Music Video of the Day: Madness by Muse (2012, directed by Anthony Mandler)

Posted on May 13, 2017 by Lisa Marie Bowman

I, I can’t get these memories out of my mind
And some kind of madness has started to evolve
I, I tried so hard to let you go
But some kind of madness is swallowing me whole, yeah

I don’t smoke because 1) I have asthma, 2) I have a predisposition to addiction, and 3) I’m so obsessive compulsive that if I did start smoking, I would become the biggest chain smoker in the world and I’d end up being one of those women you see in anti-smoking commercials, popping out her fake teeth and pointing at the hole in her throat. That’s not for me.

That said, if I ever do start smoking, it’ll probably because of this song and this video. Seriously, just the opening bass line makes me want to light up. And then the video itself proves that smoking is pretty photogenic when the cigarettes are being held by beautiful people.

The song, itself, was written by Matt Bellamy after he had a fight with his then-girlfriend, Kate Hudson. According to Bellamy, he was reflecting on the fight and thought to himself, “Yeah, she was right, wasn’t she?”

As for the video, it features two lovers on a train, dealing with their own issues while a riot rages around them. The two lovers are played by Erin Wasson and Max Silberman, both of whom are achingly pretty. (For some reason, the usually reliable imvdb insists that the man on the train was played by Emile Hirsch. Sorry, that’s definitely Max Silberman.)

Of course, the idea of two lovers in the middle of a protest immediately makes me think of this famous picture, which was taken in Vancouver during a riot:

And, of course, there’s this Ray-Ban advertisement:

(If the majority of protesters looked as good as the people in the video and these two pictures, I might even be inspired to go to a march or two.)

(Also, be happy that I resisted the temptation to include a picture from that Kendall Jenner Pepsi commercial. I came really close to doing it but, in the end, I couldn’t do it. I was born a Coke drinker and I’ll die a Coke drinker. Pepsi tastes too much like Vermont for me.)

This video was directed by Anthony Mandler, who has directed several videos for everyone from Jay-Z to Taylor Swift to Justin Bieber. (The imvdb credits him with 74 videos.) The gorgeous cinematography is credited to David Devlin.

Mario Contini, who is credited as being 1st Assistant Cameraman on Madness, was later the director of photography for Saint Motel’s My Type.

Enjoy!

Quick Review: King Arthur – Legend of the Sword (dir. by Guy Ritchie)

Posted on May 12, 2017 by Leonard Wilson

KingArthur-LegendoftheSword Usually, when I go to the movies, I either eat before I get there, or after the movie is done. This way, I don’t have to get up at all and miss anything. If it’s a film I’ve seen before, I’ll take the weakest part to use as a bathroom / food break, if I have to go. It’s one way I can tell if I like what I’m watching.

I got up twice for King Arthur: Legend of the Sword. Once to go downstairs and get a popcorn and drink, and a second time for a free refill. I even left my stuff behind in my chair for anyone to take on the second trip out. That’s how low my interest in this film fell after about 30 minutes in. I trusted the fates not to have someone steal my motorcycle jacket (keys, gear and all) to take a break from this film.

This may not be the best review to read about King Arthur: Legend of the Sword.

The Arthurian Legend has been captured in film a number of times. The Last Legion, First Knight, Monty Python and the Holy Grail, Excalibur (my personal favorite), and most recently, Antoine Fuqua’s King Arthur starring Clive Owen. There’s nothing wrong with a retelling of the story, but Guy Ritchie’s King Arthur: Legend of the Sword is all over the place and feels like it has nothing to do with the legends. This isn’t anything against Ritchie. I own Rock-N-Rolla and Sherlock Holmes: A Game of Shadows and I loved Snatch. King Arthur was just off to me. Even the Sherlock Holmes films seemed more grounded than this one does. None of the actors are truly able to save this film, and a few people actually left in the middle of my showing. It’s not the worst thing I’ve ever watched, but Ritchie’s made better films than this.

Granted, I didn’t really walk in with a lot of expectations. The film had it’s release date changed, being sandwiched right between Guardians of the Galaxy Vol. 2 the week before and Alien: Covenant the week after. It really didn’t have a chance, though I thought maybe it could at least hold the weekend. On the other hand, the movie did feel like a lot of the sword and sorcery films I grew up with in the ‘80s, such as Hawk The Slayer, Beastmaster, Ridley Scott’s Legend, The Sword & the Sorcerer, hell, even Barbarian Queen. In that sense, I might say that the film holds up. If you’re not trying to compare it with anything Arthur/Camelot related, you may actually enjoy it.

Legend of the Sword is the story of Arthur (Charlie Hunnam), who needs to save his land from the evil King Vortigern (Jude Law) after reclaiming the great sword Excalibur. I could say more, but I’d give too much away. He’s aided by his friends, Sir Bedivere (Djimon Hounsou) and Goosefat Bill (Aidan Gillen), along with a Mage (Àstrid Bergès-Frisbey) that takes the place of Merlin, who’s absent here. Everyone’s performances are okay, particularly Law and Gillen, who chew up any scene they’re in. Hunnam does just as good with what he’s given, but his Arthur is a bit of an ass at the start. Everyone seems to enjoy what they’re doing here. Even David Beckham gets a moment as a henchman. Of them, the only character I really cared about was Goosefat Bill. Aiden Gillen can play the hero, and play one well.

To his credit, Guy Ritchie’s direction is as quick and sharp as it ever was. When there’s action, it’s fast and fluid. You’ve got great running sequences, and giant CGI animals. Even the swordplay is fun, particularly when Excalibur is involved (those are really the best parts). It’s stylish, and looks awesome in some scenes. The dialogue is rapid, with quick cuts along whole segments. It’s what we’ve come to know and expect from Guy Ritchie. Though it worked well for his modern crime films, it come across as being a little disjointed here. I was hoping for King Arthur, not Underworld Boss Arthur who could be Robin Hood, along with his would be Merry Men of Sherwood Forest.

While I’m not saying that every element of the Arthur tale needed to be expanded upon, Legend of the Sword suffers from a few jump cuts that say “Don’t worry about all of this info, just know we reached point B from point A.” It’s efficient, but also turns the entire tale into a Cliffs Notes / Wikipedia summary. The film moves that quick. The film is peppered with these abbreviations that’s supposed to move the narrative along, but does this so fast that you almost have a tough time believing this movie was actually 2 hours long. I’m not asking for Hamlet, but at least allow your characters to flourish or grow or gain something about them that’s endearing. I’ll also admit to having a short attention span, it’s not that short that it requires quick-cut bursts to keep me enthralled.

Overall, King Arthur: Legend of the Sword was a miss for me. If you have to catch it, you may want to wait for the VOD edition.

A Movie A Day #125: Diamonds (1975, directed by Menahem Golan)

Posted on May 12, 2017 by Jedadiah Leland

Originally, for today’s entry in Movie A Day, I was hoping to follow up my review of Mad Dog Coll by reviewing Hit The Dutchman. Unfortunately, I have not been able to find a review-worthy copy of Hit The Dutchman so, instead, I am going to review another film that was directed by Menahem Golan, Diamonds.

Filmed and set in Golan’s home country of Israel, Diamonds is a heist film. Richard Roundtree is Archie, an experienced thief who has just been released from prison. Sally (Barbara Hershey, though she was known as Barbara Seagull when she made this movie) is Archie’s girlfriend. Robert Shaw plays Charles Hodgman, the businessman who recruits Roundtree to help him break into a vault located in the Tel Aviv Diamond Exchange Center. The twist is that the vault was designed by Charles’s twin brother, Earl. Earl is also played by Robert Shaw and the two of them have an intense sibling rivalry. If you have ever wanted to see Robert Shaw fight himself in a karate match, Diamonds is the film to see!

(In true Golan fashion, Shaw wears a puffy wig whenever he is supposed to be Earl.)

If he had not died, in 1978, at the tragically young age of 51, Robert Shaw would probably be known as one of our greatest actors. As it is, he will always be remembered for playing Quint in Jaws and Red Grant in From Russia With Love. (I am also a fan of his performance in the original The Taking of Pelham One Two Three.) Diamonds is typical of the many films in which Shaw was better than what he had to work with. He gives two good performances but even he is occasionally overshadowed by the swaggering cool and floppy hats of Richard Roundtree. As for Barbara Seagull/Hershey, she was, as always, beautiful but she had little to do (which was a common problem for her until she rebooted her career with her performance in The Stunt Man). Shelley Winters is also in this movie, providing tepid comic relief as an American tourist. (It’s typical of the type of roles in which, following her performance in The Poseidon Adventure, Winters got typecast.)

Barbara Hershey’s beautiful. Richard Roundtree’s cool. Robert Shaw is Robert Shaw. The Israeli location distinguishes it from similar heist films. The plot may be implausible and the dialogue may be weak but, just as he did with Get Carter, Roy Budd offers up a great score. Diamonds is typical of many Golan films. It’s not good but it is damn entertaining.

Familiar Faces #1: Hank Worden, Everyone’s Favorite Supporting Cowboy

Posted on May 12, 2017 by gary loggins

cracked rear viewer

(You know how, when watching a classic movie or TV episode, you’ll spot someone in a small part and say, “Hey, I know that guy (or gal)? This new series will shine the spotlight on those unsung heroes of the Golden Age, the supporting actors we all know and love!)

There’s no mistaking Hank Worden for anyone else in films. The tall, bald, lanky, soft spoken old codger with a face like a buzzard graced the screen with his presence in 170 features and numerous TV episodes, sometimes uncredited but always recognizable. He was a member in good standing of the John Ford/John Wayne Stock Company, worked with everyone from Howard Hawks and Clint Eastwood to Ma & Pa Kettle and Sonny & Cher, and even starred in a documentary about his life and career. Not bad for an old buzzard!

Hank (right) ties up Tex Ritter in 1938’s “Rollin’ Plains”

Hank didn’t…

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Artwork of the Day: Scandalous Nurse

Posted on May 12, 2017 by Dazzling Erin

Unknown Artist

Music Video of the Day: A Whiter Shade of Pale by Procol Harum (1967, dir by ?????)

Posted on May 12, 2017 by Lisa Marie Bowman

What to say about A Whiter Shade of Pale? This is one of the essential songs. I grew to love it as a result of it showing up on the soundtrack of some of my favorite movies. If you’re watching a film that’s set in the 60s, chances are that you’re going to hear A Whiter Shade of Pale at some point. (The song is also used to haunting effect in Lars von Trier’s Breaking the Waves.) To be honest, even before I knew the song’s title or that it was originally recorded in 1967 by a group called Procol Harum, I knew that organ melody.

A Whiter Shade of Pale was one of the biggest hits of 1967. John Lennon reportedly loved it so much that he would often play it over and over again in his limousine. I don’t blame him. It’s good driving music. There’s a lot of debate as to what exactly the song is actually about. Who or what are the Vestal Virgins meant to represent? Who is skipping the light fandango? What’s up with feeling seasick?

Here’s what lyricist Ken Reid told Songfacts about the song’s meaning:

“It’s sort of a film, really, trying to conjure up mood and tell a story. It’s about a relationship. There’s characters and there’s a location, and there’s a journey. You get the sound of the room and the feel of the room and the smell of the room. But certainly there’s a journey going on, it’s not a collection of lines just stuck together. It’s got a thread running through it….I feel with songs that you’re given a piece of the puzzle, the inspiration or whatever. In this case, I had that title, ‘Whiter Shade of Pale,’ and I thought, There’s a song here. And it’s making up the puzzle that fits the piece you’ve got. You fill out the picture, you find the rest of the picture that that piece fits into.”

As for the video itself, this is actually the second video that was made for A Whiter Shade of Pale. (Of course, in 1967, they were called promotional films and they often played on a type of jukebox known as a scopitone.) The first video featured footage of the band walking through the ruins of a castle and playing the song. It also featured a few quick cuts of Vietnam War footage. This was considered so controversial that Top of the Pops banned the video from airing. Hence, a second, far less political video was filmed.

(Apparently, a third video was filmed in the 80s. It featured Harry Dean Stanton and, since it’s on YouTube, maybe we’ll feature it at some point in the future.)

Anyway, I really like the video above. It’s a real time capsule, even if it is bereft of references to Vietnam. I like the fact that the members of the band appear to be struggling to keep a straight face throughout most of the video.

Plus, it’s just a kickass song!

Enjoy!

Here’s The Latest Teaser For Showtime’s Twin Peaks!

Posted on May 11, 2017 by Lisa Marie Bowman

Only ten days to go before the big premiere!

This certainly does look ominous in the usual David Lynch style. I go a little emotional seeing Miguel Ferrer there.

Only ten more days until the wait is over…

Twins Peaks on TSL:

A Movie A Day #124: Mad Dog Coll (1992, directed by Greydon Clark and Ken Stein)

Posted on May 11, 2017 by Jedadiah Leland

New York. The prohibition era. The Coll Brothers, Vincent (Christopher Bradley) and Peter (Jeff Griggs), are sick of working for the Irish gangster, O’Malley (William Anthony La Valle). They want to hang out at the Cotton Club with big time gangsters like Lucky Luciano (Matt Servitto), Legs Diamond (Will Kempe), and Dutch Schultz (Bruce Nozick). Vincent has fallen in love with Lotte (Rachel York), a singer at the club but the club’s owner, Owney Madden (Jack Conley), makes it clear that Lotte is too good for a low-rent thug. After killing O’Malley, Vincent and Peter go to work for Dutch Schultz but soon, they grew tired of the low wages that Schultz pays them. The Colls decide to strike out on their own, leading to all out war with New York’s organized crime establishment.

Vincent Coll was a real-life gangster who actually did go to war with Dutch Schultz and Lucky Luciano. After a five-year old boy was fatally caught in the crossfire of a gun battle between Coll and his rivals, Vincent was nicknamed “Mad Dog” by the New York press. Mad Dog Coll presents a highly fictionalized account of Coll’s life, suggesting that the kid was actually shot by one of Coll’s rivals and presenting Coll as an idealistic rebel who refused to be controlled by Luciano’s organized crime commission. Luciano, Vincent and Peter agree, has sold out and no longer remembers where he came from.

Mad Dog Coll was one of two gangster movies that Menaham Golan produced, back-to-back, in Russia. In fact, Mad Dog Coll may be the first American film in which Russia stood in for America instead of the other way around. Though this film was produced after Golan broke up with his longtime producing partner, Yoram Globus, Mad Dog Coll still has a definite Cannon feel to it. It is low-budget, fast-paced, unapologetically pulpy, and entertaining as Hell. For a Golan production, the performances are surprisingly good. Bruce Nozick steals the entire movie as crazy Dutch Schultz. None of it is subtle but it is enjoyable in the way that only a Greydon Clark-directed, Menahem Golan-produced gangster film can be. 1920s New York is recreated on Russian soundstages. The threadbare production design and cardboard cityscape brings a Jon Pertwee/Tom Baker-era Dr. Who feel to the movie. All that is missing is The Master brewing up moonshine and the Daleks exterminating the Chicago Outfit.

In the U.S., Mad Dog Coll was retitled Killer Instinct, probably to cash in on the recent success of Basic Instinct. The entire cast was featured in the sequel, the Menahem Golan-directed Hit the Dutchman.

Artwork of the Day: Marvel Science Stories

Posted on May 11, 2017 by Dazzling Erin

By Norman Saunders

Music Video of the Day: My Type by Saint Motel (2014, directed by A/J Jackson)

Posted on May 11, 2017 by Lisa Marie Bowman

Today’s music video of the day is Saint Motel’s My Type. I don’t have too much to say about this one, beyond the fact that I like the retro feel of both the song and the video. This is a fun song to dance to and that’s certainly something that this video captures.

This video was directed by A/J Jackson, Saint Motel’s lead vocalist. Jackson has said that he was going for a cross of “early 70s cigarette ads and New York street photography.” Myself, I like to think of the video as being an outtake from a lost Joe Sarno movie.

This video’s cinematographer was Mario Contini while Cody Fusina is credited with production design.

Enjoy!