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Hock - The Real Me
Gareth Hock, Adrian Morley and Neil Barker
Book
"My temper and hot-headedness has always let me down. Like most people, I have done a lot of things...
Bong Mines Entertainment (15 KP) rated Gold In My Veins - Single by Kid Pharaoh in Music
Jun 17, 2019
Kid Pharaoh is a rapper with Egyptian and Australian roots. Not too long ago, he released a music video for his self-produced single, entitled, “Gold In My Veins”.
“Gold on your neck, but I got gold in my brown skin. See yeah with your frontin’ ways. Your stunting chains and big face hundreds man. You hustling, but tell me what you covering? I never needed all that ‘cause I come from kings. So, what I need a Rollie for? It’s my time. I don’t need no gold to show how I shine. You can quit all that talking and lying.” – lyrics
Shot by Shaq Azhar in Wollongong, NSW, the audiovisual features Kid Pharaoh as the lead protagonist.
He plays an accountant in the office environment of Pharaoh Financial. The accountant comically analyses the expenses of a lavish rapper’s lifestyle. Also, he questions its worth and dismisses its relevance.
“Celebrating my Egyptian heritage and its rich history has always been at the forefront of what I do. But ‘Gold In My Veins’ allowed me to do so in a way that let me explore a new lane of sounds I was yet to touch. Inspired by the bounce and grooves of early 2000s Pharrell and Neptunes produced music I grew up with.” – Kid Pharaoh
‘Gold In My Veins’ tells an interesting tale from Kid Pharaoh’s point of view which claims his hip-hop kingship based on his royal ancestry.
Apparently, the savvy emcee’s soul is made of gold, and he is from a lineage of pharaohs who sat on thrones in the Valley of the Kings.
Later, Kid Pharaoh reveals that no one is messing with him because he’s the best in his city, state, and country.
‘Gold In My Veins’ contains a relatable storyline, braggadocious raps, and lush instrumentation scented with a hip-hop fragrance.
“You can tell these rappers I don’t need to stunt. You can tell these rappers they don’t need to front. With your false claims and your gold chains, I was born from the kings, one thing. You can tell ‘em keep the gold in your chain ’cause yeah I got gold in my veins.” – lyrics
Kid Pharaoh provides a raw and unique voice for an underrepresented Arabic community in Australia.
https://www.bongminesentertainment.com/kid-pharaoh-gold-in-my-veins/
“Gold on your neck, but I got gold in my brown skin. See yeah with your frontin’ ways. Your stunting chains and big face hundreds man. You hustling, but tell me what you covering? I never needed all that ‘cause I come from kings. So, what I need a Rollie for? It’s my time. I don’t need no gold to show how I shine. You can quit all that talking and lying.” – lyrics
Shot by Shaq Azhar in Wollongong, NSW, the audiovisual features Kid Pharaoh as the lead protagonist.
He plays an accountant in the office environment of Pharaoh Financial. The accountant comically analyses the expenses of a lavish rapper’s lifestyle. Also, he questions its worth and dismisses its relevance.
“Celebrating my Egyptian heritage and its rich history has always been at the forefront of what I do. But ‘Gold In My Veins’ allowed me to do so in a way that let me explore a new lane of sounds I was yet to touch. Inspired by the bounce and grooves of early 2000s Pharrell and Neptunes produced music I grew up with.” – Kid Pharaoh
‘Gold In My Veins’ tells an interesting tale from Kid Pharaoh’s point of view which claims his hip-hop kingship based on his royal ancestry.
Apparently, the savvy emcee’s soul is made of gold, and he is from a lineage of pharaohs who sat on thrones in the Valley of the Kings.
Later, Kid Pharaoh reveals that no one is messing with him because he’s the best in his city, state, and country.
‘Gold In My Veins’ contains a relatable storyline, braggadocious raps, and lush instrumentation scented with a hip-hop fragrance.
“You can tell these rappers I don’t need to stunt. You can tell these rappers they don’t need to front. With your false claims and your gold chains, I was born from the kings, one thing. You can tell ‘em keep the gold in your chain ’cause yeah I got gold in my veins.” – lyrics
Kid Pharaoh provides a raw and unique voice for an underrepresented Arabic community in Australia.
https://www.bongminesentertainment.com/kid-pharaoh-gold-in-my-veins/
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Steve Fearon (84 KP) rated Lake Placid (1999) in Movies
Sep 5, 2018
The Toothless Croc Adventure that bit off more than it could chew
If you are big horror fan, like I am, then you will no doubt have seen and loved Jaws at some point.
The spectacular fear of something huge and unseen in the water, a perfectly evolved marine predator capable of tremendous power and speed, with a jaw size capable of cutting you in half.
Jaws hit on a very primal fear, that there is an unreasoning, prehistoric simplicity to the shark, that reminds us that until the last few thousand years, we were just another form of food for many creatures on this planet, and that we could be again, in the right circumstances.
It is this fear that also informs our love of Zombie movies, our disgust at cannibals and keeps us watching endless episodes of dirty, tired-looking people arguing in 'The Walking Dead'.
Where Jaws created a whole genre of horror in 'Killer Shark' movies, their reptilian counterparts have had to make do with a somewhat less successful series of outings, with Alligator, Croc etc
They just haven't quite hit our imagination in the same way, whether that be because of their comical waddle on land, or having watched an excited Australian man jumping all over them on TV (RIP Steve Irwin)...
Regardless, Lake Placid is the one that most remember from recent history, and having listened to a 'Horrow Show' Podcast on the film recently, I mentioned to my better half I wouldn't mind seeing it again, to see if it is as bad as it sounded.
Well last night, said better half suggested we watch it and boy oh boy...
So first off, Brendan Gleeson was by far the best thing about this movie, his one liners and grumpy demeanor were, for long periods, the best thing about this movie, shortly followed by the hilarious Betty White.
Stan Winstone, legendary physical creature effects maestro turns in some great stuff, and when they are dealing withe the physical creature, it is very effective but all too often they resort to CGI, which is passable but still tends to take you out of the moment..
Oliver Platt's casting as a crocodile expert playboy is amusing at first, then confusing and eventually just...well not laughable exactly as it isnt very funny, but strange certainly.
The movie languishes for long periods, focusing on the incredibly inert chemistry between leading lady Fonda, and wooden cardboard cut out Pullman, giving you poorly written rom com scripts where we signed up to see a giant Croc eat people.
Long story short, this movie is light on tension and action, heavy on clumsy exposition and strange casting choices, and it a poor relation to Jaws, which is more worthy of your time.
The spectacular fear of something huge and unseen in the water, a perfectly evolved marine predator capable of tremendous power and speed, with a jaw size capable of cutting you in half.
Jaws hit on a very primal fear, that there is an unreasoning, prehistoric simplicity to the shark, that reminds us that until the last few thousand years, we were just another form of food for many creatures on this planet, and that we could be again, in the right circumstances.
It is this fear that also informs our love of Zombie movies, our disgust at cannibals and keeps us watching endless episodes of dirty, tired-looking people arguing in 'The Walking Dead'.
Where Jaws created a whole genre of horror in 'Killer Shark' movies, their reptilian counterparts have had to make do with a somewhat less successful series of outings, with Alligator, Croc etc
They just haven't quite hit our imagination in the same way, whether that be because of their comical waddle on land, or having watched an excited Australian man jumping all over them on TV (RIP Steve Irwin)...
Regardless, Lake Placid is the one that most remember from recent history, and having listened to a 'Horrow Show' Podcast on the film recently, I mentioned to my better half I wouldn't mind seeing it again, to see if it is as bad as it sounded.
Well last night, said better half suggested we watch it and boy oh boy...
So first off, Brendan Gleeson was by far the best thing about this movie, his one liners and grumpy demeanor were, for long periods, the best thing about this movie, shortly followed by the hilarious Betty White.
Stan Winstone, legendary physical creature effects maestro turns in some great stuff, and when they are dealing withe the physical creature, it is very effective but all too often they resort to CGI, which is passable but still tends to take you out of the moment..
Oliver Platt's casting as a crocodile expert playboy is amusing at first, then confusing and eventually just...well not laughable exactly as it isnt very funny, but strange certainly.
The movie languishes for long periods, focusing on the incredibly inert chemistry between leading lady Fonda, and wooden cardboard cut out Pullman, giving you poorly written rom com scripts where we signed up to see a giant Croc eat people.
Long story short, this movie is light on tension and action, heavy on clumsy exposition and strange casting choices, and it a poor relation to Jaws, which is more worthy of your time.
156Reviews (7 KP) rated True History of the Kelly Gang (2019) in Movies
May 1, 2020
One of the main things that divides opinion on Ned Kelly is was he on the side of good or bad? Some see him as a kind of freedom fighter, standing up to the British, who at the time that looked to suppress and demean the Australian people. Some see him as a criminal, who murdered innocent people for reasons known only to him. Both of these opinions may be true, neither of them might be, but it's one hell of a gamble to base a film on someone that divides opinion that much.
It's a gamble that doesn't pay off, the team behind the film try to sell it as a punk-esque, spit in the face of authority tale of a guy standing up against the establishment. The soundtrack is on-point, but that's about it. George Mackay (as Ned Kelly) does his best to sell it, but the film-makers never truly drive home the idea that this was a man of the people, someone speaking up for the downtrodden, instead Ned spends most of the films run-time with his family in their home, seemingly away from civilisation entirely, taking away from the Robin Hood-like mythology of the man. Without any other characters, Robin Hood is just a man who steals from people. A story about a thief, who becomes a murderer, who becomes a gang leader who incites others to kill, doesn't exactly evoke much sympathy, especially as these are based on real life events. Even if the film denies this by stating “Nothing you are about to see is true” at the start, despite “True History” being in the title of the film.
Some of the cast do their best to with what they are given, but some fall short, and some are just wilfully underused, Thomasin McKenzie, who has been great in recent films such as JoJo Rabbit and Leave No Trace is barely given anything to do other than play “The Woman” despite many important events revolving around her, opposite to this is Charlie Hunnam, who is given ample things to do, but seems to still be playing the same character from his recent The Gentleman performance. George Mackay is a force to be reckoned with, but its a performance that would be better placed in a sex pistols biopic than in 1800's Australia. The shining performance in this is Nicolas Hoult, shaking off his nice guy image to play the corrupt Constable Fitzpatrick, who seems to delight in the power he has and when events stop going Fitzpatrick's way, Hoult commits to playing a man on the edge of completely losing control with surprising conviction and menace, his interrogation scenes being and uncomfortable highlight in an otherwise unconvincing film.
With no mention of the two years Kelly spent on the run, being hidden from the police by a network of sympathisers, and by showing his plight as a very personal experience instead of showing it as an example of the culture at the time, the film misses an opportunity to make a legend of the man, and instead falls short of greatness.
It's a gamble that doesn't pay off, the team behind the film try to sell it as a punk-esque, spit in the face of authority tale of a guy standing up against the establishment. The soundtrack is on-point, but that's about it. George Mackay (as Ned Kelly) does his best to sell it, but the film-makers never truly drive home the idea that this was a man of the people, someone speaking up for the downtrodden, instead Ned spends most of the films run-time with his family in their home, seemingly away from civilisation entirely, taking away from the Robin Hood-like mythology of the man. Without any other characters, Robin Hood is just a man who steals from people. A story about a thief, who becomes a murderer, who becomes a gang leader who incites others to kill, doesn't exactly evoke much sympathy, especially as these are based on real life events. Even if the film denies this by stating “Nothing you are about to see is true” at the start, despite “True History” being in the title of the film.
Some of the cast do their best to with what they are given, but some fall short, and some are just wilfully underused, Thomasin McKenzie, who has been great in recent films such as JoJo Rabbit and Leave No Trace is barely given anything to do other than play “The Woman” despite many important events revolving around her, opposite to this is Charlie Hunnam, who is given ample things to do, but seems to still be playing the same character from his recent The Gentleman performance. George Mackay is a force to be reckoned with, but its a performance that would be better placed in a sex pistols biopic than in 1800's Australia. The shining performance in this is Nicolas Hoult, shaking off his nice guy image to play the corrupt Constable Fitzpatrick, who seems to delight in the power he has and when events stop going Fitzpatrick's way, Hoult commits to playing a man on the edge of completely losing control with surprising conviction and menace, his interrogation scenes being and uncomfortable highlight in an otherwise unconvincing film.
With no mention of the two years Kelly spent on the run, being hidden from the police by a network of sympathisers, and by showing his plight as a very personal experience instead of showing it as an example of the culture at the time, the film misses an opportunity to make a legend of the man, and instead falls short of greatness.
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