Some songs are built entirely around a single riff, and this track by the Stones is just a repetitive thud... It reminds me of what Stevie Wonder once said—that great artists borrow, but the truly legendary ones steal. Or maybe he phrased it differently; it doesn't seem like his own original thought anyway. Not that I’m suggesting the Stones are the greatest artists ever, obviously.
Sheri Moon gave a solid performance, but I honestly don't see much of a connection to Kubrick's style. Sure, you might find glimpses of it in certain grandiose set designs here and there, but that's about it.
I’ve finally sat through it, and while I wouldn't go so far as to call the film a total disaster, it ultimately falls apart under the weight of its own Satanic hallucinations and psychedelic aberrations. You can clearly see the influence of Carpenter here; unlike the earlier entries, the focus has shifted almost entirely toward building an atmosphere. But does it actually work? Not really. In the end, it fails to provide any meaningful narrative closure, leaving you with nothing more than the bitter aftertaste of a glorified, overproduced music video for some extreme metal band. That said, certain sequences are undeniably well-crafted from a technical standpoint, which saves it from being a complete waste. There is also a solid lineup of cult horror veterans whose talents could have been utilized much more effectively, not to mention those clever nods to classic horror successes like Rosemary beba and the chilling tension found in the original Halloween.
It was a solid film; I remember catching it in a theater back in the early 90s. I also recall the heated debates we used to have regarding the title—specifically whether it was referring to an actual mine or if it was being used as some kind of metaphorical substitute for ownership.
coastalbison73 said:I don't know about you all, but I can’t help feeling like I’m missing that specific, tactile warmth you only get from an LP. You tell me I'm wrong—you say I'm not missing anything—but can you honestly tell me there isn't a certain soul present in those grooves that digital just fails to capture?🙂
I don't particularly feel the need to jump on the bandwagon just because vinyl is trending right now, though I suppose I ended up buying one myself regardless. Besides, between everything else going on, I’m far too busy to obsessively maintain a turntable to keep it in some pristine, museum-quality condition—not that I'm exactly mourning the lack of a perfectly silent background. But isn't that just the reality of it? Analog surface noise somehow manages to sound more pleasant than those harsh, artificial digital artifacts; that's simply the fact of the matter. Or so I tell myself. It's not like I spend my time listening to much Punk Rock anyway, where that grit and noise are actually part of the charm found in subpar production—the kind of thing you'd even hear on a Columbia Digital release.
We could honestly start proposing what I’d call "underrated gems"—you know, those films sitting on IMDB with a pathetic rating of maybe a 3 or a 5 😲, even though we personally feel they deserved much higher marks? We could actually dive into the details and explain exactly why our assessment stands up against the critics.
silentcanyon58 said:Hmm... how strange is that? I wouldn't go so far as to call it a Guilty Pleasure; if anything, I’d call it having excellent taste in movies. 😁🙂
It's easy to see why, considering there are some absolute gems in here...
Here is a selection of my own favorite Guilty Pleasures from years past; perhaps you might find something here that resonates with your own questionable tastes... Class of 1990
We have certainly traveled a long way without seeing any Ennio Morricone in this list yet; perhaps someone else might be so kind as to provide a link... 😁
boldowl4 said:Honestly, you all act like such children.
http://www.youtube.com/watch?v=BtZ6DoeimP4
👍 It’s a solid effort, just like everything else he puts out, but personally, I find Hard Time Killin' to be much more visceral—though perhaps that’s just because it was the first thing I ever heard from him.
And here’s a little something for those of you lurking on the darker side of things—you know, the folks who live for the gore, the zombies, and the slashers. Honestly, I couldn't care less about your twisted tastes.
Modern civilization, at its very core, is built upon the art of performance and the calculated manipulation of public perception.
Why is there this relentless, almost primal urge within people to curate an idealized version of themselves for the world to see? It’s quite obvious, isn't it? This constant masquerade serves as a tool, helping them navigate social hierarchies and secure the specific objectives they deem essential to their success.
