Music Video of the Day: D7-D5 by Blanck Mass (2016, dir by Jake McGowan)


When Benjamin John Power, the man behind Blanck Mass, was asked about this haunting and surreal video, this is what he told Spin:

“D7-D5′ is intended as the second move in a game of chess initially instigated by Manuel Gottsching when he released (and named said release) ‘E2-E4,’ the recording which many believe pioneered techno. The video was made by [my] good friend Jake McGowan, and follows one man whilst he struggles to deal with a flurry of emotions and human states which are common during a battle of any size, including a game of chess.”

For myself, I’ll say that this video immediately reminded me of the work of David Lynch.  Of course, I’m kind of obsessed with David Lynch’s art right now.  Until Twin Peaks has finished its run, I imagine that almost everything is going to remind me of Lynch in one way or another.

Still, this video is almost unsettling as that famous scene in A Field in England, that one that featured Blanck Mass’s Chernobyl playing in the background.  Remember that scene?

Well, unsettling or not, Blanck Mass helps me to focus, which considering the intensity of my ADD, is no small accomplishment!  If not for well-selected background music, I probably wouldn’t have been able to finish 3,000 of the 3,897 things that I have posted on this site!

Enjoy!

 

Music Video Of The Day: The Chemical Brothers featuring k-os — Get Yourself High (2003, dir by Joseph Kahn)


This music video features digitally enhanced footage from a 1980 film called 2 Champions of Shaolin.  According to Wikipedia, here’s what the video’s director, Joseph Kahn, had to say about it:

“I edited this on a laptop on a plane to Chicago. I rearranged the time sequencing of the actual movie. The bad guy with the big boombox is actually a minor henchman who dies in the first 30 minutes, but in my visual remix he’s the ultimate antagonist. The lip syncing was motion captured, then applied to 3D models of jaws. I didn’t know 100% if the technology was achievable with the time and money, nor did I know if we could actually get rights to a Chinese kung fu flick. It was a risky venture, but Carole gave me a check and then left me alone. She had some major balls.”

(And if it’s on Wikipedia, it has to be true!)

Anyway, I really love this video and the song.  The only unfortunate thing is that the Get Yourself High clown doesn’t make an appearance.  Who is the Get Yourself High Clown?  If you’ve seen The Chemical Brothers live, there’s a good chance you’ve seen him.  Check him out in this footage from their 2007 performance at Glastonbury:

Enjoy!

Music Video of the Day: The Chemical Brothers — Hey Boy Hey Girl (1999, dir by Dom & Nic)


Hi, everyone!  Lisa here.

So, as you know if you’ve been following the site, Val is currently having a hospital procedure done so she’s going to be gone for a few days.  Since I love Val’s music video of the day posts, I’m going to share a few picks of my own until she returns!

Hey Boy Hey Girl is not only one of my favorite songs from The Chemical Brothers, it’s also one of my favorite videos.  Admittedly, I could do without the saliva at the start of the film but that’s just because I have a thing about visible saliva.  It doesn’t appeal to me.  But otherwise, I absolutely love this video!

(Whenever I watch this video, I end up staring at my reflection and visualizing what my skeleton looks like.  Usually, I’m impressed.)

This video was one of the many directed by Dom & Nic.  Other videos that they’ve done for The Chemical Brothers: Wide Open, Midnight Madness, Salmon Dance, Believe, The Test, and Setting Sun.

Not a day goes by that I don’t see those dancing skeleton recreated in GIF form.  I guess that’s because I hang out on a lot of horror-themed web sites.

Enjoy!

12 Initial Thoughts on Twin Peaks: The Return Part 7 (dir by David Lynch)


As always, a full recap will be posted either later tonight or tomorrow!

1. We’ve all known a stoner like Jerry.

2. I was wondering if we’d hear anything else about or from Annie in the revival, especially since Heather Graham was not listed as being in the cast.  Actually, I’m a little bit surprised that she’s not still working at the diner.  Apparently, nobody ever leaves that place.

3. I always enjoy Harry Goaz’s performance as Deputy Andy, in both the original series and the revival.  There’s an authenticity to Goaz that allows him to make even the strangest of dialogue convincing.

4. It was nice to see Warren Frost, getting in one last hurrah as Doc Hayward.  Frost passed away last year, after filming his scenes.  When I watched the original Twin Peaks, I was struck by how Warren Frost almost seemed like he had stepped out of a Capra film.  He was the epitome of small town decency and fortitude.  Frost was the also the father of Twin Peaks co-creator, Mark Frost.

5. Let’s take a moment to appreciate Laura Dern’s skill with profanity.  For all the talk about how important a collaborator Kyle MacLachlan has been to David Lynch, one could argue that Laura Dern has been just as important.  Along with appearing in Blue Velvet, Dern also starred in Wild at Heart and Inland Empire.  For whatever reason, she — along with Naomi Watts — seems to be the perfect Lynch actress.

6. Ever since the new cast was announced, I’ve been wondering who David Koechner would play.  It’s hard to think of any other actor who does quite as well with playing obnoxious characters as Koechner.

7.  OH MY GOD!  Suddenly, Dougie’s a badass!  I have to admit that I’m also getting a big kick of Dougie/Cooper’s childlike fascination with badges.

8. It took 6 episodes but, finally, Richard Beymer and Ashley Judd are back.

9. How many Renault brothers are there?  Has it occurred to anyone to just not hire them to work at the roadhouse?  It seems like that would be a way to avoid a lot of trouble.

10. I loved the shot of Doppelganger Cooper leaving his cell and walking down that dark hallway.

11. For the first time since the series began, we end somewhere other than the roadhouse.  Instead, we end at the much more wholesome diner.

12. So, Doppelganger Cooper is on the loose and it looks like Dougie/Cooper might be getting his face on the news as a result of beating up Ike the Spike.  I’m sure that won’t lead to any complications.

Twin Peaks on TSL:

  1. Twin Peaks: In the Beginning by Jedadiah Leland
  2. TV Review: Twin Peaks 1.1 — The Pilot (dir by David Lynch) by Lisa Marie Bowman
  3. TV Review: Twin Peaks 1.2 — Traces To Nowhere (directed by Duwayne Dunham) by Jedadiah Leland
  4. TV Review: Twin Peaks 1.3 — Zen, or the Skill To Catch A Killer (dir by David Lynch) by Lisa Marie Bowman
  5. TV Review: Twin Peaks 1.4 “Rest in Pain” (dir by Tina Rathbone) by Leonard Wilson
  6. TV Review: Twin Peaks 1.5 “The One-Armed Man” (directed by Tim Hunter) by Jedadiah Leland
  7. TV Review: Twin Peaks 1.6 “Cooper’s Dreams” (directed by Lesli Linka Glatter) by Lisa Marie Bowman
  8. TV Review: Twin Peaks 1.7 “Realization Time” (directed by Caleb Deschanel) by Lisa Marie Bowman
  9. TV Review: Twin Peaks 1.8 “The Last Evening” (directed by Mark Frost) by Leonard Wilson
  10. TV Review: Twin Peaks 2.1 “May the Giant Be With You” (dir by David Lynch) by Leonard Wilson
  11. TV Review: Twin Peaks 2.2 “Coma” (directed by David Lynch) by Jedadiah Leland
  12. TV Review: Twin Peaks 2.3 “The Man Behind The Glass” (directed by Lesli Linka Glatter) by Jedadiah Leland
  13. TV Review: Twin Peaks 2.4 “Laura’s Secret Diary” (dir by Todd Holland) by Lisa Marie Bowman
  14. TV Review: Twin Peaks 2.5 “The Orchid’s Curse” (dir by Graeme Clifford) by Lisa Marie Bowman
  15. TV Review: Twin Peaks 2.6 “Demons” (dir by Lesli Linka Glatter) by Leonard Wilson
  16. TV Review: Twin Peaks 2.7 “Lonely Souls” (directed by David Lynch) by Jedadiah Leland
  17. TV Review: Twin Peaks 2.8 “Drive With A Dead Girl” (dir by Caleb Deschanel) by Lisa Marie Bowman
  18. TV Review: Twin Peaks 2.9 “Arbitrary Law” (dir by Tim Hunter) by Lisa Marie Bowman
  19. TV Review: Twin Peaks 2.10 “Dispute Between Brothers” (directed by Tina Rathbone) by Jedadiah Leland
  20. TV Review: Twin Peaks 2.11 “Masked Ball” (directed by Duwayne Dunham) by Leonard Wilson
  21. TV Review: Twin Peaks 2.12 “The Black Widow” (directed by Caleb Deschanel) by Leonard Wilson
  22. TV Review: Twin Peaks 2.13 “Checkmate” (directed by Todd Holland) by Jedadiah Leland
  23. TV Review: Twin Peaks 2.14 “Double Play” (directed by Uli Edel) by Jedadiah Leland
  24. TV Review: Twin Peaks 2.15 “Slaves and Masters” (directed by Diane Keaton) by Lisa Marie Bowman
  25. TV Review: Twin Peaks 2.16 “The Condemned Woman” (directed by Lesli Linka Glatter) by Leonard Wilson
  26. TV Review: Twin Peaks 2.17 “Wounds and Scars” (directed by James Foley) by Lisa Marie Bowman
  27. TV Review: Twin Peaks 2.18 “On The Wings of Love” (directed by Duwayne Dunham) by Jedadiah Leland
  28. TV Review: Twin Peaks 2.19 “Variations on Relations” (directed by Jonathan Sanger) by Lisa Marie Bowman
  29. TV Review: Twin Peaks 2.20 “The Path to the Black Lodge” (directed by Stephen Gyllenhaal) by Lisa Marie Bowman
  30. TV Review: Twin Peaks 2.21 “Miss Twin Peaks” (directed by Tim Hunter) by Leonard Wilson
  31. TV Review: Twin Peaks 22.2 “Beyond Life and Death” (directed by David Lynch) by Lisa Marie Bowman
  32. Film Review: Twin Peaks: Fire Walk With Me (dir by David Lynch) by Lisa Marie Bowman
  33. Here’s The Latest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  34. Here’s The Newest Teaser for Showtime’s Twin Peaks by Lisa Marie Bowman
  35. 12 Initial Thoughts About Twin Peaks: The Return Parts One and Two by Lisa Marie Bowman
  36. This Week’s Peaks: Parts One and Two by Ryan C. (trashfilm guru)
  37. TV Review: Twin Peaks: The Return Parts One and Two (dir by David Lynch) by Lisa Marie Bowman
  38. 4 Shots From 4 Films: Special Twin Peaks Edition by Lisa Marie Bowman
  39. This Week’s Peaks: Parts Three and Four by Ryan C. (trashfilm guru)
  40. 14 Initial Thoughts About Twin Peaks: The Return Part Three by Lisa Marie Bowman (dir by David Lynch)
  41. 10 Initial Thoughts About Twin Peaks: The Return Part Four by Lisa Marie Bowman (dir by David Lynch)
  42. TV Review: Twin Peaks: The Return Parts Three and Four (dir by David Lynch) by Lisa Marie Bowman 
  43. 18 Initial Thoughts About Twin Peaks: The Return Part 5 (dir by David Lynch) by Lisa Marie Bowman
  44. This Week’s Peaks: Part Five by Ryan C. (trashfilm guru)
  45. TV Review: Twin Peaks: The Return: Part 5 (dir by David Lynch) by Lisa Marie Bowman
  46. 14 Initial Thoughts On Twin Peaks Part 6 (dir by David Lynch) by Lisa Marie Bowman
  47. This Week’s Peaks: Part Six by Ryan C. (trashfilm guru)
  48. TV Review: Twin Peaks: The Return Part 6 (dir by David Lynch) by Lisa Marie Bowman

What Lisa Watched Last Night #167: The Killing Pact (dir by John Lyde)


Last night, I watched The Killing Pact on Lifetime!

Why Was I Watching It?

Because it was on Lifetime, of course!  Y’all know that I can’t resist a Lifetime movie, especially one that has the word “killing” in the title.  At the very least, I figured The Killing Pact would feature the over the top melodrama and tasteful interior design that we’ve all come to expect from Lifetime movies.

(That said, The Killing Pact was advertised as being a premiere but, actually, it aired on the Lifetime Movie Network last month.  I DVR’d it when it first aired but I hadn’t gotten around to watching it yet.  By watching it on Lifetime last night, I was able to clear a little more space on my DVR.  Yay!)

 What Was It About?

Strangers In An Uber!

Strangers In A Train Without The Train!

Take your pick, they’re both adequate descriptions of what was going on in The Killing Pact.  When Hayley (Emily Rose), a single mother and Uber driver, gives a ride to two weirdos (Melanie Stone and Brandon Ray Olive), she is drawn into an unexpected situation.  It turns out that all three of them have people in their lives that they wish were dead.  So, why not agree to a killing pact?  At first, Hayley thinks it’s all a joke but then her sleazy loser of an ex-husband is brutally murdered.  Hayley’s new friends have kept their end of the bargain.  Now, it’s time for Hayley to do her part…

What Worked?

I liked the look of the film.  Almost every scene was drenched in this moody, overcast atmosphere and, as a result, the film was almost always interesting to look at, even if the plot didn’t always work.  There was one scene — of Hayley pulling up in front of a cheap motel — that I thought was especially well put together.  The dark clouds, the wet pavement, the dilapidated motel — the whole scene was full of menace.

What Did Not Work?

For the most part, this film just didn’t work for me.  At first, I was a little confused as to why the movie was doing so little for me but, the more I thought about it, the more I realized that the film just moved way too slowly, especially for a movie that was frequently interrupted by commercials.  The typical Lifetime film has 8 acts.  That means that, over the course of a typical Lifetime movie, there are at least 7 cliffhangers, all designed to make you stick around through the commercials so you can see what happens during the 8th act.  The Killing Pact, however, felt more like a three or four act movie.  There was no forward momentum to hold your interest even through the commercial breaks.  The film’s pacing was definitely off and Lifetime films are all about maintaining a steady pace.

“Oh my God!  Just like me!” Moments

One of the murders involved an autocratic theater producer.  It reminded me of all the murders that nearly occurred during a community theater production of Little Shop of Horrors that I was once involved with.

Lessons Learned

Pacing is everything!

Film Review: Factory Girl (dir by George Hickenlooper)


Oh God.  Factory Girl.

Released in 2006, Factory Girl was a biopic about Edie Sedgwick, the tragic model/actress/artist who was briefly both Andy Warhol’s muse and one of the most famous women in America.  Before I talk too much about this film, I should probably admit that I’m probably the worst possible person to review a movie about Edie Sedgwick.

Why?

Allow me to repost something that I wrote when I reviewed Edie’s final film, Ciao Manhattan:

“In the late 60s, Edie Sedgwick was a model who was briefly the beautiful face of the underground.  Vogue called her a “youthquaker.”  She made films with Andy Warhol, she dated the rich and the famous and for a brief time, she was one of the most famous women in America.  But a childhood full of tragedy and abuse had left Edie fragile and unprepared to deal with the pressures of being famous.  She was fed drugs by those who claimed to care about her, she had numerous mental breakdowns, and, when she was at her most vulnerable, she was pushed away and rejected by the same people who had loved her when she was on top of the world.  Edie died because, when she asked for help, nobody was willing to listen.

 

Edie Sedgwick (1943 — 1971)

I guess I should explain something.  I don’t believe in reincarnation but if I did, I would swear that I was Edie Sedwick in a past life.  Of all the great icons of the past, she, Clara Bow, andVictoria Woodhull are the ones to whom I feel the closest connection. (Edie is the reason why, for the longest time, I assumed I would die when I was 28.  But now I’m 29, so lucky me.)”

(Incidentally, I wrote that two years ago and I’m still alive so, once again, lucky me.)

Anyway, my point is that I’m always going to be a hundred times more critical of a film about Edie Sedgwick as I would be about any other film.  If you’re already guessing that I didn’t particularly care for Factory Girl, you’re right.  However, there are some people whose opinions I respect and some of them love this film.

Anyway, Factory Girl is a biopic that’s structured so conventionally that it even opens with Edie (played by Sienna Miller) narrating her story to an unseen interviewer.  I can count on one hand the number of successful biopics that have featured someone telling the story of their life to an unseen interviewer.  It’s a conventional and kind of boring technique.  Anyway, the film follows all of the expected beats.  Edie arrives in New York.  Edie is spotted by Andy (Guy Pearce).  Edie makes films with Warhol.  Her famous dance in Vinyl is recreated.  Edie becomes Andy’s platonic girlfriend but then, she meets and falls in love with Bob Dylan…

Oh, sorry.  He’s not actually Bob Dylan.  According to the credits, his name is Folksinger.  He says Bob Dylan type stuff.  He rides around on a motorcycle.  He carries a harmonica.  Oh, and he’s played by Hayden Christensen.

See, the first half of Factory Girl is actually not bad.  Sienna Miller gives a pretty good performance as Edie, even if she never comes close to capturing Edie’s unforced charisma.  Despite being several years too old, Guy Pearce is also credible as Andy Warhol.  The film itself is full of crazy 60s clichés but, even so, that’s not always a terrible thing.  Some of those 60s clichés are a lot of fun, if they’re presented with a little imagination.

But then Hayden Christensen shows up as Bob Dylan and the film loses whatever credibility it may have had.  Hayden, who gave his best performance when he played a soulless and largely empty-headed sociopath in Shattered Glass, is totally miscast as a musician who once said that if people really understood what his songs were about, he would have been thrown in jail.  The film attempts to portray Dylan and Warhol as two men fighting for Edie’s soul but Christensen is so outacted by Guy Pearce that it’s never really much of a competition.  Even though the film makes a good case that Edie’s relationship with Andy was ultimately self-destructive, Guy Pearce is still preferable to Hayden Christensen trying to imitate Dylan’s distinctive mumble.

Anyway, Factory Girl doesn’t really work.  Beyond the odd casting of Hayden Christensen, Factory Girl is too conventionally structured.  In its portrayal of the Factory and life in 1960s New York, the film never seems to establish a life beyond all of the familiar clichés.  (Before anyone accuses me of contradicting myself, remember that I said that the old 60s clichés are fun if they’re presented with a little imagination.  That’s a big if.)  At no point, while watching the film, did I feel as if I had been transported back to the past.  If you want to learn about Edie Sedgwick, your best option is to try to track down her Warhol films.

Edie!

Film Review: Basquiat (dir by Julian Schnabel)


Basquiat.  I love this movie.

I Shot Andy Warhol was not the only 1996 film to feature Andy Warhol as a character.  He was also a prominent supporting character in Basquiat.  In this film, he’s played by David Bowie and Bowie gives a far different performance than Jared Harris did in I Shot Andy Warhol.  Whereas Harris played Andy as a detached voyeur, Bowie’s performance is far more sympathetic.  (Of course, it should be noted that Harris and Bowie were playing Andy Warhol at very different points in the artist’s life.  Harris played the younger, pre-shooting Warhol.  Bowie played the older, post-shooting Warhol.)

Then again, it’s not just Andy Warhol who is portrayed more positively in Basquiat than in I Shot Andy Warhol.  The entire New York art scene is portrayed far more positively in Basquiat.  Whereas I Shot Andy Warhol was a film about an outsider who was destined to forever remain an outsider, Basquiat is a film about an outsider who becomes an insider.  On top of that, Basquiat was directed by a fellow insider, painter Julian Schnabel.

The film itself is a biopic of Jean-Michel Basquiat (very well played by Jeffrey Wright), the graffiti artist who, in the 1980s, briefly became one of the superstars of the New York art scene.  However, it’s less of a conventional biopic and more of a meditation on what it means to be an artist.  Throughout the film, Basquiat looks up to the New York skyline and sees a surfer riding a wave across the sky.  The image itself is never explicitly explained.  We never learn why, specifically, Basquiat visualizes a surfer.  But then again, that’s what makes the surfer a perfect symbol of Basquiat’s artistic sensibility and talent.  It’s a reminder that, while we can appreciate an artist’s work, only the artist can truly understand what that work is saying.  All attempts to try to explain or categorize art are as pointless as trying to understand why that surfer is in the sky.  Ultimately, the why is not as important as the simple fact that the surfer is there.

The film follows Basquiat as he goes from living on the streets to being a protegé of Andy Warhol’s and, until he overdosed on heroin, one of the shining lights of the New York art scene.  Along the way, Basquiat struggles to maintain a balance between art and the business.  In one of the key scenes of the film, an empty-headed suburbanite (Tatum O’Neal) looks at Basquiat’s work and whines that there’s too much green.  She just can’t handle all of that green.

Basquiat’s friendship with Andy Warhol provides this film with a heart.  When Bowie first appears — having lunch with a German art dealer played by Dennis Hopper — one’s natural instinct is to assume that Bowie as Warhol is stunt casting.  However, Bowie quickly proves that instinct to be wrong.  As opposed to many of the actors who have played Andy Warhol over the years, Bowie gives an actual performance.  Instead of resorting to caricature, Bowie plays Warhol as being mildly bemused by both his fame and the world in general.

Basquiat also develops a close friendship with another artist.  Gary Oldman may be playing a character named Albert Milo but it’s obvious from the moment that he first appears that he’s playing the film’s director, Julian Schnabel.  If there was any doubt, Schnabel’s studio stands in for Milo’s studio.  When Milo shows off his work, he’s showing off Schnabel’s work.  When Albert Milo introduced Basquiat to his parents, the nice old couple is played by Julian Schnabel’s actual parents.  It’s perhaps not surprising that Albert Milo is presented as being one of the most important and popular artists in New York City.  In a film full of bitchy characters, Albert Milo is unique in that literally everyone likes and respects him.  And yet Gary Oldman gives such a good and heartfelt performance that you can’t hold it against the character that he happens to be perfect.  There’s a small but touching scene in which Albert Milo and his daughter share a dance in front of one of Schnabel’s gigantic canvases.  Of course, Milo’s daughter is played by Julian Schnabel’s daughter.

The entire cast is full of familiar actors.  Willem DaFoe appears as a sculptor.  Christopher Walken plays a hilariously vapid interviewer.  Courtney Love plays a groupie.  Benicio Del Toro plays Basquiat’s best friend.  Parker Posey shows up as gallery owner Mary Boone.  Michael Wincott plays Rene Ricard, the somewhat infamous art critic who was among the first to celebrate the work of both Basquiat and Schnabel.  For once, the use of familiar actors does not sabotage the effectiveness of the film.  If anything, it helps to explain why Basquiat was so determined to make it.  There’s a magical scene where a then-unknown Basquiat peeks through a gallery window and sees Andy Warhol, Albert Milo, and Bruno Bischofberger.  However, the film’s audience sees David Bowie, Gary Oldman, and Dennis Hopper.  What both Basquiat and the audience have in common is that they’re both seeing bigger-than-life stars.

Basquiat is an often magical and poignant film and I absolutely love it.