With no word crunch, Lost in the Multiplex’s writers speak their mind and vent their spleens. You’re where you want to be if you’re after movie articles, stories and interviews. Dig in.
These days, when every film features S&M sex scenes and lavishly choreographed 3D garrottings, it’s difficult to appreciate just how shocking the Hammer studio’s lurid output genuinely was back in the drab 1950s.
House of Cards stands out as a unique TV show in this modern age, as it was released exclusively on the entertainment streaming service Netflix, and not on any TV channels. It also released all 13 episodes at once, so you could in theory watch all 13 hours of the show in one sitting on the day of the release. This was something completely new, and it excited a lot of people. The show also stars Kevin Spacey, one of the most talented and versatile actors of the last 20 years, and the show is produced by David Fincher, director of the english ‘Girl with the Dragon Tattoo’, ‘The Game’, and ‘Se7en’ in which he also worked with Kevin Spacey. Netflix's ability to ignore TV's ratings in regards to language and adult themes attracts the biggest names, with Joel Schumacher directing two episodes of the show as well. With all this coming together, it’s a great TV show, achieving a 9.0 rating on IMDb with over 12,500 votes.
Song For Marion is an odd bird. One-half film score, one-half original cast recording, it mixes in instrumental pieces with diegetic selections from the soundtrack as sung by the choir from the film. This is not always effective, but if you've ever wanted to hear Porkpie from Desmond's singing 'Love Shack', here's your chance.
If you asked me what I thought of the music of Cloud Atlas, I would say it's fascinating, beautiful, ambitious, emotional, and brilliant. It's an evocative and thoughtful work, perhaps atypical of your average mainstream sci-fi scoring, and Tom Twyker, Johnny Klimek and Reinhold Heil have created a score that really speaks to you.
Despite the inevitable conclusion to this year’s awards season, I get excited for the Oscars every year. The Academy Awards bring about great opportunity for cinephiles to win a little extra money in Oscar pools at the office or among friends. Need help? You’ve come to the right place. I’ve gotten minimum 70% every year since tracking the Oscars, and I’m hoping to nail even more this go around. Follow my picks– I won’t lead you astray.
And just like that, we're back! Apologies for the break but it's amazing how hard it is to do a simple thing like sit down and write when your back is keeping you in constant agony. Funny that! But ignore my suffering and get ready to cast your eyes over this week's soundtrack selections, because before long you'll no doubt be able to absorb words intravenously through iTunes. Enjoy!
As we turn into Caroline Street next to The Troxy, I feel the immediate trepidation I’m meant to. Moroccan police are shaking people down and asking for their papers; actors deep in their roles delighting the period-dressed crowd. Fittingly, I’m dramatically uncomfortable as I’ve never been a ‘joiner’ and will be bewildered in the extreme if one of these people starts acting at me. Fortunately, we’ve skipped on the dress code so hopefully this will state our position. My wife feels uncomfortable to be the odd one out but we just didn’t have any 40s clothes lying around.
2007. A full 12 years has passed since Die Hard with a Vengeance. The action genre has changed, times have changed and concerns have changed. Bruce Willis' hair has changed. But, yes, more importantly, concerns have changed. Terrorism is a more tangible quality in the lives of everyday Americans since 9/11, it's not quite so much fun to watch people held hostage and murdered. Live Free or Die Hard represents a new Die Hard for a new generation.
