Morgan Brown4 said:Just starting this thread to let the locals and anyone passing through town these days know that a Bresson retrospective kicked off yesterday over at the local cinema near Tuškanac. It runs until Wednesday, so it’s a great chance to catch most of his work on the big screen. 🙂
I actually caught A Condemned Man Escaped yesterday. It’s an interesting way to shoot a film, though I can't say it totally clicked for me on the first watch. 🙂
I'm really curious to see how I'll feel about Pickpocket. A friend of mine saw it last year and told me she found it pretty boring. 😁
Also being 👍
The key to Bresson's style is transcendentalism. While he presents the raw action, he forces the viewer to use their imagination to figure out the "why" behind it. For instance, you find yourself wondering why the protagonist in Pickpocket avoids visiting his sick mother. It operates on an ironic, yet brilliant philosophy: if you bore the audience enough, they become deeply engaged. I actually had to watch Pickpocket twice to fully reconcile with his uncompromising methodology, and even now, I'm struggling to put the experience of watching a Bresson film into words.
I first saw A Condemned Man Escaped about 15 years ago; I liked it then, but the impact was definitely stronger after watching it yesterday. Personally, I think Becker's https://www.imdb.com/title/tt0054407/ is the best prison movie ever made. Forget Shawshank or Midnight Express—The Hole is on Olympus. If you haven't seen it, I highly recommend it.
I’m not sure if I should mention which albums I voted for, but since it’s all over now, I’ll just say I went with Jackson, Tool, and Maboul.
I put my vote in for Michael Jackson 😁 and, honestly, I'm a little bummed it didn't win. It’s not because he was sitting right there just one vote behind; it’s more about the fact that this is week 100. This particular week felt a bit underwhelming to me. I really think we’d get better results if we picked "All-Time Great" albums based on actual consensus. Some might argue that's too restrictive, but I don't see it that way—there are hundreds of legendary albums out there, so everyone would find something they love. But hey, it is what it is.
Congrats to the winner. I actually thought the quartet had suggested 😁
Richard Wilson4 said:Arnold's movies actually had charisma, a sense of humor, and some soul.
Sly was incredible in the first Rocky, the first Rambo, in Fist, and especially in Copeland.
I grew up watching him, alongside classics like Conan the Barbarian, The Terminator, and Predator, plus those smaller action flicks from the 80s. If you throw in True Lie and Taken, you get the full picture. I’m a fan of Arnie, but honestly, he isn't the best actor.
Richard Wilson4 As specified by: Sly is an incredible actor, especially in the original Rocky Balboa, the first Rambo, Fist, and most notably in Copeland.
This is actually the first time I've heard someone call Sly an excellent actor. It’s funny because on another thread, there was this big debate about Brad Pitt. One group was insisting he’s top-tier, while my group was arguing that while he's good, he isn't quite "excellent" yet. Now, it looks like I might have to concede and start accepting Sly as an elite actor too. 😵 Let’s be realistic here: the guy is a mediocre actor who just happens to have an occasional standout performance. I recently rewatched *Copeland*, and honestly, that was one of the few times he actually nailed it. Sure, that role was better than his previous work, but that’s exactly the trap people fall into. They know he lacks any real dramatic range, yet the moment he finally delivers a decent performance, they suddenly start acting like he’s some legendary dramatic powerhouse.
By any standard, Sylvester Stallone isn't an elite actor. To earn that title, you need a consistent track record of stellar performances, and he just doesn't have that. People love Rocky Balboa because it’s a story about hope, and let’s be honest—any movie that provides that kind of inspiration is going to find an audience. He hit the jackpot with his timing, sure, but if you look at Rocky objectively, it’s a decent enough film that somehow exploded into a massive phenomenon. As for Sly himself, his acting in that role is just middle-of-the-road. I don't see a single standout moment where you could point and say, "Now, there is a masterclass in acting."
While Rambo is my favorite of his films, that crying and screaming at the end is just proof of how weak his acting actually is. Look, I grew up watching these guys and I love all their movies, but by any real standard, they aren't exactly "great" actors. In my book, they’re pretty mediocre—Sly might be a bit better, though that's debatable—but generally speaking, they're just actors who occasionally stumble into a decent role. That doesn't mean I don't respect what they achieved, especially when it comes to Arnie. To me, Arnie is a much bigger inspiration to young people than someone like Jack Nicholson, Robert De Niro, or Al Pacino, specifically because of how he fought his way up to become the biggest action icon of the 80s. He was a total anomaly, and you have to hand it to him for that.
Still learning the ropes here; not sure why it turned out like this
Lisa Davis46 said:So, take it easy... 🙂 don't go overboard with your suggestions... personally, limiting things to "all-time best author" lists feels a bit pointless to me. (Top albums based on whose criteria? Whose selection actually matters? Why rely on Rolling Stone? What about those influential albums that never quite got the recognition they deserved?) But hey, let's hear what everyone else thinks about the idea...
I think that kind of limitation is actually helpful because there are just so many options out there. Whether it's Rolling Stone or someone else doesn't matter—that was just an example. I mean focusing on what is widely accepted as the best. For instance, I'm not really a fan of any Oasis albums, but I'm fully aware they were massive hits with both critics and the public. Someone might not be into The Rolling Stones, but I'm certain they know how much impact they had.
If anyone is struggling with how to verify that, I think we've all been listening to music and reading enough about it to know the obvious stuff by now. I'm a big fan of the anonymity aspect here. 🙂
Action fans know there’s a difference between mindless spectacle and smart action movies with actual depth and solid acting. This one doesn't hit that mark, and honestly, Jason Statham isn't really built for high-caliber, thoughtful action. Most of his filmography feels like brainless muscle movies, much like the stuff Sylvester Stallone and Arnold Schwarzenegger were churning out back in the 80s. Sure, those guys are legends, but they belong to that specific "popcorn flick" category where the movies play more like comedies than serious cinema. Great action doesn't start with them, and it certainly doesn't end with them. It's just a shame that because they're so massive, people assume that's how all action movies are supposed to work.
That’s exactly what I was getting at, much like this list https://www.rollingstone.com/music/m...rtists-147446/. If you look at it, the top 30 or 40 artists and bands almost always show up on similar rankings. It basically boils down to personal preference—one person might pick an album by The Beatles, another might go with The Rolling Stones, and someone else will choose Bob Dylan...
We could shake things up for the centennial, but let's only do it this once. The idea is that everyone suggests albums from the most iconic bands or artists in history. It would easily be our strongest week yet. If the group is down to dedicate next week to something like that, let me know.
YouTube just recommended Laurence Fishburne Lists his favorite movies ever. He picked three: Lawrence of Arabia, To Sir, with Love and The Shawshank Redemption. Choosing Shawshank feels a bit cliché, but I totally get why he went with it. The reasoning he gave is actually pretty interesting.
I think this video is even better, though—he breaks down his favorite actors and the roles that defined them. Especially the part where he mentions Laurence Fishburne 🙏
Laurence Fishburne talks about his favorite actors
He really knows his stuff, Laurence. Anyway, it's all about directors, actors, their top picks, and everything else in that orbit.
They’ve got some great stuff. I actually first discovered them through this movie https://www.imdb.com/title/tt0079688/. They practically filled the entire film with their tracks, and this particular song is a personal favorite of mine
Now, Toto has more of those massive hits, like Rosanna, Africa, and hold the line...
Basically, the bots are just copying Cheap Trick damn it 😁
You've got it wrong. Even though I wouldn't call myself a huge fan of Zabranjeno Pušenje, they were actually one of the most toured bands during the 80s. They were massive back then. The catch is that they fall into that category of legendary bands that have somewhat faded from the mainstream today. I don't mean they're completely forgotten, just that they don't command the same level of hype anymore.
Take some American bands like Toto or Cheap Trick, for example; they never really hit the same heights in Europe as heavyweights like Led Zeppelin or The Beatles did, yet they absolutely crushed it in Asia, especially in Japan. Around here, there isn't much of a tradition of listening to Toto or Cheap Trick—mostly because they're terrible—aside from a few specific tracks. The Japanese have always had questionable taste.
A 1. "i Remember Now" 2. "Anarchy — x" 3. "Revolution Calling" 4. "Operation : Mindcrime" 5. "Speak \" tata" Tate, Wilton 6."Spreading The Disease" 7. "The Mission \" DeGarmo b 8." DeGarmo
B 8. "suita Sister Mary" 9. "The Needle Lies" 10. "Electric Requiem" 11. "Breaking The Silence" 12. "don't believe in Love" 13. "Waiting for 22" 14. "my Empty room" 15. "Eyes of a Stranger"
Calling nazvati Operation Mindcrime an "excellent concept album" is a bit like calling Purple Rain a great soundtrack or Raging Bull a top-tier sports movie. You wouldn't be wrong, per se, but you'd be missing the bigger picture. When it comes to Operation Mindcrime, we don't really need qualifiers like "concept" or "metal." It simply stands alone as a massive work of art.
Don't let it get to you when you see everyone celebrating Jon Hassell, The Mountain Goats, and all that other nonsense. There's really no reason to worry about it.👍
Steven Newman50 said:From what I can tell, The National probably intended to be grouped with those that didn't receive a vote.😁
The Album of the Week is Terence Trent D'Arby.
Man, I totally forgot to cast my vote. If it isn't too much trouble, could a moderator please update this and count my vote so we can officially open it as the Album of the Week? I genuinely blanked on it, but you can see I included it in the list of albums I voted for. Basically, MY VOTE went to The National, so that should make it the Album of the Week. Thanks!
quietbison86 said:By the way, I have the same question for you, Nathan Murphy: why do you buy records that you don't actually like?😁
That’s an excellent question, and honestly, one I've asked myself more than once. I used to try to explain it through movies—since I love trash cinema—but then I realized that wasn't quite the right analogy. Even if a trash movie is "bad," I still enjoy it, whereas when an album is bad, I just don't like it. In my defense, back in the day, I used to buy albums I didn't particularly care for just to build up the collection; these days, I tend to stick to buying things I truly enjoy.
THEY HAVE A VOICE Introducing Terence Trent D'Arby's 1987 breakout, The Hardline. Terence Trent D'Arby made an incredible debut, appearing on the scene seemingly out of nowhere. While his breakout single "If You Let Me Stay" dominated the airwaves and became a massive hit, it was actually that powerhouse voice that truly introduced him to the public. There was a certain grit to his vocals that made him instantly recognizable. He went on to release other albums and singles, but nothing ever quite captured the lightning in a bottle seen with *The Hardline*. If there’s such a thing as a "one-hit wonder" in terms of pure impact, Terence Trent D'Arby is the perfect example.
Yob - The Unreal Never Lived (2005) On their fourth album, the band stretches just four tracks across 51 minutes. Even the shortest song clocks in at nearly ten minutes, allowing the compositions to evolve and morph without ever losing that core heaviness that defines them. The lyrics lean heavily into spiritual philosophy and the human psyche, though they tackle those themes with a pretty aggressive edge. While I’ve always had mixed feelings about Yob's earlier work, I have to admit I love this record—it's easily their best in my book.
The National - Boxer (2007) Sometimes I feel like this is a compass for musical satire. The lyrics point directly toward the state of modern society—a world drowning in political figures and grand imperial ambitions, yet rotting from within because the masses lack the self-awareness to see exactly what went wrong.
Himzo - Himzo (1970) 🎉
They have no voice. Counting Crows - August and Everything after (1993) Lost in a sea of generic production, Adam Duritz delivers a vocal performance that feels more like strained whining than singing. It’s a tough sell. "Mr. Jones" was already an irritating track back in 1993, and watching Adam struggle through the music video doesn't exactly make it easier to digest. At its core, the band shows some genuine musicality—the harmonica player, in particular, is quite skilled—but the listening experience is ultimately undermined by a vocalist who seems determined to push through every note with an annoying, pseudo-emotional wail.
Dido - Girl Who Got Away This actually sounds remarkably similar to her debut album. However, if there’s any real hope for Didou to pull off a true comeback, it would require a pivot—something like a dance record or a complex, aggressive electronic collection. Once she stops leaning so heavily on her vocals, that's when things will get interesting.
Gorillaz - Plastic Beach (2010) I remember spending a long time obsessing over whether I should pick up a copy of their debut as soon as it dropped. For some reason, I don't recall Damon Albarn ever getting under my skin back then, nor did I find the whole concept of a band made up of cartoon characters particularly appealing—it felt about as exciting as a root canal. In the end, I pushed through my hesitation and walked away with another valuable lesson in keeping an open mind. Unfortunately, the exact thing I was dreading all those years ago eventually became a reality with Plastic Beach.
Sun Electric - Sun Electric (1995) Deep, ambient techno vibes—perfect for a chill-out room like the one where this was recorded (I'm assuming?). It feels somewhat similar to certain tracks from The Orba around that same era, though I think I actually prefer this direction.
Michael Rother - Flammende Herzen (1976) It’s a solid listen. The title track kicks things off with some bright, melodic guitar lines, backed by really engaging drumming from Jaki Liebezeit. "Zyklodrom" starts out with an ambient vibe before shifting gears into something much more intense. Then you have "Karussell," which features an unforgettable, catchy Synthesizer riff, while "Feuerland" takes a turn toward the experimental and dark—it actually reminds me a bit of the eerie atmosphere found in Kraftwerk’s "Mitternacht." It just keeps going like that.
Blur - Parklife (1994) This is a strange collection of empaths hiding behind mild pop songs. The upbeat tracks (like "Girls & Boys," "Tracy Jacks," and "Parklife") might seem catchy at first glance, but they repeat themselves to the point of being borderline tedious. Everyone has one or two albums that are widely considered among the best recordings of their decade or genre, yet for whatever reason, you just can't stand them. Immensely. For me, *Parklife* is one of those records. To provide some context, I wasn't swept up in the Britpop hysteria of the mid-90s (not that my listening habits are inherently superior). In fact, I didn't even pick up this album until around 2001. So, listening to it for the first time—about seven years after its peak—I ran into a simple problem: *Parklife* sounds like total garbage. It feels like the album is trying to be some sort of concept piece where Damon Albarn inhabits different characters to offer social commentary. But that’s exactly where it fails. For instance, "Tracy Jacks" tells the story of some guy walking a dog, but instead of connecting with the character Albarn is trying to portray, I find myself stuck on the terrible vocals and that grating "TRACY JACKS" chorus, delivered in one of the most irritating accents I've ever heard.
Robert Calvert - Captain Lockheed and The Starfighters (1974) A strange concept album centered on a political and commercial scandal in West Germany during the 60s. It was created by Robert Calvert, a writer, poet, and vocalist with truly one-of-a-kind melodies. This is definitely a record that requires a few listens to fully wrap your head around.
A 1. "20 Eyes" 2. "I Turned into a Martian" 3. "All Hell Breaks Loose" 4. "Vampir" 5. "Nike-A-Go-Go" 6. "Hate Breeders" 7. "Mommy, Can I Go Out and Kill Tonight?"
B 1. "Night of the Living Dead" 2. "Skulls" 3. "Violent World" 4. "Devil's Whorehouse" 5. "Astro Zombies" 6. "Braineaters"
The debut album from Glenn Danzig's first band is an incredible collection of hardcore tracks. It blends B-movie horror vibes with a wide range of influences, stretching from late '50s instrumental rock and psychobilly to raw Rock and Roll reminiscent of Motörhead and pure punk.
I listened to a few albums while at work today. Since I'm already so familiar with Paul Simon, Carpenter, and Primus, I didn't bother unless they were absolute classics. I checked out the rest, though. So, out of eight albums, I skipped one.
When I get critical, I tend to be pretty sharp, so I understand why some people might find it a bit stinging—but hey, nothing personal. 👍
Regarding all that middle school drama, back in my day, indie rock was really starting to take off alongside Britpop, and in most cases, the girls were the ones putting playlists together. Dream pop was huge back then, and even though they aren't strictly dream pop, The Cranberries were played constantly. I get that kids nowadays aren't really in the habit of digging deep into music, but we had this ritual where we actually talked about albums and bands. We’d record stuff from the radio just to make sure we remembered what we heard. It was just part of the culture.
Here’s a quick breakdown of each album; which one wins really depends on the specific topic at hand.
Paul Simon - Rhythm of the Saints (1990) It feels similar to Graceland and is roughly just as good. There’s a noticeable dip in the pop influence here, as it seems Paul focused less on chasing the mainstream this time around. While Graceland relies on those African rhythms for its percussion, TROTS leans more heavily into a Brazilian sound. VOTE CAST.
Primus - Sailing the Seas of Cheese (1991) Most tracks fluctuate between slow and fast tempos, but they never lose that signature quirkiness or funky edge that defines most Primus albums. The lyrics are typically humorous, aided by Lesov’s exaggerated, almost Elmer Fudd-like vocals. A very solid record. VOTE CAST.
Jay - Ko se s' nama druži (1991) The man is a legend. VOTE CAST.
John Carpenter - Lost Themes II: Alive after Death (2021) There’s a certain beauty in its simplicity, but what I love most is how the atmosphere carries both the film and the music. VOTE CAST.
The other albums didn't get a vote. Some are decent enough, but not quite strong enough for me to commit.
Slowdive - Souvlaki (1993) I wouldn't call it a terrible album, but let's be honest—there’s a reason it never truly blew up. It lacks structure and a sense of cohesion. Plus, the lyrics are barely perceptible; once the album ends, you're often left with a sense of indifference or even forgetting what you just heard. While I think 'When the Sun Hits' is a great track, the rest of the album feels like a one-off experience. It’s the kind of music we used to listen to during recess back in elementary school.
Generally speaking, dream pop/shoegaze and pop contain a lot of filler—in my opinion, probably over 90% of it is junk. There are gems, though. Michael Jackson is the king and a master of pop, and I enjoy listening to Julee Cruise from time to time too. However, the difference between Cruise and Slowdive is that Slowdive just delivers melancholy without much atmosphere, whereas Cruise provides the atmosphere first, followed by the melancholy.
David Behrman - On the Other Ocean (1977) It sounds like a very pleasant electronic/ambient record, which it is, but the core material actually uses acoustic instruments like cello and flute. Interestingly, it sounds a bit like old-school Yamaha keyboards with synthetic patches, which highlights a flaw in so-called "modern" electronic music: it doesn't stay modern for very long. A more than solid album.
Palace Music - Lost Blues & Other Songs (1997) The quality is pretty inconsistent. However, tracks like 'Come In', 'West Palm Beach', and 'Horses' elevate the whole thing to a different level. Will Oldham is a talented songwriter with a unique vocal style, even in these "early days."
Red House Painters - Down Colorful Hill (1992) Pretty weak. This is some of the worst Slowcore I've ever listened to. To me, it sounds like Kozelek and his buddies tried to whip up something resembling The Smitsa while they were under the influence. Every melody feels overly melodramatic and self-important. Musically, there isn't much happening—just constant monotony.
The Teardrop Explodes - Wilder (1981) Surprisingly, most of the songs on the album are somewhat interesting, but they all seem to lack that final finishing touch.
Carpenter is my favorite director 😁 The guy does it all—he’s just a total complete filmmaker. He’s got my kind of style, too; simple yet incredibly atmospheric music. I'll drop some thoughts on the albums I've been listening to later...
