This movie serves as the ultimate proof that making a truly great "trash" film is actually an incredibly difficult feat. Even though the director, Dejan Zecevic, is easily one of the more intriguing talents to emerge lately—and he clearly knows his stuff when it comes to those classic American B-movies, cult horror flicks, and that specific gritty aesthetic popularized by guys like Dario Argento—this just didn't land. It was a bad film. Honestly, can we even be surprised? We’re looking at a situation where the screenwriter is Gordan Mihic and his own daughter is pulling the strings as producer, which basically creates this insulated little bubble, and isn't that just the same old story regarding how non-commercial indie projects get funded? 🙄
Personally, I’d argue that ii is hands down their best work... though if we’re being honest, that debut album was probably the record of the year back when Melody Maker actually had some teeth. This latest one hits the spot perfectly for me... sure, it might not be out there winning over a whole new crowd of casual listeners, but for those of us who have been around since the beginning? It’s pure bliss. 😉
I honestly felt like I was sleepwalking through this entire movie... I mean, I ended up catching it on streaming later, but still—nothing. It just completely sailed right past me. Now, here’s where the real issue lies... for me, Steven Spielberg’s "The Himmer over New York City" is easily one of my top five all-time favorites. The soundtrack is absolutely phenomenal, perhaps even the best of its kind (with a specific group of artists composing custom tracks just for the film), but I had the absolute misfortune of listening to it on heavy rotation for months leading up to the release. So, instead of being immersed, I was constantly stuck thinking, "Oh, when is that specific track going to play?" or "Wait, they only played the chorus!" 😁 🙄 Maybe it is finally time for me to give it another watch.
It’s an interesting flick, I’ll give it that, but honestly, doesn't it feel like a bit of a cliché whenever people start reminiscing about that whole wave of 90s indie cinema? It feels like such a predictable talking point! You look at what Johnny Depp and Tim Burton were doing, and they just kept doubling down on that exact same vibe they established back in "Deli"... you know, that dark, twisted fantasy aesthetic... those retro sets, the absolutely killer costumes and masks, and characters that are just beautifully warped. They certainly aren't short on imagination, are they? 😁
Souled American - Fe (all that "No Depression" glory really migrated over to Uncle Tupelo, even though there were so many other incredible albums with that same vibe floating around back then, like this one)
American Music Club - Engine (AMC is nowhere near underrated, let's be real, but this specific record almost never gets its due... it’s easily one of my all-time favorites, a total masterpiece like "Outside This Bar")
The World of Skin - 10 Songs for Another World (I believe this dropped somewhere around the turn of the decade between the late '80s and early '90s... just a brilliant side project from Michael Gira of Swans)
Just like in almost every other sector, finding a solution in this field would actually be relatively straightforward if things were finally put in their proper place within the media landscapes of these "transitioning" nations. 🙄 😁 The government’s role should be to fund non-commercial projects designed to educate the public through television, cinema... it really just comes down to putting the right people in the right positions. On the flip side, I have my doubts about top-down, planned social engineering or trying to forcibly manufacture a "society"... so much of life is an individual matter, isn't it? It all depends on the current level of civilization we're operating at—specifically, the idea that film education should be considered a core part of general culture for most people, which in turn will naturally tie into broader societal shifts. That's my take on it (applause) 😁 😁
Man, if we’re talking about those legendary sequences, that bit from Vertigo is just incredible—those hypnotic spirals really pull you in... and looking at more recent stuff, the work from the Caro-Jeunet duo is absolutely stellar, not to mention how interesting the concept was in Fincher’s Panic Room with all those buildings and letters playing with perspective and shadows (to be precise, that's actually the best part of the whole movie 😁 😁).
PS. I haven't really sat down to investigate the official rules behind it, but I’m noticing more and more in Hollywood movies that they just shove the title & credits right at the very end... is that some creative choice by the director, or maybe the screenwriter trying to preserve the pacing, or is there some other reason? I have to say, I'm not a huge fan of it... especially since 99% of people in the theater just bolt for the exit the second they see "the end" 🙄
Wait, which version of the movie are we actually talking about here? If you’re referring to "The Body Snatchers," then we’re looking at the Abel Ferrara remake from the 90s—which, let's be honest, was actually somewhat successful. But of course, the true original is Don Siegel's "Invasion of the Body Snatchers"... though I should mention there's also that Philip Kaufman version from the late seventies... which, if I'm being completely transparent, I haven't actually sat down to watch yet.
Here is a quintessential example of an American "indie" flick. It centers on Roger (Campbell Scott), who we first meet as this chatty, self-assured guy in his thirties who just loves spinning his little "theories" about sex and gender dynamics... only to be dumped by his girlfriend, who also happens to be his boss (Isabella Rossellini). Right as that hits the fan, his sixteen-year-old nephew shows up from out of town, desperate to experience the "real" side of life (read: sex). Roger introduces him to two of his female friends (Elizabeth Berkley, Jennifer Beals)... and I really shouldn't spoil any more of the plot than that. The film is almost entirely composed of non-stop dialogue, which serves as practically the only action in the whole thing... and these "serious" discussions are constantly interrupted by witty quips. The writer/director making his debut, Dylan Kidd, sets the scene amidst parties, bars, and city streets... there is this constant sense of weariness hanging in the air, and since the camera is perpetually in motion, it lends the whole piece an extra layer of energy. So, nothing groundbreaking here, but it's a solid watch... honestly, it's a relief that there are still American films being made that aren't designed solely to lobotomize the audience. 7/10
Just wanted to check in and report back—I caught The Matthew Herbert Big band live last night... and honestly, I am completely floored! What on earth is that guy doing on stage?! You’ve got this massive brass section of about ten musicians, a drummer, a conductor(!?), the vocalist Dan Siciliano, and then him, surrounded by all sorts of strange little "gadgets." Following those rules he mentioned earlier, there’s this one microphone set off to the side where one of the performers steps up before every single track to make a specific sound for Herbert to sample. At one point, it was the sound of someone tearing up a newspaper, then a bit later, the sharp click of a camera flash, and finally, Dan gave a short vocal snippet that just swirls through The Audience, which actually became the single alongside Bodily Functions. Herbert is absolutely hyperactive; his fingers are moving at such an incredible speed, hitting buttons on these machines, playing a melody on the keys only to immediately sample it and run it through a gauntlet of effects. The horn section really softens the edges of his experiments... the whole thing just feels absolutely seamless!! It’s official: Matthew Herbert is a genius. (period)
Jamie Sanchez48 said:... I seriously need to figure out why Paul Thomas Anderson decided to cast Adam Sandler in his movie?!
It’s the exact same logic behind casting Mark Wahlberg in "Boogie Nights" or Tom Cruise in "Magnolia." Honestly, the guy just seems to have this itch for unconventional eccentricities—you know, that whole "let's take a massive A-list star and shove them into a weird, offbeat role" vibe. 🙄 Though, if we're being honest, Tom Cruise is actually phenomenal in "Magnolia"... but sadly, it turned out to be the final performance for Jason Robards in that same film. And don't even get me started on that scene where everyone starts singing "Save Me" by Aimee Mann—it was absolutely agonizing! "Boogie Nights" could easily lose thirty minutes of its runtime and still work for my taste... but hey, you can't tell me a movie featuring a naked Heather Graham is going to be a total disaster, right?😁 😁 😁 Unlike those other films, "Punch-Drunk Love" possesses this uniquely strange atmosphere because Paul Thomas Anderson plays so masterfully with color palettes and soundscapes... there were moments where I felt that specific vibe only Jim Jarmusch can pull off... where just when you're expecting a cut or a transition to the next scene, the shot lingers for an extra ten seconds and completely shifts everything you thought you felt about the previous moment. Oh, and I have to mention that Philip Seymour Hoffman is starting to get on my nerves lately. He was brilliant in "Happiness" and "Next Stop Wonderland"... and especially in David Mamet's "State and Main"... but now? It feels like he's starting to overact.
Here is a bit more context regarding the whole story!
USA Water Polo reached out this past Monday to the leaders of the European Water Polo Organization (LEN), pleading with them not to penalize the American national water polo team or the USA Water Polo federation following those incidents caused by American fans during the European Championship in Minneapolis.
According to the letter sent over to LEN, VSSCG maintains that the USA Water Polo federation and the American national squad shouldn't have to face any repercussions for the vandalism committed by fans—behavior they claim was completely beyond their control or ability to prevent.
"The behavior of the American fans—which was exacerbated, frankly, by poor organization—was contrary to everything sporting tradition stands for and deserves nothing but contempt. We sincerely hope this never happens again, but we must emphasize that the American players, as well as the USA Water Polo federation, acted with total professionalism and humanity toward our players," states the letter from VSSCG, which was signed by their president, Aleksandar Šoštar.
Now that is how you handle a situation like this!!! 👍
No matter how you slice it, the biggest responsibility lies squarely with the Canadians. 😁 😁 For crying out loud, did they really think they knew what would happen once a few thousand drunken fans showed up? They clearly didn't! Take '98, for instance, when the LEN Cup final was held in Split—which Partizan ended up winning—and there wasn't a single incident because the pool area was absolutely crawling with police presence. 😁 😁
What an absolute masterpiece of a film! It’s pure sci-fi noir through and through, though I’d argue it weaves in threads from several other genres just to keep you on your toes. The setting is everything—this gritty, suffocating future that feels so heavy, much like the atmosphere you get in movies like Brazil, Delicatessen, or Blade Runner. The plot itself? Truly gripping. You have this guy waking up next to a dead prostitute with absolutely no memory of who he is, only to receive a mysterious phone call from someone claiming they have all the "explanations" he needs. It’s brilliant, isn't it? Sure, the lead actor, Rufus Sewell, might not be a household name just yet, but honestly, does that even matter when you look at the sheer powerhouse lineup they assembled for the guest spots? I mean, seriously, how can you not be floored when you see heavyweights like John Hurt, Jennifer Connelly, and Kiefer Sutherland popping up in different episodes? It’s almost absurd! Who needs a massive superstar in the main role when you have that kind of prestige rotating through the guest cast? I have to admit, the ending felt a little bit off—sort of left me scratching my head, if I'm being completely honest—but even so, I’d still give this a glowing recommendation!
HA HA (laughs)... god, we’re such a riot, aren't we? Oh right, my mistake—it's sports, isn't it? A perfectly logical arena for settling all our political grievances and international disputes! 👎 PS. Is Simenc still playing?!?! For crying out loud, the guy was out there on the field with Milanović and the rest of the crew fifteen years ago.
And here is what Gilles himself posted on his own site:
I've just played ten different cities in two weeks. All the dates were great, but it was the travelling... I had a completely mad, offbeat journey from Mexico to Finland. My gig at the Skopje jazz festival ended at 5:30 am before i was rushed to a waiting car which drove me for six hours to Sofia in Bulgaria over the mountains and into Poland... This was so I could catch a plane from Warsaw Airport for a gig the next night in Helsinki... The whole journey took longer than a flight from London to Tokyo. The highlight of the tour though was definitely Belgrade in Mexico / Mexico. Good vibes indeed. It's all happening over there.
Well, now this is actually getting interesting—we’re looking at a potential Water Polo European Championship FINALEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE between Yugoslavia and America! 😁 😁 Has anything even remotely like this happened before in any other sport? I have to admit though, I’m getting a little uneasy seeing how close Canada is to the venue... I can't shake the feeling that we might run into some serious trouble with the fans. 🙄