AMV of the Day: Move Along (One Piece)


[Marineford War spoilers]

This latest “AMV of the Day” mark the third entry which has the Marineford War story-arc in the One Piece anime series as the basis for the video.

“Move Along” is also the third AMV I’ve chosen from PixelCreekAMVs who has done a remarkable job of taking scenes from this epic One Piece story-arc. The video takes it’s name from the song used which happened to be by The All-American Rejects. This video once again highlights what has made One Piece such a huge fan favorite. It’s all about non-stop action with bits of comedy or comedy with bits of action. This is a series that goes full-bore and really not subtle about it’s storytelling on the surface.

I’ve got one more video in this One Piece-themed set but this penultimate choice til the last one has become a favorite of mine.

Long live Portgas D. Ace and Whitebeard!

Anime: One Piece

Song: “Move Along” by The All-American Rejects

Creator: PixelCreekAMVs

6 Trailers To Welcome 2012


Hi there and welcome to the first 2012 edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers.  Today, I come offering Danish subtitles, Japanese monsters, a grindhouse icon, and tomcats.  Lots and lots of tomcats…

1) Tomcats (1976)

Let’s start off 2012 with this trailer for a low budget, drive-in film called Tomcats.  It’s also known as Deadbeat, They Deserved It, and a few hundred other titles.  The trailer is memorable for its light-hearted narration but the film itself is pretty dark (and kinda stupid, to be honest).  By the way, this trailer features more than a little nudity and is definitely not safe for work.

2) Smokey Bites The Dust (1981)

This trailer was apparently used to advertise this Roger Corman production in Denmark.

3) Terminal Island (1973)

This is a landmark of feminist exploitation cinema.  (Scoff all you might but there is such a thing and if you don’t believe me, go and read the best thing I’ve ever written, Too Sordid To Ever Be Corrupted.)  Much like Smokey Bites the Dust, this trailer is in English but comes with Danish subtitles.  It’s also NSFW.

4) Terror of Machagodzilla (1975)

And now for something completely different…

5) Across 110th Street (1972)

Who doesn’t love this film’s title song?

And finally…

6) Enter The Dragon (1973)

Yes, Enter the Dragon is an exploitation film.  Just because it’s now considered to be a classic and it’s shown in film school (the first time I saw it was in film class) doesn’t change the fact that this film is pure grindhouse exploitation.

Welcome to 2012!  Let’s make it a good one, just in case the Mayans were correct.

Song of the Day: Death Is the Road to Awe (by Clint Mansell)


Just a little under a year ago I had chosen a particular favorite song as the latest “Song of the Day”. This song was Clint Mansell’s “Together We Will Live Forever” which was part of his exceptional film score for Darren Aronofsky’s 2006 scifi love story, The Fountain. I’ve decided to finally bookend that choice by choosing what has to be the best song in that film’s soundtrack and one of the best piece of film score ever composed: Mansell’s “Death Is the Road to Awe”.

While I’ve given Mansell with the final credit for the creation of this epic song (not just in tone and execution but in length), he had help from frequent collaborator Kronos Quartet and Scottish post-rock band Mogwai. “Death Is the Road to Awe” takes the entirety of Mansell’s film scoring for The Fountain and distills them into a mixture of classical, post-rock and ambient dissonance which seems to all work so well together despite their very differing musical styles.

The Fountain was (still is) a film which brings out either love and admiration for it or utter hate for what some think was a pretentious, jumbled mess. Whether one loved or hated the film (rarely is there one who falls in the middle in their reaction to this film) the reaction most have had for the soundtrack has been mostly positive. I, for one, truly believe it to be one of the greatest film scores ever composed for any film. This song is the ultimate culmination of Mansell’s work for this film and just shows that classical, rock and electronic could co-exist side-by-side to create something truly unique and one-of-a-kind.