Nighy also delivers a stellar performances and has the most raw, heartfelt and brilliant vocal confrontation in the film with Penelope Wilton.
The Best Exotic Marigold Hotel is easily one of the most heartfelt films I’ve ever seen. Director John Madden does a brilliant job at showcasing the great acting talent present, the beautiful local and gives each character an interesting, real and relatable arc. The film isn’t just all smiles, hugs and kisses, as it does touch upon some harsh truths. Moments like that help ground the film and give an air of authenticity that I was not expecting. This is a film that touches every emotional chord and leaves you with a resounding smile. You’ll be hard-pressed to find something as sweet as The Best Exotic Marigold Hotel this year.
The House of Usher by Taylor Eigsti & The Newton Brothers.
Even though Detachment isn’t the outstanding film that it should’ve been, the film nevertheless is full of genuinely beautiful, captivating and impressive moments. One scene that I still can’t get out of my head and will surely remember it throughout the year is the closing scene. The image of the school destroyed, left without any children and with only Adrien Brody reading is utterly haunting and full of meanings.
10. Why Does My Heart Feel So Bad? (Katcha Remix) by Dawn Tallman.
Chill techno music, in my opinion, has never as amazing, up-beat and addictive as in this song right here. From one of the most underrated films (Millennium Mambo) I’ve ever seen, this never gets old.
9. Final Movement (feat. “Not at Home”) by Clint Mansell.
I love Clint Mansell and while I’m absolutely enamoured with his more epic tracks, I think it is during the quiet, tender and mournful ones where he excels unlike no other. This song hits all the right notes and delivers a beautifully poignant experience.
8. I Don’t Want To Wake Up by Metric.
Kicking off the double dish of Metric for this list is one of the tracks from the upcoming Cosmopolis. The main reason why I’m extremely excited for that film is both because of David Cronenberg and the soundtrack collaboration between Howard Shore and Metric. It’s a visceral, haunting, aggressive and great soundtrack that everyone needs to listen to.
7. Nightmare by Artie Shaw & His Orchestra.
You might not recognize the title or the artist, but I assure that once you listen to Nightmare you’ll recognize it immediately. This is one of those go-to dark and moody jazz songs that is used constantly in TV and films, most notably in Martin Scorsese’s The Aviator.
6. Goodbye by Apparat.
There are few songs that are able to place you in a complete trance from the get-go. Goodbye is such a song and not only that but it also delivers a brilliantly haunting experience that will stop dead on your tracks. When such a beautiful song comes all you have to is sit still and be drown in its atmospheric genius.
5. Lost Kitten by Metric.
Took me a few listens but I am now fully on board with calling Metric’s Synthetica one of the most enjoyable albums of the year. For the most part it is really playful and cheerful which is a bit odd for Metric considering their last album, but like the great musicians that they are they make it work. Moreover, they also utilize the current sort of obsession with electronic music and use it in a way that while catchy still feels different and belonging specifically to them.
4. Fjögur Píanó by Sigur Rós.
A lot of comments have been said about this track, more specifically about its music video. Yes, Shia Labeouf shows his lepenis but if you look pass that nudity you’ll see how insanely beautiful and heartbreaking that video is. Sadness and desperation run deep in those tragic images, and all through that we get an even more beautiful piano by the constantly genius Sigur Rós.
3. Eyes Like Ours by Tiny Vipers.
I find that if I’m feeling sad I usually opt to listen to really depressing music. There is something cathartic, I think, about somewhat wallowing alongside a song that is utterly raw and emotional. Tiny Vipers is able to convey such a vulnerability with every word that it just fractures your heart.
2. Hot Knife by Fiona Apple.
Fiona Apple is back! Nothing these couple of months has made me happier than that. Her self-indulgently but greatly titles album, The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, is rapidly becoming one of my favourite albums of the year. Every song is stellar in every possible way, but the one that caught me off-guard since the first listen was this one. Lyrically it is overtly straight-forward, but in true FIona Apple nature she makes it work much better than it probably should. It is addictive, strange and fucking awesome.
1. The Science of Imaginary Solutions by Autolux.
I’ve been obsessed with Autolux for a long while now and the main reason for that is this song. I’ve heard some brilliantly haunting songs before, but The Science of Imaginary Solutions is constantly blowing my mind away. Starting with brooding and intimate mood it elevates itself into a powerfully devastating song that also manages to sound like a twisted electronic lullaby. It honestly never ceases to amaze me.
As always thank you for reading and here’s the link for the entire list.
Just got home from seeing it and I absolutely loved it. The chemistry between Carell and Knightley is fantastic. All I can say is the trailers are very misleading. It’s not nearly as much of a comedy as they made it seem which I’m quite happy about.
I’m really glad to hear that. From the trailers I felt like they weren’t going to take their own “end of the world” premise seriously.
Metric’s Synthetica has become my go-to album to listen while I work. After who knows how many listens (almost 8 hours worth I think), I can safely call it one of the most enjoyable albums of 2012 so far. And this song right here is just amazingly addictive.
Have you seen or plan on seeing "Seeking a Friend for the End of the World"? Just wondering about your thoughts on it.
I haven’t see it yet. I don’t think I’ll be seeing it any time soon though. The film is getting a somewhat limited release and it’ll never arrive in the town where I am right now. Hopefully once I get back to montreal it’ll still be there, if not then once it’s online I’ll check it out.
It looks interesting and quirky. I want to see how the interaction between Steve Carrell and Keira Knightly is going to work out. Have you seen it?
Anna Karenina: While at first it would seem like familiar ground for Joe Wright to direct a new version of Anna Karenina, I’m fairly certain no one expected it to look this fucking amazing. From a purely aesthetic standpoint it is absolutely stellar, awe-inspiring and breathtaking. Then we have the performances which seem just as brilliant, especially from Jude Law and Aaron Johnson. I smell OSCAR.
Monster University: I was never a big fan of Monster Inc. and this prequel just seems like a waste of time. All I keep thinking is: UNNECESSARY!
Breaking Dawn, Part II:
Dredd: the visuals and the action look solid. A bit too tongue-and-cheek for my taste, but having Lena Headey as the villain is enough for me to be super excited. Let’s face it, she should be the villain for every single thing. Also, is this The Raid but in the future? I like it.
Besides being extremely happy to have new music by Fiona Apple, I have to admit that The Idler Wheel has surpassed all my expectations. It is a fascinatingly brilliant, vulnerable and surprisingly aggressive album. And so far this is my favourite song.
Meet Roger Brown (Aksel Hennie), a blonde 1.68 meters tall headhunter living the luxury life. He has a beautiful mansion, an even more beautiful and expensive wife named Diana (Synnøve Macody Lund) and so much more. But even the paycheque of a successful headhunter isn’t enough to satisfy his or his wife’s needs, so Roger moonlights as an art thief. With a specific selection of rules to follow, Roger has found great wealth in stealing art but he is still in the lookout for that one massively expensive heist. Such a thing comes along when Diana introduces Roger to wealthy man named Clas Greve (Nikolaj Coster-Waldau) who just so happens to possess a painting worth north of 50 million. As he sets up to steal the painting, Roger is plunged into an intricate trap that sees everything he holds dear at risk.
Even though 2012 so far hasn’t been an outstanding year for foreign films, especially since I haven’t been able to see that many, the few that I’ve seen have managed to be pretty outstanding. And as whole I think it is fair to say that Headhunters is easily one of the most thrilling and awesome foreign films I’ve seen in a very long time. At first glance the film and its protagonist echo Daniel Craig’s character in Layer Cake. Like him, Roger Brown is a wealthy and very smart man handling a risky business who does not like violence. However, Brown is an infinitely more interesting character that Craig’s ever was and it is all largely thanks to both actor Aksel Hennie and story itself.
At the beginning of Headhunters we are introduced to a very confident Roger Brown, but with the introduction of Clas Greve things start to deteriorate. First is his suspicions of his wife’s infidelity, then there’s the fact that his greed and desire for that big score blinds him to the truth behind Clas Greve. Greve isn’t just some wealthy businessman, he is something else entirely, something much more dangerous that challenged Brown in almost every way. It is really amazing to see a film put his protagonist under such overwhelming scrutiny so much so that throughout most of the film you genuinely have to no idea how Brown will survive or if he will. Every challenge screws him up and forces him to not only question who his friends really are, but also makes use his brain to come out alive. The twists almost never end in Headhunters and the best part about them is that they feel natural. At no point do you feel like things happen for pure entertainment, instead while remaining exciting they are in service to the character.
Actor Aksel Hennie is right there with all those challenges and delivers an amazing performance. He is perfectly smooth, confident and cool at the beginning when his character is putting a front, but then later on when that all dissipates the character is revealed to be a very fragile, fractured and unsecured one. Hennie is at his best during those latter moments when he displays that vulnerability and humanity that we didn’t know was in him. There is a scene between him and Macody Lund who plays his wife that is so tender and heartbreaking that it perfectly sums up all the greatness of this film. Just like Hennie, the two other main cast members are also brilliant. Macody Lund is great and I really liked how her character was revealed to not cliche or generic at all. And Nikolaj Coster-Waldau is absolutely brilliant as the villain of the piece. He is so suave and awesome that you almost want him to win.
Headhunters was a real surprise for me. I went into it expecting nothing and I left with an overwhelming desire to watch it once again. Headhunters delivers on every single front from its stellar action pieces to its unpredictable and constantly exciting story. The acting is first-rate across the board with Aksel Hennie delivering one the most memorable and brilliant performances I’ve seen so far this year. He owns the film from start to finish and presents a character deep in layers that is refreshingly intelligent. Headhunters has a lot of twist and for the most part you will have no idea where things are going. It keeps you guessing till the very end and delivers a genuinely thrilling experience.
After a couple of listens I still don’t know how I feel about Metric’s new album. On the one hand I like the story and themes they are dealing with, but it feels a bit odd since the whole thing sounds so cheerful and happy. Either way, this is the only song that I can’t stop listening to.
Disappointment is a bitch. Even though it may be the product of a variety of things, I’ve found that when it comes from films it touches upon a very specific nerve. There is something about being extremely excited about a film so much so that it populates your thoughts constantly and its what keeps the momentum going. Such anticipation is a double-edged sword, as it can both lead to something that will blow your mind or it can lead to complete destruction. Hyperboles aside, I fucking hate when a film that has so much potential and looks so awesome ends up being anything but. Every once in a while this will happen to me and this year it came from Ridley Scott’s Prometheus.
I saw the film last weekend and ever since then I’ve been trying to figure out and piece together the reasons as to why it failed. If you enjoyed the film then let me tell you how jealous I am of you. I so very much wish I could enjoy it and love it as much I wanted, but the truth is the more I think about the more I dislike it. Of course, Prometheus is not a film completely devoid of merit, because it does get some things right. The visuals are spectacular, the acting is superb especially from Michael Fassbender and the score minus this fucking abomination is actually pretty amazing. However, what I will focus on here is on the things that it got wrong. Now I am not doing this to make you hate the film or show you why you shouldn’t like it. What this basically is is an exercise in the way the film is constantly contradicting itself and opts to adhere to a set of norms that, considering the pedigree of the people involve, seems awfully stupid. Massive spoilers ahead.
To Think or Not To Think? Actually Don’t Think.
One of the great things about Prometheus that I thoroughly enjoyed and praised, since they deviate from the previous Alien films, are the existential questions. It’s very rare for a studio-produced summer blockbuster to dwell in themes about creation and raise question about the biggest mysteries, like: Who created life on Earth? Was it Gods? Was it natural? What do our creators think about us? Etc, etc, etc. A lot of Prometheus, in a thematic sense, is about that search for creation and its overall purpose. Suffice to say that the film is actively trying to make you think and start up some discussions dealing with those questions and themes. Some things are fairly obvious while other are more ambiguous, which if you know me is something I really enjoy. Being concrete sometimes defeats the purpose and I raise my hands and applaud at Prometheus for being obscure.
Having said that, there two ways in which the film contradicts this sort of desire to make you think. One way is through downright stupidity and the second is through laziness. For a film that asks me to think so much it is really fucking detrimental how once I start doing that I find not only an overwhelming amount of plot holes, but also how at the core every character in this film minus David (Michael Fassbender) is suffering from horror-film syndrome. For example, how is it that the person responsible for mapping the huge pyramid and navigates everyone in there gets lost on his way out? Or even more alarming, how is it that all these so called scientists act like scared dumb teenagers? Oh there’s a weird penis-shaped slimy worm coming out of the black water, let me go touch it because it clearly won’t fucking grabbed my arm and them shove itself down my fucking throat. Oh here’s a preserved heard from one of the engineers, let’s stick a rod up its ear and make it think it’s alive because that clearly will give us answers instead of making the only evidence we have to fucking explode. What the flying fuck? Every so-called scientist here is anything but that. They are all so fucking stupid and it’s that sort of stupidity that serves only one purpose: advance the plot. If there is something I genuinely hate about any film is when plot points are used in a forceful manner. When characters only act to service the plot it’s like basically grabbing my face and taking a massive shit on it. This is exactly what I felt when Rapace’s character out of fucking nowhere brings up the fact that she can’t have babies. It’s like the writers thought, oh we have to sort of set up the birth scene so let’s just put this thing about Shaw’s inability to reproduce and then of course follow it up with a sex scene and no real emotion or serious weight.
Advancing the plot at the expense of logic and everything else is recurring theme in Prometheus. Take for example the storm whose only purpose is to separate the group, or the birth scene which is there basically to sort of explain the birth of the alien we know and love. And for the record, why isn’t that birth scene referenced later on? David mentions something in passing, but the scene itself has no weight on any of the characters. It was a damn exciting and awesome scene, but totally wasted in the context of the film. Stuff like that really pissed me off. Then there are the scenes that serve absolutely nothing except give the illusion of excitement. These scene I’m guessing were placed there because the studio demanded some sort of action-set piece to justify them spending so much money on the film. Such scenes include the attack on the ship’s hangar by the zombie ginger scientist. What really bothered me about that is that first and foremost there is no real sense of danger. We don’t know the people who get killed so we don’t care. There’s no involvement there and the fact that the scene isn’t ever referenced afterwards makes me think that no one else in the ship cared. The scene looked cool I’ll give it that, but when an action scene has zero immediacy and involvement it should be deleted.
These leads us to the third act of the film in which practically everything good is thrown out of the window. Not only is the third act a rushed and overly generic one, but it also puts into perspective how misguided and straight up lazy the filmmakers were. When I say laziness I mean it in the sense that the writers opted to simply rush things, make everyone act stupid and overtly withhold any answers. In here is where ambiguity reveals itself to be damn stupidity. One thing is to be ambiguous, but it is a totally different thing to not give us answers because you want to save them for the sequel. This is fucking frustrating, underwhelming and makes everything look so pointless. If this is all in service of the sequel that we will probably never have then why bother? Why not make a film that is genuinely smart and not just pretending to be? Why would people of this caliber adhere to generic norms that serve nothing other than make people want to kill puppies?
You know what hurts the most? What really makes me just scream in rage? The fact that if the people involved made better decisions, Prometheus could’ve easily been the next masterpiece of science-fiction. There is a balance between having exciting action packed moments, thought provoking things and then combining them all in a natural manner. Characters can act in service of advancing the plot but it has to come from a natural place, it has to be set-up and then referenced later on. One can’t just shoehorn something because the plot demands it and then dismiss it entirely. Otherwise it is all so fucking pointless and that’s what I felt at the end. I walked out of Prometheus with disappointment and feeling like I wasted my time. And that scene at the end that shows the alien was laughable. I said this in my review but for a film that actively tries to set itself apart from Alien, Prometheus really felt the need to constantly reference it in a such a way that actually destroys the whole mystery, mythology and wonder of the unknown that Alien established so perfectly.
If you asked me: would I see Prometheus again? I would answer yes, because as much as it frustrates me the visuals are really something special. The visuals are spot on so much so that they constantly demanded to be in a better film. It similar to what I feel with Zack Snyder’s Watchmen. That film from a visual point is perfect and even though it gets much more things right than Prometheus, it is still a major disappointment.
After watching the trailer a couple of months ago, Rust & Bone quickly became one of my most anticipated films of 2012. It looks like it has a compelling, emotional raw story packed with outstanding performances. I had no idea that Alexandre Desplat was scoring the film and so far this score is all I’ve been listening to today. It’s tender, sentimental and beautiful.
you were too kind to prometheus in your review. that said, i googled life of pi preview, and I guess the IMAX showing didn’t feature the sneak peak. I am really excited to see Life of Pi. Maybe then I can get people to read it.
I agree. I think the part of me that really wanted to love it hasn’t fully processed all the disappointment. Having said that, Prometheus is nowhere near a bad film. It’s just not special either.
I was actually surprised when the preview for Life of Pi came up. I saw Prometheus in the shittiest theatre ever and we usually never get those special previews and stuff. I loved every second of Life of Pi they showed. The 3D is at Avatar-levels of greatness as well as the special effects. Curious to see how the whole things turns out.
Unlike 2011 which was the year of sequels, 2012 is a year that sees most of the known directors either tackling groundbreaking book adaptations, creating something entirely new or in the case of Ridley Scott, revisiting the genre that placed him on the map. As the director of two of the greatest science-fiction films ever made, everyone was extremely excited to hear that he was not only coming back to this genre but also delving into the mythology of Alien. Even if Ridley and co. actively tried to make us believe that Prometheus had nothing to do with Alien, the trailers proved otherwise. They promised answers to many question like, “who was that space jockey?” and showed an intense and awesome picture. Expectations were high for Prometheus as most people, myself included, were hailing it as the best film of the year without even seeing. Is Prometheus all the we hoped for? Or has the hype painted a different picture?
During Elizabeth Shaw (Noomi Rapace) and Charlie Holloway’s (Logan Marshall-Green) expedition in of the isles near Ireland, they discover ancient paintings on the wall of a cavern that further prove one of their theories. They’ve discover a strange compilation of circles in the paintings and carvings of various races that lived decades and centuries from each other, suggesting that they all had the same creator. This leads them to contact the Weyland Corporation and years later, these two doctors are on board the ship Prometheus on their way to a Planet they theorized might hold all of the answers. Once they arrive, Shaw, Holloway alongside Meredith Vickens (Charlize Theron), captain Janek (Idris Elba) and android David (Michael Fassbender) make another discovery that will threaten everything they’ve known.
Before we get to what I personally felt towards Prometheus, lets give credit where credit is due. If you’ve seen any Ridley Scott film you know that the man has an impeccable eye for visuals. Scott can make even the most grounded and mundane things look spectacular. With Prometheus, Scott has delivered a film whose majestic aesthetics scream masterpiece. Taking a cue from the master of visuals, Stanley Kubrick, Scott opens Prometheus with a haunting sequence of a planet followed by strange rock formation in said planet. That first sequence sets up the hypnotic, visceral and darkly beautiful nature of the film and it is a style that becomes stronger as the film progresses.
Enhancing the spectacular visuals are the special effects. It is refreshing to see a film use special effects no exclusively for action scenes, but instead to enhance atmosphere and create progressively intense and scary sequences. While the nature shots in the beginning were great, it is the later shots of the ship Prometheus as well as the strange planet itself that take centre stage. They are amazing and when the special effects kick in during the unleashing of the creators, the film turns into a massively intense ride that exhilarates from start to finish. As far as I’m concerned, nothing this year has come even come close to imagery you will see in Prometheus. The visuals are in a league of their own and are the principal reason why I would watch this film again.
Continuing with that exhilaration are the great performances by the actors. All of them are effective, but the three outstanding performances come from Idris Elba, Noomi Rapace and Michael Fassbender. Elba is awesome as the captain of Prometheus cranking up the charisma to unbelievable levels. On paper his character doesn’t seem like much, but Elba is able to turn the captain into an increasingly interesting and enjoyable entity. You can feel that there is so much more to him, especially when he starts making some questionable decisions. Elba steals every scene he is in and is a character I would’ve love to spend more time with.
Rapace, who blew people away in the Millennium trilogy, is also great in the film. She delivers a performance that is likeable, empathetic and different from what we’ve seen before. Her character starts off very idealistic and naive, but through the events she experiences changes into a strong, awesome and at times disturbing individual. Many people said that Rapace’s Elizabeth Shaw is the new Ripley, which is not the case at all. Yes, they are the protagonist but they are also very different characters. From a visual perspective Rapace gives nods to Ripley, but the way she plays Shaw is wholly different.
But the absolute best is Michael Fassbender who plays android David. Fassbender is an actor that surprises with each film he makes always doing things differently. With David, Fassbender truly becomes an android by displaying a physicality that is award worthy. The way he stands fully erect without blinking and with childlike innocence and curiosity in his eyes is spellbinding. I was so glad to see him have such a big role in the film, you can tell Ridley Scott knew he had something special with Fassbender. Moreover, his character is easily the most interesting and engrossing of the bunch. Even when he makes choices that threaten everyone on the ship, you never stop liking him. Fassbender is able to inject the character with such a degree of empathy that you in a way want him to succeed. There’s always something going on behind those eyes and eerily robotic stance. Plus, his character represents a great fold for the main themes explored in this film.
Having said all that, I would be lying if I said that I wasn’t extremely disappointed by Prometheus. Every once in a while it dawns on me that having expectations for a film is really detrimental and in the long run easily opens the door for disappointment. As someone who absolutely loves Blade Runner and Alien, I expected Ridley Scott’s return to science-fiction to be similar to those films. I expected a film that would redefine the genre once again or at least to showcase an original and innovative story unlike anything I’ve seen. Unfortunately, Prometheus was not that. Is the film good? Yes. Is it different from everything else? No. Prometheus tells a story filled with interesting ideas that are never truly realized. The film opts to establish more question than answers and for the most part they aren’t questions I cared much for by the end.
Even more disappointing is the fact that once you get down to it, Prometheus is a terribly predictable film. It follows the same format that Alien did, only that this one has better special effects. Also, I felt that a lot was left in the cutting room floor. In some instances certain things were introduced about some characters that felt very forced and whose only purpose was to set up a plot point. Many of things Prometheus deals with feel force, especially those relating to Alien. For a film that Ridley Scott himself says was different from Alien, he sure likes to constantly reference Alien in an attempt to enhance the mythology. Unfortunately, most of the time those references are cool but don’t feel natural and the closing scene ranges from laughable to unnecessary. Prometheus is more concerned with hinting at stuff and then dropping them. Promising something extraordinary and then settling for ordinary. The third act especially is both misguided and stupidly rushed setting things up too obviously for a sequel.
I genuinely wanted to love Prometheus and if you’ve spend time with me recently you’d know that this is the film I been dying to see all year. This is the film that I said would be the Inception of 2012, the masterpiece that we all needed to see. Coming out of that film and pondering on it further, the only thing I feel is disappointment. Prometheus only met my expectation with its aesthetics, but everything else was underwhelming and for someone like Ridley Scott somewhat tame and generic. Do not get me wrong though, Prometheus is a fine film and so far in 2012 it is easily one of the most interesting. It is exciting, brutal and with all the ingredients for a increasingly entertaining film. However, if you’re expecting it to be the next Alien or Blade Runner, Prometheus will disappoint you. To be honest, the only genuine thing I loved about going to see Prometheus was the clip of Ang Lee’s Life of Pi that played beforehand.
thats the whole fucking point Red hill is supose to be a modern western/action film with horror and slasher overtones, see the films trailer thats exactly what it was marketed to be, your like the only person ive ever seen give it a bad review, so just consider yourself wrong
Took me a while to first remember what Red Hill was and then to find my review for it. From what I gathered, you’re basically saying that I didn’t get the point of the film in terms of its combination of genres. I did get that and even so it was an overwhelmingly dull film. Maybe it’s not a piece of shit but it isn’t anything remarkable either and I wouldn’t recommend to anyone. Red Hill is just one of those forgettable b-style films.
P.S. The argument “you don’t agree with me therefore you are wrong” is an incredibly stupid and ineffective one. Gimme some better reasons why I should care about Red Hill. Good luck.
The Young Person’s Guide To The Orchestra, Op. 34: Themes A-F by Leonard Bernstein.
Even though I’m not a fan of Wes Anderson’s films, I think Moonrise Kingdom might finally be the film to change all that. And if this soundtrack is any indication, Moonrise Kingdom is going to be en exhilaratingly fresh and awesome film.
I think that a lot of people went into Snow White assuming they would hate it and, because of Kristin Stewart, were extremely biased. It's hard to find good qualities in a movie if you're going into it with that sort of mindset.
Totally agree. Unfortunately Kristen Stewart gets a lot of bad rep thanks to complete awfulness that are the Twilight films and because of that most people think she is just a horrible actress. She gives bad performances in those films, but in anything outside of Twilight she is actually pretty good. Not groundbreaking by any means, but very effective and interesting.
I imagine a lot of people saw her in those medieval sword-wielding scenes and just laughed. I didn’t know how she would fit in that kind of world, but was pleasantly surprised by the fact she blended in really well. I guess people just need to be a bit more open minded and not hate on a person just because they are par of an awful franchise. I’ve learned that with Robert Pattinson who keeps somewhat surprising me with the stuff he does outside of Twilight. Can’t wait for Cosmopolis!
Yes! She just wasn’t charming enough. That and the story lagged. Plus not enough Charlize Theron.
Has she ever been charming? I think she’s interesting to look at, but not an actress that exudes charisma. I guess I didn’t mind that so much because since her Snow White was more numb and stuff. And also when you have Chris Hemsworth next to you, there is no way you’ll ever out-charm him.
But I agree about the story. It was just meh. Definitely could’ve been much better and interesting. They lost an opportunity on that front, but I can’t say I expected Pan’s Labyrinth levels in terms of story.
I was sadden by the state of Winterfell in the season 2 finale. People who watched the show grew admiring and feeling a certain kind of affection towards it. It was one of the few places were honourable men and women actually lived.
Every time I write one of these lists I always tell myself that’ll make it a weekly thing. But as it is usually the case that never goes as plan. Instead you’ll get them every couple of weeks and to be fair, I haven’t heard that much new music that deserves mentioning. That’ll definitely change in a couple of weeks with Metric and Fiona Apple releasing their new albums. But for now, here’s the 10 songs that I believe deserve your undivided attention:
10. Beach by West Indian Girl.
Summer is finally here and with all the joy, fun, sun and relaxation that brings.
9. Myth by Beach House.
To be perfectly honest, I have no idea what’s happening in this song. All I know is that I’m constantly playing it at work and it just fits with whatever I’m doing. It’s soothing, energetic and cool.
8. Sail by Awolnation.
One of the reasons why I continually watch So You Think You Can Dance is because these dancers always introduce me to new awesome and obscure music. Most of their song selections are so spectacular that besides being in total awe of people’s dancing, I just feel an overwhelming need to become their friends. This song by itself is cool but go watch it alongside the guy dancing, it will blow you away.
7. Automatic Systematic Habit by Garbage.
Garbage is one of those bands whose songs I like, but I am not a die hard fan by any means. Them making new music isn’t a totally eventful prospect, but after listening to this song I’m going to have to reexamine my feelings towards them. Their new album is Not Your Kind of People is fucking awesome and this intro track is adrenaline pumping brilliantly relentless song that get you high, drunk and jizz.
6. This Ain’t The Way To Live by Funki Porcini.
Another show continues to be one of the greatest sources for new music for me is Misfits. Whoever makes the song selections for the show is a genius and this song right here is a perfect example of that. Used during a moment of inner turmoil in of the episodes, This Ain’t The Way To Live is a haunting instrumental track that as mesmerizing as it is memorable.
5. Just A Touch by AlunaGeorge.
Besides being my current obsession, AlunaGeorge is the type of band that needs to be on everyone’s radar. Their style of pop is not only fresh and awesome, but after the first listen you’ll feel an overwhelming desire to listen to them over and over again. I recommend downloading their fantastic EP You Know You Like It.
4. The Here and After by Jun Miyake.
Perfection. Nothing more.
3. I Follow Rivers by Lykke Li.
Ever since Youth Novel I’ve been in love with Lykke Li and if you still haven’t checked out her excellent album Wounded Rhymes you should be ashamed of yourselves. Almost every song in it is spectacular, thoughtful and interesting but as a starting point I Follow Rivers is perfect.
2. Rize of the Phoenix by Tenacious D.
Not many people liked The Pick of Destiny and while I didn’t enjoy all the songs, the ones I did I loved. Rize of the Phoenix has everything that makes Tenacious D a constantly enjoyable and awesome band: self-mockery, insane guitar riffs, randomness and Jack Black’s badass vocals. Plus it is insanely addictive and much like the rest of their new album, an instant win.
1. The Rains of CastAmere by The National.
For those unfamiliar with Game of Thrones, I am afraid this song will not affect you as much. But nevertheless, the son carries with it a strong and brooding vibe that will haunt you for days and days. For those who already heard it during the credits of Black Water, I am sure you still can’t get enough of it. It’s such an amazingly powerful song with so many meaning attached to it, I fucking love it.
As always, thank you for reading. Here’s the link for the entire list.
I was really curious to see how the wildfire would be portrayed in the show. All expectations I had were quickly met and then decimated, as that was by far one of the coolest things I’ve seen of any TV show ever. That was just a perfectly crafted sequence with all the tension leading up to it and delivering a bombastically awesome end.