It’s been a great couple years when it comes to what the snooty cinephiles would consider as horror in cinema. Sure, we still get the slashers, zombies, found footage paranormals and even the odd cannibal exploitation, but of late we’ve also been getting some great atmospheric and truly disturbing horror of the gothic kind.
The last couple years alone we’ve gotten such great horror films as It Follows, Babadook, The Conjuring, We Are What We Are and The Sacrament to name a few. We have a film straight out of Sundance that looks to join this list.
The Witch is the first film for writer/director Robert Eggers. Working off of his own script, Eggers’ film won him the Directing Award in the Drama Category during Sundance. With critics at the festival lauding the film, The Witch was soon picked up by A24 Films for a theatrical distribution.
Sometimes a scene in a film doesn’t need any dialogue to be able to convey emotion and character development the story requires. One such film that does a great job of using wordless sequences to let the audience in on the characters motivations and agendas is Steve McQueen’s Shame.
I could’ve picked from so many different scenes this film had to offer. Yet, it was the wordless scene of flirting, attraction and seduction between Michael Fassbender’s Brandon and an unnamed woman sitting across from him in the subway car. With Harry Escott’s score setting up the scene, McQueen allows the two players (Brandon and the unnamed woman) to use furtive glances and flirtatious looks to convey the attraction between these two beautiful individuals.
Even how the woman’s seemingly brief acceptance of what Brandon’s unspoken invitation suddenly turned into something of regret spoke volume in the scene. While Brandon’s sexual addiction has made him a sort of junkie looking to find his next fix wherever he can find it, the woman realizes in the end that maybe, maybe Brandon’s invitation is something she shouldn’t accept on a whim.
It’s later in the film that we find out the woman is now engage (or has been) and the tables has been turned with her now more confident in what she wants and Brandon now the one hesitating.
I know that many people probably have other scenes from Shame they would consider their favorite, but this one definitely is mine.
Through good times and bad I have always been a huge fan and follower of Metallica. Even as they foolishly went off track following the path Bob Rock set for them throughout most of the 1990’s through the disastrous St. Anger debacle as they tried to return to their earlier sound, I have always followed this band which made up the original Big 4 of thrash metal (Metallica, Anthrax, Slayer and Megadeth).
It was on their 1998 cover album, Garage Inc., that the band released one of their most popular songs. It wasn’t an original, but a cover of the classic Bob Seger hard rock song about the hard road and life of a musician. Seger’s “Turn the Page” is just one of those hard rock tunes that latches onto the listener and forces them to listen and understand. Most such songs tend to be quite pretentious with nothing much to say once the listener really pays attention. The same cannot be said about Seger’s song.
Metallica decided to cover this song for their Garage Inc. album which was all about them covering their own favorite hard rock and metal songs of the past. While Metallica kept the original’s tempo, they added their own heavier and harder edge to song that straddles the line between hard rock and heavy metal. Even James Hetfield’s alcohol and cigarette ravaged vocals lent a sense of the hard road and life the track sings about.
The biggest change from the Seger song to Metallica’s cover has to be the accompanying music video which still remains one of the most controversial in MTV’s music video history (well, when they still played music videos). Seger’s song was released in 1973 when the concept of music video was nonexistent. With Metallica’s cover it was almost a guarantee that it would get a music video and what a video it was and still is.
The video was directed by Jonas Akerlund who had made a name for himself directing some of the most creative and innovative music videos of the day. His take on the song switches from a musician’s hard road and life on the road to that of a single mother trying to make ends meet as an erotic dancer by day and a prostitute by night to provide for her young daughter. The video was banned from receiving any sort of airplay on MTV as it dealt and showed the disturbing side of such a life. The fact that the tamer version of the video (below) still couldn’t make it on the airwaves just showed how much more haunting and controversial the uncensored version turned out to be.
Turn the Page
On a long and lonesome highway, East of Omaha You can listen to the engines Moanin’ out it’s one note song You can think about the woman, Or the girl you knew the night before But your thoughts will soon be wanderin’, The way they always do When you’re ridin’ 16 hours, And there’s nothin’ much to do And you don’t feel much like ridin’, You just wish the trip was through
(Chorus)
Here I am, on the road again, There I am, up on the stage There I go, playin’ star again, There I go, turn the page
So you walk into this restaurant, All strung out from the road And you feel the eyes upon you, As you’re shakin’ off the cold You pretend it doesn’t bother you, But you just want to explode Yeah, most times you can’t hear ’em talk, Other times you can
All the same old cliches, Is it woman, is it man And you always seem outnumbered, You don’t dare make a stand Make your stand
(Chorus) Ah But here I am, on the road again, There I am, up on the stage Here I go, ah playin’ star again, There I go, turn the page Woah
Out there in the spotlight, You’re a million miles away Every ounce of energy, You try and give away As the sweat pours out your body, Like the music that you play
Later in the evenin’, As you lie awake in bed With the echoes of the amplifiers, Ringin’ in your head You smoke the day’s last cigarette, Rememberin’ what she said
What she said
Yeah, and here I am, On the road again, There I am, up on that stage Here I go, playin’ star again, There I go, turn the page And there I go, turn that page
There I go, yeah, Here I go, yeah, yeah There I go, yeah, Here I go, yeah Here I go, There I go And I’m gone
Netflix has had some recent success with creating their own content with such critically-acclaimed shows such as House of Cards, Orange Is the New Black and, most recently, with Daredevil. As their success continue they’ve now begun to create their own content in the full feature-length film area.
One such film is the adaptation of the 2005 novel Beasts of No Nation by Uzodinma Iweala. It’s about the story of the young boy, Agu, who is forced to join a rebel group in some unnamed West African nation to become a child soldier. The book, and the film, will allow us to witness his journey from innocent child to a young child-soldier who sees and participates in wartime atrocities.
Beasts of No Nation stars young actor Abraham Attah in the role of Agu with Idris Elba taking on the role of the sadistic and manipulative Commandant. It also marks the follow-up project for Cary Joji Fukunaga whose most recent work was the first season of a little series on HBO called True Detective.
Beasts of No Nation premieres simultaneously on Netflix and a limited amount of small and independent theaters on October 16, 2015.
The Hateful Eight was never to be seen due to the unfortunate leak of the early draft of Tarantino’s screenplay for the film. It wasn’t meant to be seen outside of those he had trusted to become part of the film. Yet, the script still managed to leak and fanboys worldwide rushed to download and take a gander at what Tarantino had planned for his eight film.
After weeks and a couple months of cooling down from the betrayal of having his work leaked before it was time, Tarantino finally backed off from his promise that The Hateful Eight will never be filmed. With sighs of relief, fans, admirers and critics were glad to see Tarantino change his mind and put the script into production.
Months have gone by since that decision and the start of principal photography. Mini teasers were released and publicity shots were disseminated to the public, but a proper teaser trailer still hadn’t been released.
Now, the waiting has ended as The Weinstein Company has released the first official teaser trailer for Quentin Tarantino’s eight film, The Hateful Eight.
The Hateful Eight will be seen in limited release this Christmas 2015 and everywhere else on January 8, 2016.
It’s been awhile since we’ve featured a new beauty on the site. What better way to reintroduce a new one than with the current and hottest talent to grace the big-screen this summer: Rebecca Ferguson.
Rebecca Ferguson has been kicking ass and taking names through her role as mysterious rogue agent Ilsa Faust in the blockbuster summer hit, Mission Impossible: Rogue Nation. Her character has made her the new go-to name for all upcoming female action-hero roles. Whether it’s to be cast as Captain Marvel in Marvel Studios’ future superhero film of the same name to the female lead in the upcoming Gambit live-action film over on Twentieth Fox. While she hasn’t been cast for either role it hasn’t stopped fans and film writers from wanting her to take the next step into the superhero film realm.
Yet, before her breakout role as Ilsa Faust opposite Tom Cruise’s Ethan Hunt on Rogue Nation, Ms. Ferguson had early success in soap opera roles over on Swedish TV before branching taking on the lead role in the BBC 10-part historical drama The White Queen.
For now, as fans and the world waits to see what’s next for Rebecca Ferguson, people should go out and see her light up the big-screen as Ilsa Faust on Mission Impossible: Rogue Nation.
Skyfall was the James Bond that seemed to have resonated with the so-called millenials. For the most part, James Bond the film franchise was considered dated and quaint when compared to the more action-oriented and cynical spy thrillers like the Jason Bourne franchise. This younger generation couldn’t take seriously a superspy who dressed in exquisite suits and tuxedos. A spy who bedded beautiful women like young people collected causes to support and/or protest.
This type of generational ennui, thankfully, hasn’t truly hit the otaku set. No matter how old an anime we otaku would have heard of it, watched it and, most of the time, enjoyed it. We’re not just stuck on what’s the latest trend in the anime scene. We’ll search out old with the new. While the quality of the animation have improved since the early days of the medium the storytelling from way back still remains strong and resonates with the oldest and youngest crowd.
So, the latest “AMV of the Day” is a celebration of that appreciation for not just the now but what came before: James Bond with Cowboy Bebop (with some help from Fate/Zero).
So, after weeks of waiting we finally got the trailer for the Deadpool live-action film set to release on February 2016. I’m sure that people will be flocking to Youtube to look up two songs that were featured during the trailer. The latest “Song of the Day” comes courtesy of the second song in the trailer and a classic hip-hop track of the early 2000’s.
DMX was what one would call a giant of hip-hop when he first entered the scene in 1998 and dominated the hip-hop landscape in the next five year with five albums that debuted No. 1 in the charts. His presence and charisma was such that even Hollywood even came calling and DMX starred in several action flicks. It’s from his 2003 film Cradle 2 the Grave that our featured song comes from.
“X Gon’ Give It to Ya” was part of the soundtrack to Cradle 2 the Grave. Whether one actually thought the film was any good would be up for debate. Now the song itself was a hit and continued to cement DMX as the hardest and most recognizable voice in hip-hop at the time. Other rappers made more money. Others were more socially aware. Yet, when it came to just an all-out lyrical assault on listeners DMX still reigned supreme.
X’ Gon Give It to Ya
Arf arf, yeah, uh, yeah (Grr) Yeah, uh (Grr) Yeah, don’t get it twisted This rap shit is mine, motherfucker It’s not a fuckin’ game Fuck what you heard, it’s what you hearin’ (What you hearin’) It’s what you hearin’ (Listen) It’s what you hearin’ (Listen) It’s what you hearin’ (Listen)
X gon’ give it to ya (What?) Fuck waitin’ for you to get it on your own X gon’ deliver to ya Knock knock, open up the door it’s real With the non-stop pop-pop of stainless steel Go hard gettin’ busy wit it But I got such a good heart That I’ll make a motherfucker wonder if he did it Damn right, and I’ll do it again (Yeah) ‘Cause I am right, so I gots to win Break bread with the enemy (What?) No matter how many cats I break bread with I’ll break who you sendin’ me (Yeah!) You motherfuckers never wanted nothin’ but your life saved Bitch, and that’s for the light day I’m gettin down, down, make a nigga say “freeze!” But won’t be the one endin’ up on his knees, bitch please! If the only thing you cats did was came out to play Stay out my way motherfucker
First we gonna rock, then we gonna roll Then we let it pop, don’t let it go (What?) X gon’ give it to ya, he gon’ give it to ya X gon’ give it to ya, he gon’ give it to ya First we gonna rock, then we gonna roll Then we let it pop, don’t let it go X gon’ give it to ya, he gon’ give it to ya X gon’ give it to ya, he gon’ give it to ya
Ain’t never gave nothin’ to me But every time I turn around Cats got they hands out wantin’ somethin’ from me I ain’t got it so you can’t get it (Yeah!) Let’s leave it at that ’cause I ain’t wit it (Yeah!) Hit it wit full strength, I’m a jail nigga So I face the world like it’s Earl in the bullpen You against me, me against you Whatever, whenever, nigga, the fuck you gon’ do? I’m a wolf in sheep’s clothin’ (What?) Only nigga that you know that can chill Come back and get the streets open I’ve been doing this for nineteen years (What?) Niggas wanna fight me? Fight these tears (What?) I put in work and it’s all for the kids But these cats done forgot what work is (Uh-huh!) They don’t know who we be (Lookin’!) But they don’t know who they see, nigga!
First we gonna rock, then we gonna roll Then we let it pop, don’t let it go (What?) X gon’ give it to ya, he gon’ give it to ya X gon’ give it to ya, he gon’ give it to ya (C’mon) First we gonna rock, then we gonna roll Then we let it pop, don’t let it go (C’mon) X gon’ give it to ya, he gon’ give it to ya X gon’ give it to ya, he gon’ give it to ya
Ayo where my niggas at? I know I got them down in the game Give ’em love and they give it back Talk too much for too long (What?) Don’t give up, you’re too strong (What?) Dog to the wow wow hunnies (Yeah!) Shoutout to niggas that done it (C’mon!) And it ain’t even about the dough It’s about gettin’ down for what you stand for, yo
First we gonna rock, then we gonna roll Then we let it pop, don’t let it go (C’mon) X gon’ give it to ya, he gon’ give it to ya X gon’ give it to ya, he gon’ give it to ya (C’mon) First we gonna rock, then we gonna roll Then we let it pop, don’t let it go (C’mon) X gon’ give it to ya, he gon’ give it to ya X gon’ give it to ya, he gon’ give it to ya (C’mon) First we gonna rock, then we gonna roll Then we let it pop, don’t let it go (C’mon) X gon’ give it to ya, he gon’ give it to ya X gon’ give it to ya, he gon’ give it to ya (C’mon)
The latest AMV of the Day comes courtesy of one of my favorite amv creators. Vivifx created this particular video almost 5 years ago.
“Gravity” is a beautiful video and really does a great job pairing Sara Bereilles’ song “Gravity” with the more lovely and bittersweet emotions that brings up the relationship between Ahiru (Princess Tutu) and ballet dancer Mytho. It’s just one aspect of the the Princess Tutu anime, but one that show’s the animated series’ very mature storytelling.
I still find it amusing that when I mention anime to the uninitiated they look at me funny. They still think it’s just cutesy cartoons from Japan that only cater children or just cartoon porn (hentai). Producers of anime do make them for kids, but they also understand that kids have enough mental and emotional capacity within themselves to handle some of the mature themes and ideas being told through the very cutesy animation presented to them.
I wrote a couple years ago that one such anime that people should be watching is the series Princess Tutu and this video just reinforces that recommendation even more. When paired up with another AMV of the Day (Danse de Raven) that also uses the Princess Tutu series as a foundation it should more than make some curious to check out the anime.
I know Lisa will appreciate that it’s a video that doesn’t just have dancing, but ballet…
Today is the birthday of one of the masters of horror. So, here’s wishing Wes Craven a happy birthday.
Now, go out there and check out his films. Here’s a four to try out. It’s got voodoo, a thing from the swamp, a street full of nightmares and, the one that started him off, the very last house on the left.
Through the Shattered Lens