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Instead, Turner's recent FACT mix — which eschewed beats in favors of twinkling drifts and droning computer music — offers a useful signpost to My Skeleton's contents.
Present here is the fluorescent Cynthy glow and ADHD maximals that's common to his peers on the LuckyMe roster, but what's within is on a dreamy, ambient tip, melding classical minimalism, post-rock, cosmic Cynthy and systems music with an eye for personal exploration and spiritual reflection.
Contemporary readings of such genres sometimes feel like the stuff of battle re-enactment, too studied to transcend their rich histories.
On My Skeleton, though, Turner often takes pains to keep his music feeling living and breathing. There are songs, too: the melancholic twinkle of 'Hold On' featuring the folksy tones of female vocalist LW; or 'Taj Mahal' in which Turner takes the Mick in a manner that reminds me a little of Phil Elverum's work in lo-fie experimentalists The Microphones, his sleepy and sincere words half- buried under droning soft Xanthus and star bursts of heavily treated post- rock guitar.
The title track breaks from the record's largely electronic recreations to employ a real string quartet, although thanks to pitch- shifting and diligent layering, there feels like no hard breaks between the real and the synthesized.
There is trauma here, too, albeit sublimated into these woozy folds of sound. Turner's trip was prompted by bereavement, and here and there My Skeleton takes a turn into darkness.
The Dom post-rock build of 'Prove You Exist' apparently went by the working title of 'Claude Speeed You Black Emperor' while 'Some Other Guy' which vacillates between diaphanous ambiance and harder Mego-like drones, is supposedly inspired by a visit to a tower of human skulls in Cambodia's Killing Fields.
In the hands of some, this might come across slightly glib, a bit Selie- at-Auschwicz, but throughout My Skeleton, there's the sense that Turner is out to honestly communicate his own experience, even when emotions are embryonic, or sensations twisted by tiredness or fever.
The result is a record that keeps the sense of a human being on a passage of exploration, its internal emotional landscape porous to the influence of the tumult and chaos of the world outside.
Bluray Movies Online. I have a summary for you. Two very different men — Blake and Dylan — have their hearts set on handing their rose to Hannah G.
When she returns to her childhood home of Houma, Louisiana, in order to investigate a deadly swamp-borne virus, she develops a surprising bond with scientist Alec Holland — only to have him tragically taken from her.
The music, the story, and the message are phenomenal in Pulp Fiction. I have never been able to see another Movie five times like I did this.
SD Escape Artist. HD Braid. HD Mystery HD The Unicorn. HD p Goodnight, Mr. HD Deadly Excursion. Pulp Fiction. Please help us to describe the issue so we can fix it asap.
Send Cancel. When it comes to cobwebs, immobility, and stringing people along, only a government bureaucracy can rival Spiderman. That reference to reality got me chuckling, but I wouldn't watch the movie again.
Also an another example of the utterly profound difference between two cartoon movies that in one of the peculiarities of Hollywood came out - what are the odds of two computer-animated movies about ANTS in the same year?
Like the odds in the same year of of two Scottish movies, the odds of two Mars movies One, 'Ants' was a dark, dystopic violent comic populated by dreary shallow stereotypes - including innocent Patton, who if anyone cared to read his bio or autobio would know he was nothing the media made him out to be.
The film, 'Ants,' to unsuspecting audiences' shock, was truly a bloody, nasty, ugly expensive cartoon movie with very high-paid famous actors' voices.
What parent suspected 'Ants' wasn't any sort of cartoon film to take children to? It left a lingering nasty unease in the gut for adults, not the least that they'd been tricked.
It was so awful and empty, when the other ant cartoon, the Pixar, 'A Bug's Life' appeared in cinemas, one hesitated to go see it. But what a gem!
Unlike the gloomy lecture of 'Ants, bright and funny 'A Bug's Life' is a masterpiece comic blend of the ancient story moral of 'The grasshopper and the ants' updated to 'The Magnificent Seven' a classic western cowboy flick that had actually been taken scene by scene based on a Japanese film, 'The Seven Samurai' - add what if - Hell's Angels bandits and traveling circuses.
The characters are true to human nature, quirky, fallible and familiar. Venture to say that no director of the likes of Tarantino and his pack who don't venture outside of film memes du jour has ever approached the brilliance of the fresh mashup of a few thousand years of one classic fable and a pot of modern popular films found in 'A Bug's Life'.
Time will tell, see which stands the test of time. I am as indifferent toward Quentin Tarantino as he was toward Harvey Weinstein's victims, but thought I'd chime in to suggest that, if movies are a matter of taste The Maltese Falcon is one of my favorites which I've probably seen 20 times , then the movie review can be enjoyed as a matter of the reviewer's taste.
If you're coming out of your shoes to lambaste a review of a movie you like, aren't you doing to the reviewer's tastes what you feel done to yours?
I like to read good movie reviews even if I don't agree with them. The late Roger Ebert's views on a lot of things were so different from mine that I wasn't looking for agreement; I was just looking to read how well described parts of the movies were as he saw them, and to understand his viewpoint.
The same for John Podhoretz, a brilliant writer whose reviews I enjoy reading whether he shares my taste or not. I will now amend my statement to excoriate myself for throwing water on an entertaining clash of passions and a rousing defense of territories, and above all, the sacred expression of everyone's opinions.
I've always liked Pulp Fiction, and Reservoir Dogs for that matter. That's probably because I have never viewed film as art, but as entertainment.
As entertainment both of these films work for me, so I guess it's just a matter of taste. For instance, one of the most infuriatingly bad movies I have ever seen is The Maltese Falcon.
I say infuriatingly bad because I've been told my entire life by people who are supposedly able judge these things for me what a classic film it is.
My wife and I watched it once because we both like Humphrey Bogart and because it is supposed to be one of those must watch classics, or so say the critics.
Well, for my part, I found the story idiotic and the performances, particularly by Bogart, so wooden that they could have been delivered by a cigar store Indian.
But like I said, if you look at it as entertainment it's simply a matter of taste. When I read a review that pans a movie, such as this one, I am reminded of a man I know named Steve.
Steve is a fellow who collects wine, lots of wine and just holds on to it, for years. I once had a conversation with Steve about wine.
I told him that I'm not much of a connoisseur, so I just drink what I like. Steve's response was to tell me that I can't know what I like because I don't know what is good when it comes to wine.
Steve's point was that I need people like him to tell me what I should and shouldn't like because they are the arbiters of good and bad. I look at movie and music reviewers like I look at Steve.
Thanks for the advice, but I'll keep watching the movies I like while I drink the wine I like. So there Mark and Steve. It's actually quite good, imho.
I can't recall whether I've ever reviewed it, but I've seen it several times, and I do like early Hitchcock, so maybe we'll do something on that period of his one of these weekends.
The 39 Steps and The Lady Vanishes are imo among his finest works -- of film as artistic entertainment. Having put it off as long as I could, I finally went to see it in a packed theatre with my then-boyfriend.
Just before the character said, "And he put the watch Anyone who has seen more than 10 films, and read a few books, can't possibly find this movie "innovative" or "profound.
The diner is something out of JG Ballard. While Tarantino turned it up a notch, that "innovative" narrative structure was first used, I believe, in "Dead of Night" although I welcome nominations for earlier examples.
There's some "La Jetee" in there, too. The "record collection" soundtrack is something Scorsese first did in "Mean Streets".
Except Scorsese's taste in music is far better. I still don't understand what's "funny" about "Royale with Cheese.
Again, Tarantino's ingenuity was applauded: Imagine! An alternative history in which Hitler is assassinated! Yes, who would have conceived of such a thing—except, of course, the odd folks who tried to assassinate the guy in real life, and the untold tens of millions who've fantasized about it from around up until, say, this morning?
The two best things Tarantino ever did was popularize Jackie Chan, and the screenplay for "True Romance.
I was flabbergasted at her mirror mimicry of Etta James on "At Last. I steer pretty clear of these Mimes because I revere the real things -- the Originals.
I was stunned mouth hangs open at the phrasing that was pure copycat, a word-for-word, syllable-for-syllable imitation of a truly natural singer such as Etta James.
She started out with Destiny's Child; now she's destiny's mother. She packs 'em in though! But there is no originality, unless it's more obscenity on display or obscene perversion of the past.
I think the last 20? Adele sounds like Wynonna sister of Ms. Ashley the Unhinged with more vocal pain, and with varying accents depending on the demographic targeted.
A few years ago I heard this Taylor Swift person being played in the aisles of Michael's store. I mentioned the event to my adult son.
He said, "My condolences. I agree that the screenplay for True Romance was good, as was the film itself, helped by a really great cast of fine actors.
And the lead actress's outfits were as stylistically influential on my generation as Faye Dunaway's were in "Bonnie and Clyde.
Damn Boomers I am now too old to pull off the "leopard skin coat and Chucks" look but don't think for a moment I don't consider trying once in a while.
I'm sure Michael Buble is a very nice young man. And yes, he can sing. But all his recordings would be greatly improved if somehow each song ended 30 seconds in with the ghost of Frank Sinatra beating him about the head and neck with the nearest solid object.
Kathy wrote But all [Buble's] recordings would be greatly improved if somehow each song ended 30 seconds in with the ghost of Frank Sinatra beating him about the head and neck with the nearest solid object.
My CD storage boxes are filled with gems from the s till Motown or so. If you want to hear a real soul singer, try Marian Anderson. I was very conversant about the Mills Brothers while my peers were going nutz over the Allman Brothers.
I've always been out-of-touch with the s and proud of it! My programmed stations on satellite radio jump that decade completely.
They stop with the s. A large part of the problem -- as Mark points out in his wonderful but brief musical history of Bing Crosby -- is the songwriting.
Or lack thereof. Same with screenplays. This comment is a bit "off-track" from my reply about the golden oldies, but I used to listen to that music on a brown box bakelite radio, probably from the late s, up in the attic a safe place we all could use.
It took a while for the tubes to warm up, but I think the tubes were a contributing factor to the sound quality.
I think those radio tones were warmer than the ones coming from the analog transistor radio and now from digital satellite radio.
Maybe just the mid-tones were that way; perhaps the range of those tones was more distinctive because of the speaker.
The vinyl vs. I've happily followed Steyn's political commentary for years but never once read a movie or song review of his, for the same reason I stopped reading reviews by anyone years ago - no matter who writes them, they are inevitably boring, tedious.
I'm sorry to myself that I broke my rule and read my first Steyn review, that of Pulp Fiction. I'm sorry not just because all of the above was confirmed yet again, but because to my horror I realised that Steyn is actually a tight ass snob.
But I still like his political commentary. I think Mark's review is spot on. Quentin Tarantino has made a career of making films with ludicrous amounts of violence and mayhem and then decrying it in his personal life.
He prides himself in the most vulgar of movies then wonders aloud why society is vulgar. Good riddance to bad rubbish.. Time to take out the trash in entertainment Looking forward to his next film where he tries to make amends for his shame Maybe it will be about a white christian southern gun loving republican who is serial rapist His review is snearing at flyover country - just like the establishment does.
Oh those vulgarians have such bad taste, how dare they enjoy a movie that is so common! Well not all of us like to unwind by listening to show tunes from the 50's.
I don't think Quentin Tarantino is anything to do with "flyover country". Certainly The Hateful Eight was a big flop there.
Tarantino is speaking out now because Harvey Weinstein can no longer further or now hurt his career. I hope there will be video available of your "gentlemanly" acceptance speech and of Kellyanne Conway's and Tammy Bruce's appearances.
You will in the company of many impressive and successful women. I enjoyed the unique creativity of Pulp Fiction but I also agree with James Wood's comment about it being "entirely stripped of any politics, metaphysics, or moral interest.
But they seem to be in increasingly short supply or buried among the heaps of trash coming from Hollywood.
I don't think any discussion of Pulp Fiction would be complete without at least commenting on what Tarantino clearly intends to be the moral message of the movie.
I'm talking about the theme of redemption. Travolta gets into serious trouble three times in the film shot at in the apartment, messing up the car, Uma overdosing , and through either luck or grace, manages to come through okay.
In spite of his partner preaching to him that God is telling him to reform his ways, he fails to reform, and winds up out of chances.
Willis does a good deed of sorts, and he not only lives, but doesn't have to live his life on the run from Mr. Big anymore. As for the diner thieves, they are given a reprieve, and the movie ends with the open question of whether they will reform their ways, or die.
Now you don't have to like this theme as presented, and you may say it's all an excuse to present what would otherwise be crap, but I think it's clear that Tarantino intended this to be the message.
He clearly says this through the mouth of the reformed Jackson a number of times. There's another "triplet" giving structure to Pulp Fiction -- in each of the film's three interconnected storylines, a man who kills for a living is forced by circumstances to save someone else's life.
Yes, and then we had to sit through movies and TV shows about "redemption" for the next 15 years. And I see no real life evidence to suggest this has been helpful.