Have you seen the trailer for Ghostbusters? It’s exceptionally bad in nearly every way imaginable. The jokes fall flat, the pacing is strange, and it feels like that it spoils large portions of the film all for the sake of fitting as many flashy things as possible into a two minute sizzle reel! It’s a real shitshow.
In case you haven’t seen it, here’s a look.
Yeah, I’m really clever, I know. Continue reading
There are a lot of differences between going to the movies in Japan and going in the United States. For starters, tickets cost a heck of a lot more, usually upwards of $20, and the seats are assigned. Many theaters also have deluxe seats that offer anything from increased leg room to full-on private suites. The theater near me even has a private waiting area for premium members where champagne and chocolate are served. It all combines to create a feeling that turns going to the movies into more of an event, much like going to a live stage show or a concert.
And just like a live event, in Japan, movies often get their own specially made programs.
And they’re dope. Continue reading
Hey, did you hear there’s a new Portishead track out? It’s for that new flick High Rise and is a cover of Abba’s classic “S.O.S.” I bet you want to hear that, right? I bet you’re curious as to what a Portishead cover of an Abba song is like, considering it’s one of the strangest, most unlikely cover choices since Sonic Youth gave the world their take on The Carpenters. I bet you can’t wait to give it a listen on YouTube or even shell out the 99 cents to $1.29 on your favorite digital music storefront to buy it. Maybe you might even go to a physical location and hand a real person actual money in exchange for a physical good with the song on it either digitally or analog.
Well, too bad. You can’t. Continue reading
When people talk about movies that predict the future, they often turn to sci-fi. Back To the Future II was recently focused in many articles, with it being the year in which the film took place. And many a clickbait has been published showing how a few of the predictions made in Back To The Future II hit the mark, while countless more were off by a mile. Other movies I see mentioned when talking about celluloid-based crystal balls include Escape From New York, Demolition Man, The Terminator and Mad Max. But no sci-fi film has come as close to predicting the dystopic future we find ourselves trapped in now as Targets, a little-known low-budget drama/thriller from 1968.
It foresees the sad future we live in so much that when I recently watched it for the first time it literally gave me chills. Continue reading
For me, Halloween has always meant one thing: scary movies. And not just Halloween proper, but the entire month of October. Back when I lived in America my friends and I would make it a point to watch non-stop horror and gore during the month of October, sometimes going through as many as four horror flicks a week.
Of course, this wasn’t all that different to our regular movie watching schedule. Between our Netflix accounts, the remaining local video stores, and a healthy supply of illegally downloaded rarities, we would routinely awash ourselves in depravity, spending hours on end watching some of the sickest, most violent and deplorable acts of horror ever put on film. Continue reading
I have about 4,000 records. Give or take. It’s hard to keep track with a collection that spans two continents. A lot of time people ask me what the “most valuable” record in my collection is, and to be honest, I rarely know of the top of my head. That’s the kind of thing that changes on a regular basis. Skimming my Discogs page right now, it would appear that the most valuable record in my stacks is my copy of Velvet Underground & Nico, complete with in-tact banana and Verve sticker on the back. On a good day my copy can probably go for about $300 – $400. Most of the other very valuable records in my collection go for around $100 – $200, and include hard-to-find vintage soundtracks, a ton of rare Pearl Jam and Nirvana LPs, and a few old Krautrock first pressings.
Most of these have one thing in common: they weren’t designed to be collectibles, it just kind of worked out that way. The Nirvana and Pearl Jam LPs were pressed at a time when no one was buying vinyl, so they were made to fit a very low demand. Ditto for the soundtracks. The Krautrock records are valuable because demand for them has grown tremendously over the years, and mine happen to be in very good condition – which in itself is a rarity.
My point is that I have nothing against collectibles. I’m a collector after all. I get that people want rare shit. That the act of it being rare makes it a commodity. And that the “thrill of the hunt” is part of what makes collecting records, games, or anything for that matter, so fun.
But while I love rare items, genuine scarcities whose value has increased due to unforeseen circumstances, “collectible” materials, items made scarce on purpose for no other reason than to limit supply versus demand, piss me the fuck off.
Revenge movies are a tricky thing.
On one end of the spectrum you have violent power fantasies like The Crow, Desperado or Machete; unrealistic hyper-violent orgies of death and destruction that paint vigilante justice as a swift and powerful sword of righteousness.
On the other end are movies like I Saw The Devil, Hard Candy and Memento, which suggest that when someone takes the law into their own hands they risk turning into the very monsters that they are after.
And then there’s Rolling Thunder, a 1977 revenge thriller co-written by Paul Schrader, which seems to straddle the line between both sides, suggesting that while vigilante justice may be “right” in some cases, you’re not going to come out a better person having committed it.
Remixes have always been a part of dance music, but it seems like they matter now more than they ever did before.
It’s always the remix that gets played at the club. It’s the remix that takes a summer festival crowd by storm. It’s the remix that charts at Beatport. If the modern ‘EDM’ scene has proven one thing, it’s that if you want your track to really take off and get that crossover appeal, you better be ready to hand it off to every DJ and producer in the world to let them dismantle and reconstruct it in their own image (especially if that image is “sick dubstep“).
So when Daft Punk announced that they would be handling all the remixes for the singles from Random Access Memories, a lot of people were taken aback. Still, it kind of made sense. For whatever reason, most remixes of Daft Punk tracks tend to fall flat. They always seem to strip away what makes the original tracks unique, and instead just transform them into standard, boring club tunes (Glitch Mob excluded).
But even if Daft Punk had given “Get Lucky” to a thousand producers, DJs and other artists to remix “Get Lucky” to their heart’s content, it’s safe to say that none of them would have taken the track and done what Daft Punk did with it, which is hardly anything at all.
Although that’s not really a bad thing.
Disco was the hottest thing in music for a good chunk of the 70s and into the 80s, and during that time Hollywood certainly took advantage, with blockbusters like Saturday Night Fever and The Wiz.
But disco-themed hits seemed to be few and far between, and for every Saturday Night Fever there seemed to be at least three Can’t Stop The Musics. Hollywood just couldn’t translate disco’s success into box office dollars, apparently.
One of the biggest bombs that tried to cash in both on the disco craze and the surprise success of Grease was The Apple, 1980 musical produced and directed by Menahem Golan, the b-movie god behind such “classics” as Delta Force, Superman IV and The Masters of the Universe.
The second I found out about this film, I knew I had to see it. A disco musical directed by the man who decided that Dolph Lundgren should star as He-Man in a feature-length film? C’mon.
I knew it would be bad. I knew it would be a spectacle. I knew it would be ridiculous.
I did not know it would be an allegory for the rapture.
The Apple is a weird film.