Eurovision Leadup 2015 – Semi-Final 2 AKA Bringin’ It Home…

We’re in the home stretch now with bare hours to go before the first semifinal is shown live here in Australia for the first time.

You cannot conceive how much coffee I’m going to mainline once I’m done here. Anyway:

23. Lithuania

The opening act for the second semi is cute and preppy, and while Monika Linkytė and Vaidas Baumila clearly work well together, “This Time” has an awkwardness about it that detracts from the overall experience. I don’t see this going beyond the night.

24. Ireland

Ireland has stripped it right back to basics with their entry “Playing With Numbers”, which can be a surprisingly effective choice. And while its within the style of what she’s attempting to do, Molly Sterling (great name) seems to be all over the place with her vocals. But, if she sticks it on the night, she could be in with a chance.

25. San Marino

San Marino has been steadily improving with their entries over the last few years, getting into the final in 2014, This year, they’ve sent the youngest duo in the contest’s history; 16 year olds Anita Simoncini and Michele Perniola.

“Chain of Lights” is not a bad song by any stretch; not a lot of baroque pop these days after all. But I think it will be lost in the songs around it.

26. Montenegro

Given they got to the final with a similar strategy last year, Knez’s “Adio” (“Goodbye”) is very much a case of if it ain’t broke, don’t fix it.

I get the feeling that Knez will be able to own the stage on the night, and should be a lock for the final.

27. Malta

Wait, wasn’t there already a song called “Warrior” on the docket??

Well. This could get awkward. Has this ever happened before?

Well Amber puts in an excellent effort, I don’t see this beating out the other song with the same title. Then again, it could be fun if both got in…

28. Norway

Huh.

A surprisingly dark ballad from Norway with “A Monster Like Me”. Eurovision needs more Villain Songs, and this one is a great contender.

Of all the duets this contest (and good lord, there are a lot of them this year) Mørland & Debrah Scarlett are the pair that have impressed me the most so far. I’m looking forward to this.

29. Portugal

Leonor Andrade looks angry in this film clip, and “Há um mar que nos separa” (“There’s a sea that separates us”. Great title.) feels like it should be a much angrier rock song. The problem here isn’t Andrade’s singing; the musical arrangement is failing her, making this feel bland overall. It’s a pity, but this won’t go further.

30. Czech Republic

It’s been six years since the Czech Republic fielded an entrant to Eurovision; I don’t think I was examining the songs back then. The country’s track record has also been pretty dismal. However, Marta Jandová and Václav Noid Bárta put in a solid effort with “Hope Never Dies” and hopefully will retain some lost honour.

31. Israel

Well, “Golden Boy” is surprisingly catchy. French-Israeli singer Nadav Guedj is the youngest entrant this year, with a surprisingly mature voice. But while he can sing, I found his charisma and stage presence lacking in this clip. We’ll see how well he manages to work the stage on the night, as that will make a huge difference. The end is cute though.

32. Latvia

From the land of Doctor Doom, possibly their most striking entrant in some time. Aminata is belting it out during the chorus of “Love Injected”, making a fascinating contrast to the minimalism of the song proper. This will be one to watch out for.

33. Azerbaijan

“Hour of the wolf”, huh? Well I love the title at least.

And it’s not just a good name either; singer Elnur Huseynov brings it with this ballad. Azerbaijan is no stranger to the final at Eurovision, and I reckon this song is a lock.

34. Iceland

Icelandic singer Maria Olafs has an impressive voice, and the song “Unbroken” benefits from her powerful performance. I expect this will probably make it to the final at least.

35. Sweden

It initially doesn’t sound like this song should work; there’s a strange undercurrent to the sound initially, but Måns Zelmerlöw blows all doubt away in the chorus of “Heroes” with powerful vocals and great presence. This will do very well on both nights.

36. Switzerland

This oddly feels like a bit of a mess. Mélanie René has got a good voice, and  “Time to Shine” suits her well. But it seems to lose itself as it goes along. This will probably make the middle of the hunt.

37. Cyprus

I have a soft spot for guitar ballads at Eurovision, and “One Thing I Should Have Done” is a good entry for that. John Karayiannis displays some incredible levels of talent here, and for that alone I hope he advances.

38. Slovenia

Oh, what does this remind me of? Regardless, it’s good. Duo Maraaya have fronted up an excellent song with “Here For You”, and I expect this to do very well.

39. Poland

Oh thank Buddha, this is a huge improvement over Poland’s entry from last year.

Monika Kuszyńska sings an impressive ballad with “In The Name Of Love”, and it’s a great way to finish the second semi. 

And done, with mere hours to spare. I’ll be live tweeting all the Eurovision broadcasts this year, follow my inane sleep deprived commentary via @Darcrider. And as always, thanks for indulging me.

Be seeing you…

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Eurovision Leadup 2015 – Semi-Final 1 AKA I am *so* running behind…

Well, those couple of weeks snuck up on me. Yeesh.

Still, we have time to look at the two semi-finals before they air, so let’s get cracking with the line up for Semi-Final 1.

7. Moldova

A potentially controversial choice for the first entry; Moldova is fielding Eduard Romanyuta, a Ukrainian national, as their representative this year. Ukraine could not field an entrant due to “financial and political reasons”. No one is shocked, really. I am however amazed given the uproar over Austria’s win last year that Russia and Belarus have fielded entrants this year. But I digress.

Sadly the song “I want your love” is…kinda bland. The stage performance will have to be exceptional to get votes outside of the sympathetic bloc.

8. Armenia

Genealogy are the first “super group” of this contest, with a member of Armenian descent from nearly every continent (yes, i had to look it up); minus the obvious and combining the Americas. That sort of bridging between nations can lap up a lot of votes, and it may work here. The song “Face the Shadow” almost works. There’s some bit where it feels like the singers are syncing up and it teeters as if ready to collapse, but maybe they’ll pull it together on the night.

9. Belgium

The traditional Vampire Entrant comes from Belgium of all places this year, in the form of Loïc Nottet with the song “Rhythm Inside”. It’s not subtle either…

This song feels surprisingly experimental in its simplicity. I’m not a fan, though I’m putting that down more to the mild strobe effect in the music video itself than the song. I’ll try to appreciate this with fresher eyes on the night.

10. Netherlands

This feels like a disappointing step down from last year’s entry from the Netherlands. They nearly conquered Eurovision with an Honest-To-God Country & Western song.

Trijntje Oosterhuis is clearly amazingly talented (she’s a vocal coach on “The Voice of Holland”), but the song “Walk Along” is not doing her any favours. Especially the chorus. I expect this to tank, sadly.

11. Finland

Okay, this one is weird even by Eurovision standards. “Aina mun pitää” (“I always have to”) is the shortest entry in Eurovision history; the previous record was held by the UK in ’57. It’s a punk rock entry, and the band Pertti Kurikan Nimipäivät (“Pertti Kurikka’s Name Day”, I think) is made up of members with developmental disabilities.

That is kind of great, but I think of all things it’s the shortness of the entry that will hurt it most. The punk is a little light for my taste, but I actually think it’s got some merit. Hopefully these guys will be shown some love in the voting.

12. Greece

Greece usually sends something so culturally identifiable as Greek that this is almost a disappointment. However, Maria-Elena Kyriakou’s performance of the power ballad “One Last Breath” is actually pretty amazing. She has some pretty high vocal power and hair that is begging for the wind machine to be cranked up to Goddess Level. I reckon this will do well.

13. Estonia

Elina Born and Stig Rästa (great name) bring a mish-mash of styles together all skirting on the lighter side of rock and pop to try and make “Goodbye To Yesterday” impossibly cool.

The annoying thing is they actually pull it off.

This is bold and surprisingly catchy, and Rästa reminds me of a baby faced Tom Waits for some reason. I expect this will do really well.

14. F.Y.R Macedonia

A surprisingly powerful entry from Macedonia this year, Daniel Kajamkoski manages to belt out something raw and heartfelt in “Autumn Leaves”. While this works very well in English, I’d be curious to hear it in the original Macedonian. Depending on the other entries on the night, I expect this to make the middle of the hunt and at the least scrape into the final.

15. Serbia

Another oddity. “Beauty Never Lies” starts out as a power ballad cut from the same empowered cloth as the entry that won it for Austria last year, but then becomes a light dance number by the end. I’m not quite sure that it works, but Bojana Stamenov has an undeniably powerful voice, even if it feels somewhat leashed in this. Hopefully she lets it off the chain on the night.

16. Hungary

I’ve not been enamoured with Hungary’s entries over the last couple of years as I recall, but Boggie (unfortunately name) has brought something special with “Wars For Nothing”. A sweet and deceptively simple protest song, I fear this will be overlooked due to the noise surrounding it. But it shouldn’t be. I also really wonder how it will be performed on the night.

17. Belarus

The first of the “Shouldn’t You Be Boycotting It This Year?” entrants, I’m actually annoyed at how good this is. Singer Uzari is complimented perfectly by violinist Maimuna in “Time”. With the right stage direction, this could set it ablaze; artistically speaking of course.

18. Russia

The second of the “Shouldn’t You Be Boycotting It This Year?” entrants, and again, I’m actually annoyed at how good this is. Further, “A Million Voices” is designed to manipulate the audience and be the kind of song Eurovision unabashedly laps up. Polina Gagarina has a great voice, so I think despite the politics, she will win the crowd over.

19. Denmark

A Danish boy band with a catchy retro throwback entry. Sure, why not…

Sarcasm aside, Anti Social media’s “The Way You Are” is catchy and the crowd will probably love it. But it feels too slight to get to the final. Still, it may surprise us.

20. Albania

“I’m Alive” feels like a ballad infused with some more traditional Albanian sound, and Elhaida Dani performs it powerfully. I suspect this will do very well.

21. Romania

It falls to Romania to bring the “social awareness” song to Eurovision this year, and “De la capăt (All Over Again)” (“From The Beginning”) is a solid entry. Romanian rock outfit Voltaj perform it admirably, but I fear the mish-mash of Romanian and English isn’t going to go over as well with audiences as intended.

22. Georgia

Nina Sublatti is giving me flashbacks to Ruslana with this entry. “Warrior” is a strong synth pop entry, and I suspect will be a great song to end the semi-final on. The performance on the night will be really what gets it over the line of not though, as I think staging here will be everything.

Tomorrow (more likely in a few hours after some sleep) I’ll throw up Semi-Final 2’s entries and my thought. And then, it’s onto the first Semi-Final we I can watch live for once…over a somewhat earlier than is comfortable breakfast. I usually Tweet whilst watching via @Darcrider, so follow if you dare.

Be seeing you.

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Eurovision Leadup 2015 – In Which Bloody Colonials Return

So, where were we this time last year?

Ah yes. Fabulousness.

It’s that time again, my freaky darlings, for the kitsch grandeur that is The Eurovision Song Contest. Yes, that epic battle of epic epicness where monsters, heroes, villains, madmen, time travellers, corporate interests and state sponsored “talent” duke it out for Eternal Glory in front of an audience of millions. Or something like that.

Previewing each country’s entry is a thing I do annually at this point, and this year you’d think I’d have more of a personal stake in it as my home country of Australia has an entry in the Grand Final.

Look, even I think that’s weird. What the Hell are we doing there? And it messes up our viewing schedule too with some early mornings incoming. That being said, Australia can also vote for the first time this time. I have no idea how that will play out, being divorced from political bloc voting. Maybe it will have an impact, maybe it won’t. It’s exciting though.

But, let’s just roll with it. So without further gilding the lily, and no more ado, we’ll start with the guaranteed finalists; the host nation, the Big Five and that wild colonial upstart before looking at the entries for the two semi-finals in listed performance order in the coming weeks prior to the first Semi Final on May 19.

1. Australia

Well, let’s get it out of the way first then:

Guy Sebastian was one of our Australian Idol winners, and whatever anyone else may say about him, he is a legitimate talent. People here at home were disappointed that he was chosen to be Australia’s representative as he was considered too mainstream, but he is a good choice. He’s got that something the judges are looking for at Eurovision.

“Tonight Again” is a fun song keeping with Sebastian’s style, yet conforming to what’s expected of the song contest.

Look, I don’t for a second think we’re going to win this. But I’ll be shocked if this gets “Nul Points” as well.

2. Austria

Well that was disappointing. Austria, what are you doing? You were fucking amazing last year!

Look, the Makemakes’ “I Am Yours” is a competent song, it’s just disappointing that this is what Austria chose to follow up last year’s winning entry. That being said, the Makemakes have a good rock pedigree, and I’m sure they’ll do well. But I don’t believe for a minute they could set that piano on fire if Paula and Ovi couldn’t do it back in 2010!

3. France

Something a bit more conventional from France is never a bad thing, and Lisa Angell’s ballad “N’oubliez Pas” (“Don’t Forget”) has got some power behind it, but it feels like there could be more to it. I’m not sure if Ms Angell is holding back or the song itself is restricting her. Either way, I sadly don’t expect this to do as well as it could.

4. Germany

I can’t be the only one thinking that Germany are trying to evoke a remembrance of Lena with Ann Sophie’s “Black Smoke”?

It was going badly during that furst verse with Ms Sophie sounding flat. I thought Germany had made a massive miscalculation, then she hit the chorus…

…I can see why Ms Sophie is on that stage. I suspect she’s going to do very well in the final.

5. Italy

Serves me right for looking at these at nearly 4 am after a long day, little sleep and having already finished two other articles; it took me forever to get what the music video was actually trying to do; reenacting “great loves’ from cinema.

Why North American cinema though? Surely there are just as good (and famous) Italian films that could dot he same job?

This only brings the Final’s stage performance into question really for Il Volo with “Grande Amore”. While they clearly have some talent and work well together, I fear the gimmick threatens to undermine what could otherwise be a decent performance. That and “Popera” really hasn’t done well at the last few contests. Still, this could be a game changer.

6. Spain

Spain has once again done what they do best, send a powerful singer in a red dress to belt out a ballad to try and win us all over.

Edurne has a very powerful voice; clearly the strongest of what I’ve heard so far. “Amanecer” (“Dawn”) is a evocative song, so i suspect this will do very well in the Final.

7. United Kingdom

Ah, Cradle of Wogan, what horrors do you have for me this year?

Well…that was pretty strange.

To be fair, I’m not overly familiar with Electro-Swing.  It sounds like it should be a discordant mish-mash of styles that won’t work. Yet oddly, Electro Velvet’s “Still In Love With You” is surprisingly endearing. Alex Larke’s voice seems kind of flat, but Bianca Nicholas seems to carry him with her sweeter voice. This works, and if they get the stage performance right, could be the UK’s best entrant in years from a points perspective.

I’ll be back later this week with the first half of the Semi-Final 1 contestants, swinging through central Europe to the North then back East again. I think. geography was never my strong suite.

Be seeing you.

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All of this has happened before, all of this will happen again

We got news of two potential remakes/reboots/re-imaginings/I-don’t-know-what over the last couple of weeks. I wouldn’t normally comment, but these are two franchises that I love, and enough people have asked my opinion, so let’s do this quickly.

First is Ghostbusters. But let’s start with this:

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I really don’t get the attitude that the “Ghostbusters” franchise is going to be ruined by this. The “My Little Pony” comment is on the money; but I’ve never understood the fandom for that either.

I don’t know Paul Feig’s work as a director, though none of his films have appealed to me enough to want to watch them. I only know Melissa McCarthy from ‘Gilmore Girls’ which ended eight years ago. I only know Kristen Wiig from How To Train Your Dragon. And I’ve never heard of Leslie Jones or Kate McKinnon prior to now.

Courtesy of Vogue Magazine.

I’m pretty sure Kristen Wiig and Melissa McCarthy don’t have man-hands like that…

If you don’t find this director or any of these women funny, that’s certainly a valid reason not to go see the film. You can’t tell a person what they find funny, after all.

I’ve heard a couple of critics say that McCarthy shouldn’t be cast in this because she plays the same character over and over again.

Yeah. Cos Bill Murray never did that…

Courtesy of Consequence of Sound

I love you Bill Murray, but you played Peter Venkman before and after ‘Ghostbusters’.

I am sure there will be plenty of valid reasons to not see this film, but having four women cast in the lead roles is not one of them. I like the idea of four women in STEM fields characters fronting a “Ghostbusters” film. But I don’t like the idea of this being a remake or a reboot, which is what this apparently is. Have this as a continuation of the original film, with four new Ghostbusters buying a franchise in another city to start up their own ghostbusting business, and getting in over their heads with some new dark supernatural power rising. The reason for risk to the city or the world shouldn’t be that these four Ghostbusters are women; it should be that it’s their first month on the job and something old and powerful has started tearing up downtown, and these four are an unknown quantity.

I’ll be following this one with interest, if only to see what the new tech looks like…

Ghostbusters have been using the same proton packs for 31 years! It's time for an update, if only from a nuclear safety standpoint...

Ghostbusters have been using the same proton pack design for 31 years! It’s time for an update, if only from a nuclear safety standpoint…

The second remake/reboot/re-imagining/I-don’t-know-what is for another ’80s icon; Indiana Jones.

The last Indy film, Kingdom of the Crystal Skull was seven years ago, and not well received. I’m one of the few Indy fans who likes it, but it’s a deeply flawed film. The original hope there seems to have been at least one more Indiana Jones film with Harrison Ford, then continuing the stories with Shia Labeouf as “Mutt” Williams. Again, I’m in the minority in saying I’d watch those films though I had one caveat: make a grown up Short Round the Competitor, à la Belloq from Raiders of the Lost Ark.

I'm still annoyed Jonathan Ke Quan wasn't asked back for a cameo for Crystal Skull...

I’m still annoyed Jonathan Ke Quan wasn’t asked back for a cameo in Crystal Skull

But that’s not going to happen. Crystal Skull wasn’t enough of a hit to warrant a continuation, and even so, due to the downtime Harrison Ford is just too old to put the hat on for even one last time. Then, in late 2012 Disney acquired Lucasfilm and it’s film properties, including “Indiana Jones”, though distribution rights were still tied up with Paramount. That has finally been negotiated as well, so it makes sense that Disney would want to do something with the property.

Then, a few months back, this image hit the Internet, from an original source I couldn’t track down:

Chris-Pratt-as-the-new-Indiana-Jones

It’s not the best bit of photo manipulation, but it certainly got the people thinking about the idea of Chris Pratt as Indiana Jones.

And then the news hit in the last two weeks that Disney were considering making a new Indiana Jones film, with Chris Pratt taking over the role.

Now, how this all originally started and played out to this point I don’t know, but I think Pratt is a fine choice for the role. He’s on a well deserved career upswing right now and seems like the right kind of star to take on the character. However, I don’t think the hard think is casting a new Indiana Jones.

The first three Indiana Jones films are the perfect fusion of Steven Spielberg, George Lucas & Harrison Ford making a project work. I think that getting the right Writer and Director team to make this project is what will make or break it.

But this is exciting news to me. Due to Indy’s pulp sensibilities, you don’t have to touch the first four films via either remake or reboot, just make something that slots in with the timeline around the other films. Indy had a long career and a lot of adventures, and this is one of those times a studio should really fight the urge to compress the universe or show us the origin of a character, which we’ve already seen anyway.

A new Indy film would also allow some of the cultural insensitivity of previous Indy films to be rectified, and that’s not a bad thing.

Again, this is another project I’ll definitely be watching with interest. It’ll be fascinating to see Indy become like his progenitor James Bond and become viable with a different actor in the role. Though I must admit, I am weirded out by the idea that we’ll be getting a new actor playing Han Solo as well coupled with a new, separate Indy actor in the coming years.

Be seeing you…

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Before we begin this year in earnest…

…some housekeeping. I figured I should put this in a separate post before actually posting new content, and not have this story cluttering up the front end of something more fun. So, just where have I been since August?

Well, surprisingly I wasn’t procrastinating for once. I was suffering from what can only be described as “Evil Hand Issues.”

"It's not quite what we planned, but now we've got your hand!"

Yes. It was kinda like that.

Over a month after my last post (I’ll admit, there was some procrastination in that month, but I digress) I started developing a problem in my right wrist. An exacerbation of an old injury.

Then it got worse. To the point where emergency tests and procedures were done. Long story short, I had surgery, rehab went well, and things are getting better. My hand is usable and has full range of motion again, and should be back to normal regarding strength and pain within a couple more months.

Suffice to say, 2014 kinda sucked. I even have the scars to prove it.

But now, let’s move onward and upward from there. I have posts to write, which is something I’ve missed.

Be seeing you…

 

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For Those Who Came In Late: Brazil

Some media you just get to much later than you probably wanted to, for a variety of reasons. This is my attempt to play catch up.

I’m 34 years old, and until 31 July 2014 I had never seen Terry Gilliam’s Brazil.

brazil

In the middle of watching this film I could tell that this was a fucking travesty; why had I waited so long? I love Terry Gilliam’s other work, though I’m still to watch The Imaginarium of Doctor Parnassus and The Zero Theorem. Those are gonna be dealt with a lot faster now. But unfortunately I knew nothing about this film. Or perhaps fortunately, as I’d never been spoiled on any of it. But this is really not a film you can just tell someone about; you have to sit them down and get them to watch it.

Also, I have to say the poster was kind of…not exactly off putting but didn’t exactly grab me either; it was an artistic non-event. Though with contextual hindsight it seems beautiful and wildly appropriate now. The final issue was a lack of access; I was never able to get my hands on a copy of the film for some reason.

How I finally got around to watching it was due to comparisons friends made to Brazil as we were watching Snowpiercer last week. That’s also a fantastic film that is difficult to get your hands on. Now that it’s finally getting a wider release here I may write something on it, but in the interim you can check out a good friend’s thoughts on the film here.

Given the depth and breadth of my film knowledge, my friends were shocked that I’d never seen Brazil. So on our next usual Thursday night gathering they decided they would sit me down to watch the film. I’m very glad they did.

There’s a risk when approaching something so lauded so late, that you won’t be able to appreciate it on its own merits. To quote TV Tropes, “It wasn’t old or overdone when they did it. But the things it created were so brilliant and popular, they became woven into the fabric of that…genre. They ended up being taken for granted, copied and endlessly repeated.” Fortunately, Brazil is so brilliant and so innovative that despite being able to think of at least one thing that had riffed on this film almost per scene, it still outshone them all and nearly 30 years later it still seems groundbreaking.

I was unaware of the production problems this film had, with the “Love Conquers All” cinematic cut being originally released by the studio as opposed to Gilliam’s preferred vision for the film. I can’t say I’m surprised though; Gilliam is one of the unluckiest filmmakers working, to the point where some commentator have publicly wondered whether the man took a dump on an Indian Burial Ground at some point. The dude is cursed. Fortunately, I watched the director’s cut as my first viewing, though there’s very few films you shouldn’t do that for anyway.

But to the heart of the matter, Brazil is a satire of dystopian futures with a masterful script co-written by Gilliam, Charles McKeown, Tom Fuckin’ Stoppard (seriously, is there anything that man cannot write for?) with uncredited contributions by Charles Alverson. This is a very 1984 universe; “Grey cities linked by grey highways across a grey desert. Slag, ash and clinker – the fruits of technology.

brazil_information Superhighway

Our story is kicked off by a administrative error fingering the wrong man as a terrorist, with the State’s Death Squad bagging him, and the plot progresses as one unambitious and dissatisfied bureaucrat tries to rectify the problem (from an administrative standpoint), accidentally bumping into an All Mighty Janitor rebelling against the system and the Literal Girl of His Dreams from his segues of flying with his ethereal love.

t100_movies_brazil

But the story is so much more than that; it is dark and depressing yet hilarious and extremely on point as a satire and deconstruction. To quote my friend as we watched, the fantasy sequences are so heartbreakingly beautiful. It is amazing how Jonathan Pryce just becomes a Siegfried. And it is amazing; in the dream sequences they manage to make Jonathan Pryce look heroic simply in the act of flying on metal wings. But that makes sense; the man can play an amazing villain, so the inverse has to be within his reach.

There’s a terrorism subplot that does nothing to romaticise the notion of terrorism. There’s no nobility of purpose here against a grim oppressor; collateral damage and civilian casualties are shown in grim, gory and sickening reality.

The production design is used to great effect, be it the propaganda in the background, or foreground. Or how this world is shown to be stagnating due to being overly bureaucratic and overly complicated. Or the thin veneer of sophistication over the upper classes as they go about their crass excesses.

And the entirety of the cast is brilliant, being a veritable Who’s Who of the British Comedic Acting Fraternity from the 1980s that shakes every ounce of subtlety from the story. There’s nothing more disturbing than Simon Jones, AKA Arthur Frelling Dent telling a woman to sign a form in triplicate whilst a Death Squad bags her husband. Yet Michael Palin; arguably one of the nicest men in the world; manages to top even that by using that persona to full effect to make his role even more disturbing when you realise what his character’s job actually is. And this is probably Jonathan Pryce’s greatest role, playing the tragic figure of the only sane man in an insane world.

The final thing I’ll mention is the music. This is another wonderful Michael Kamen score; one of my favourite film composers. It weaves the elements of the nostalgic past with the grimness of the retro future that are visually displayed.

There is some weirdness to the film I still don’t understand, having only watched it once and not having had time to fully consider all I’ve seen. On the flipside, it’s a Terry Gilliam film; non-sequitars are to be expected.

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As for the ending, I can see why some people may have been shocked by it. But it’s thematically perfect, and in many ways hopeful. Unfortunately I don’t feel I can discuss the underlying philosophy of the ending without ruining it potentially. it’s something that has to be thought about quietly by the individual.

Ultimately, this is one of the best films I’ve ever seen. As a stand alone piece of art, it is a masterpiece. As a media touchstone, it’s influence cannot be denied. I can’t wait to watch it again.

Be seeing you…

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Trailer: “The Legend of Korra: Book Three – Change”

You’ve done enough angsting, Korra. Now it’s time to do some fucking bending:

I liked season two, but Korra’s constant bickering with poor, stupid Mako got old fast!

He should’ve stayed with Asami; his contant flip-flopping will drive her to the villainy her character model implies…

Be seeing you…

 

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