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Emma @ The Movies (1786 KP) rated Valerian and the City of a Thousand Planets (2017) in Movies
Sep 25, 2019
The story of Valerian is a good one. We open on Mül, a idyllic place of peace and a simple life. But this peace is shattered when fire rains from the sky devastating the entire planet. The last moment of Mül sees the Princess, doomed to die in the explosion, release her energy into the universe, through time and space.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Valerian, sunning himself on his ship, is hit with a sudden vision of the cataclysm on Mül. Unsure about it's meaning he goes back to the task at hand, retrieving a relic from some disreputable people on the black market. The "converter" is the last of it's kind in the universe, it will eat anything and rapidly replicate it, and as such is a very valuable commodity.
The mission is to return the converter to Alpha station. But when they arrive they discover that the station has been infected with something right at its heart. It's spreading, and all those that enter do not come back. When events lead to Valerian being drawn into the infected area, Laureline isn't willing to give up hope, and she battles her way in. Once she's reunited with Valerian they work travel to the centre of the station and discover the shocking truth about how the infection began...
The film is based on Valerian and Laureline, a French sci-fi comic series written by Pierre Christin and illustrated by Jean-Claude Mézières. I have got the first one to read, but as is my tradition, I have yet to do so. The first one is available free on Kindle at the moment if anybody is that way inclined. I expect that it will get a much better reaction in Europe than it seem to have done in the States, which is a bit of a shame. Possibly the way to go would have been with bigger stars, but *shrugs shoulders* it's too late now.
As I said, the story itself is a good one, and while people are nit picking and saying there are plot holes... there aren't if you don't look for them. I have this horrible ability to just watch a film for what it is, if you just go and see something to have some fun you don't notice any of that. It's a horribly nice way to be able to live my life, I enjoy a lot more things that way.
What I'm about to say is going to contradict my overall feeling for the film... I didn't really enjoy Dane DeHaan or Cara Delevingne. I had originally thought that I hadn't seen DeHaan in anything before, but was soon getting recollections of The Amazing Spider-Man 2. Scrolling through Delevingne's few years of films I've only seen Suicide Squad, and her acting as a "real person" is quite a small piece in that. While I can't think of anyone who would have perfectly suited either role, I feel like many other actors could have done an equal, or better, performance.
You get a wonderful introduction to what the station is, and has become. And we're treated to the potted history of alien species, several of which would sit quite nicely in the Whoniverse. I'm quite looking forward to reading the graphic novel. I can see stories unfolding in the different sections of the station, and that works. It almost feels like it would have made an amazing TV series, because it is essentially Star Trek with glitzier aliens and ecosystems.
As far as the secondary characters go we're treated to several memorable moments. Including Ethan Hawke as Jolly the Pimp, which is as flamboyant as you'd expect. Clive Owen as Commander Filitt, stern and ruthless, the sort who would stab you in the back (or the front) for his own gain. Sam Spruell as General Okto-Bar, who acted his part incredibly well... I'm honestly surprised I've not seen any of the other things he's been in, but I will be checking them out. Rihanna as Bubble, I'm a little surprised about how much I heard about her being in this considering how short her role is. But the same is true of a few things I've seen recently. We first meet her at Jolly's den of iniquity, where the music video training definitely came in handy.
As a whole the film moves along smoothly, with only a few little bits that seemed like they didn't belong, or could have been cut out. Unlike other films though, these little additions didn't harm the overall product.
Here is where my love for the film takes a steep nose-drive. Imagine crying with joy to resting bitch-face in the space of a few seconds. The 3D was hideous. I can't even think of a nice thing to say about it.
When the scenes were general crowd shots or indoors, everything was fine... although these shots didn't really benefit from the effect. The exterior shots however, in my not so expert opinion, were a terrible idea. I found some of them actually painful to watch, particularly long range shots of Alpha with ships coming in to dock. It was near on impossible to deal with the perspective as there was so much happening. For the last half of the film I took my 3D glasses off every time these shots appeared on screen as my head was rapidly starting to hurt, and I wasn't the only one having trouble.
If it wasn't for the painful exterior shots I honestly would have forgotten I was watching the film in 3D. Unlike other 3D films, you weren't aware that things were coming out of the screen at you. Not once.
I really don't want to be so negative about this film, it was an enjoyable watch (without the optical illusion created by the 3D). I would recommend it to anyone who has a passing interest in sci-fi and adaptations of comics. And I feel like, if nothing else, it might get the graphic novels themselves more circulation outside of Europe.
But please... watch it in 2D.
Gareth von Kallenbach (965 KP) rated Battleship (2012) in Movies
Aug 7, 2019
Basing a movie off of a videogame is often a risky proposition. For every “Resident Evil”, there at least a dozen others that are out and out disasters, “Mario Brothers”, “Wing Commander”, and “Double Dragon” are a few examples of how not to do it.
While Hollywood shows no signs of stopping videogame adaptations anytime soon, game development companies are becoming more savvy with allowing their products to become movies and are requiring uality scripts, cast, and directors before they enter into any film deal. Undaunted, Hollywood turned its eyes on children’s toys for inspiration. With the successful Transformers series, Hasbro has been targeted for their very popular line of board games as source material for future movies.
First out of the box is “Battleship”, director Peter Berg’s big-budget adaptation of the timeless naval strategy game that has been enjoyed for decades by players young and old. Since this is the era of video games, the simplistic style of the board game needed to be tweaked in order to make it appealing for the summer movie masses.
Gone is the classic strategy of the game and in its place, a loud and brash cast of 20-somethings, over-the-top special effects, and a plot riddled with more holes than the classic grids in the game that spawned the film.
Taylor Kitsch follows up his role in John Carter by playing Alex Hopper, a ne’er-do-well who despite the mentoring of his successful naval officer brother (Alexander Skarsgard), never seems to run out of ways to get himself in trouble. His latest efforts to impress a girl he met in a bar, land him in hot water with the authorities and his brother lays down the law and insists that Alex join the Navy and make something of his life.
The film jumps into the future where Alex is now dating the very attractive girl from the bar, Samantha (Brooklyn Decker), and trying to get enough courage together to ask her father for permission to marry his daughter. The fact that her father is Admiral Shane (Liam Neeson), only complicates the matter.
Despite holding the rank of an officer, Alex is still extremely headstrong and prone to getting himself in trouble. What what was supposed to be a friendly soccer match during allied naval exercises escalates, and Alex finds himself facing an ignominious exit from the Navy. He’s given a temporary reprieve as the ships in his fleet are suddenly faced with the threat of extraterrestrial origins.
Approximately around the same time Alex entered the Navy, scientists developed a way to amplify radio signals and directed them toward planets they believed could possibly support life. The signals were answered in the form of a hostile force that arrives on Earth only to cut a swath of destruction across the world as well as the naval fleet it encounters. Cut off from the rest of the fleet and reinforcements by an energy field, Alex is forced into command and must confront the deadly enemy at all cost to save the world.
What follows is a series of elaborate special effects that, while visually appealing, fail to pack much punch as the plot and characters are so underwhelming.
I understand that for films this type, especially given the source material, one must give a certain amount of leeway and accept, even grudgingly, the inconsistencies and impracticalities. That being said, not only are the characters about as thin and one-dimensional as they possibly could be, they are for the most part utterly devoid of any interesting qualities nor are they given much in the way of back story that makes us care for their outcomes. R&B star Rihanna spends a good chunk of her time looking tough and menacing, but isn’t given much more to do than occasionally fire a gun.
Kitsch is so utterly bland and unsympathetic that there’s just really no redeeming value to his character. Battleship is supposed to be a story of redemption but instead it’s a story of inconsistencies. Many times throughout the film common sense much less standard military procedures seems to go out the window.
For example, standard rules of engagement tactics were not used early in the film, but yet were readily deployed during the so-called big finale to the film with success. One has to wonder how more seasoned officers with far more resources at their disposal failed to utilize such tactics or have success with the methods that they employed. Yet ironically, this young lieutenant on his first command is able to out-maneuver these aliens when he decides to take to the offensive and lull the enemy into a fairly passive mode where they don’t do much more than watch.
The aliens, while interesting, are given precious little to do other than occasionally destroy or blow something up. We have no idea why they are on earth and to be honest, why they arrived in such small force. If the idea was to conquer Earth, it was poorly planned. Yet if proper procedures were followed, their incursion could have been dealt with very early and easily with the resources at hand. But that would’ve made for a short movie.
What I found puzzling was how surprisingly light on action the movie was. Yes there were firefights but they were spread sparingly throughout the film. You do not have one grand epic battle against overwhelming odds, you do not have legions of enemy troops for the Navy to wade through. It was pretty much a here-it-is-take-it-or-leave it, ho-hum finale.
The film does have some good points with Hawaii as its main backdrop. I did like the fact that there were a lot of active and retired soldiers and sailors used in the filming of the picture. It is clear that the filmmakers wanted to honor the soldiers who have so gallantly served our nation. I just wish they could’ve given them a much better showcase, because truthfully you’ll find far more thrills and enjoyment busting out the actual Battleship game than sitting through the film.
There is a scene post-credits that does hint at possible future installments, but I kept asking myself one question, “Why?” Rumor has it that several years goes Steven Segal attempted to revive his big-screen career by pitching an Under Siege 3 to Universal. Segal supposedly pitched the idea that his character would be on a naval ship that encountered extraterrestrial menace. The studio passed on this idea and, if there’s any truth to the rumor, they should have passed on this idea when it came time to make Battleship.
While Hollywood shows no signs of stopping videogame adaptations anytime soon, game development companies are becoming more savvy with allowing their products to become movies and are requiring uality scripts, cast, and directors before they enter into any film deal. Undaunted, Hollywood turned its eyes on children’s toys for inspiration. With the successful Transformers series, Hasbro has been targeted for their very popular line of board games as source material for future movies.
First out of the box is “Battleship”, director Peter Berg’s big-budget adaptation of the timeless naval strategy game that has been enjoyed for decades by players young and old. Since this is the era of video games, the simplistic style of the board game needed to be tweaked in order to make it appealing for the summer movie masses.
Gone is the classic strategy of the game and in its place, a loud and brash cast of 20-somethings, over-the-top special effects, and a plot riddled with more holes than the classic grids in the game that spawned the film.
Taylor Kitsch follows up his role in John Carter by playing Alex Hopper, a ne’er-do-well who despite the mentoring of his successful naval officer brother (Alexander Skarsgard), never seems to run out of ways to get himself in trouble. His latest efforts to impress a girl he met in a bar, land him in hot water with the authorities and his brother lays down the law and insists that Alex join the Navy and make something of his life.
The film jumps into the future where Alex is now dating the very attractive girl from the bar, Samantha (Brooklyn Decker), and trying to get enough courage together to ask her father for permission to marry his daughter. The fact that her father is Admiral Shane (Liam Neeson), only complicates the matter.
Despite holding the rank of an officer, Alex is still extremely headstrong and prone to getting himself in trouble. What what was supposed to be a friendly soccer match during allied naval exercises escalates, and Alex finds himself facing an ignominious exit from the Navy. He’s given a temporary reprieve as the ships in his fleet are suddenly faced with the threat of extraterrestrial origins.
Approximately around the same time Alex entered the Navy, scientists developed a way to amplify radio signals and directed them toward planets they believed could possibly support life. The signals were answered in the form of a hostile force that arrives on Earth only to cut a swath of destruction across the world as well as the naval fleet it encounters. Cut off from the rest of the fleet and reinforcements by an energy field, Alex is forced into command and must confront the deadly enemy at all cost to save the world.
What follows is a series of elaborate special effects that, while visually appealing, fail to pack much punch as the plot and characters are so underwhelming.
I understand that for films this type, especially given the source material, one must give a certain amount of leeway and accept, even grudgingly, the inconsistencies and impracticalities. That being said, not only are the characters about as thin and one-dimensional as they possibly could be, they are for the most part utterly devoid of any interesting qualities nor are they given much in the way of back story that makes us care for their outcomes. R&B star Rihanna spends a good chunk of her time looking tough and menacing, but isn’t given much more to do than occasionally fire a gun.
Kitsch is so utterly bland and unsympathetic that there’s just really no redeeming value to his character. Battleship is supposed to be a story of redemption but instead it’s a story of inconsistencies. Many times throughout the film common sense much less standard military procedures seems to go out the window.
For example, standard rules of engagement tactics were not used early in the film, but yet were readily deployed during the so-called big finale to the film with success. One has to wonder how more seasoned officers with far more resources at their disposal failed to utilize such tactics or have success with the methods that they employed. Yet ironically, this young lieutenant on his first command is able to out-maneuver these aliens when he decides to take to the offensive and lull the enemy into a fairly passive mode where they don’t do much more than watch.
The aliens, while interesting, are given precious little to do other than occasionally destroy or blow something up. We have no idea why they are on earth and to be honest, why they arrived in such small force. If the idea was to conquer Earth, it was poorly planned. Yet if proper procedures were followed, their incursion could have been dealt with very early and easily with the resources at hand. But that would’ve made for a short movie.
What I found puzzling was how surprisingly light on action the movie was. Yes there were firefights but they were spread sparingly throughout the film. You do not have one grand epic battle against overwhelming odds, you do not have legions of enemy troops for the Navy to wade through. It was pretty much a here-it-is-take-it-or-leave it, ho-hum finale.
The film does have some good points with Hawaii as its main backdrop. I did like the fact that there were a lot of active and retired soldiers and sailors used in the filming of the picture. It is clear that the filmmakers wanted to honor the soldiers who have so gallantly served our nation. I just wish they could’ve given them a much better showcase, because truthfully you’ll find far more thrills and enjoyment busting out the actual Battleship game than sitting through the film.
There is a scene post-credits that does hint at possible future installments, but I kept asking myself one question, “Why?” Rumor has it that several years goes Steven Segal attempted to revive his big-screen career by pitching an Under Siege 3 to Universal. Segal supposedly pitched the idea that his character would be on a naval ship that encountered extraterrestrial menace. The studio passed on this idea and, if there’s any truth to the rumor, they should have passed on this idea when it came time to make Battleship.
Bong Mines Entertainment (15 KP) rated The Life of Pablo by Kanye West in Music
Jun 7, 2019
Kanye West is an iconic rapper from Chicago, Illinois. Not too long ago, he released his seventh studio album, entitled, “The Life of Pablo“.
ULTRA LIGHT BEAMS
The opening track functions as a Sunday-morning church revival, where Kanye is the ordained minister. He’s standing in the pulpit, preaching a time-sensitive sermon to his loyal congregation.
His message: God over Satan, keep the faith, pray for Paris, pray for parents, and we’re living God’s dream.
West sets the tone and declares where he stands on religious and socially-driven issues.
A Gospel choir emerges. The Dream and Kelly Price reinforce West’s message by singing verses of encouragement, leading to a heartfelt testimonial by Chance The Rapper.
While the collection plates are being filled with hopes of a better tomorrow, Kirk Franklin concludes the service by praying for everyone. He uplifts those who feel they are not good enough or have said, “I’m sorry,” too many times.
Father Stretch My Hands (Pt. 1)
A spiritual figure, Pastor T.L. Barrett, ushers in the second track with praises to The Most High. Future appears for a brief moment and Kid Cudi delivers a stunning chorus.
A liberated West returns to the pulpit and gives a brief, but somewhat explicit testimony of his past and present relationships to Amber Rose and Kim Kardashian.
Father Stretch My Hands (Pt. 2)
West continues his testimony and raps about his personal experiences. He speaks on the importance of returning his wife’s phone calls and not wanting to make the same mistakes his father made. Also, he mentions the passing of the mother in Hollywood, being broke, and the reason why he broke his jaw.
West’s words hit home, making room for another liberated soul to tell his story of triumph.
Desiigner, a newly-signed artist of G.O.O.D. Music, emerges from the underbelly of the ghetto. He raps about getting money illegally, drugs, and violence-familiarized by urban-street hustlers.
Though his grim subject matter contradicts the song’s hopeful message of liberation, it somehow adds mysticism or substance to Kanye’s brutally-honest testimony.
Desiigner, blessed with a futuristic flow, highlights a few things that West’s congregation needs to examine in order to be totally liberated.
FAMOUS
Whenever an important event occurs in an urban community, an after party is sure to follow. And a host of celebrities are always on standby to attend it. The Life of Pablo is no exception.
The fourth song features Rihanna and legendary-producer Swizz Beatz. Also, it contains timeless vocals from Sister Nancy and Nina Simone.
West, no longer in church clothes, stands out lyrically with witty, braggadocios lyrics.
Whether that statement is factual or not, it’s doesn’t really matter because West believes it is.
FEEDBACK
The fifth song serves as a transformational period, where West shows signs of the old Kanye.
West doesn’t need a psychiatrist to diagnose his problems. He does that himself by wearing them on his sleeves.
LOW LIGHTS
On the sixth track, West wrote via Twitter, “I put Low Lights on my album just thinking about all the moms driving their kids to school, then going to work.”
Listeners can now relate to the everyday struggle that mothers endure.
The song features an acapella sample from “So Alive” by Kings of Tomorrow.
The woman gives a grateful-testimony of God’s graciousness over a laid-back, simple piano groove. Her honesty is felt. Also, she sounds liberated because her Creator has accepted her for who she is.
HIGH LIGHTS
From lows to high, the seventh track is in direct correlation to “Low Lights”.
West and Young Thug put on their festive robes because it’s time to celebrate life. El Debarge and The Dream chime in, and West addresses a lingering issue.
But this is only the beginning. West finishes strong with more thought-provoking lyrics.
FREESTYLE 4
The eighth track features Desiigner. Again, when he and West are together, all hell breaks loose.
The once festive scene transforms into a grimy underworld filled with a prostitute that West is explicitly lusting after. The temptation makes it difficult for him to stand on his opening statement of Jesus over Satan. But the power of darkness is more powerful than West thinks. So, he subconsciously indulges in sexual misconduct.
I LOVE KANYE
On the ninth track, West realizes that he’s at war with himself. The old Kanye, known for chopping up soul records is fighting against the new Kanye that everyone hates. But Kanye wants to go back to being sweet again if that’s even possible. His multiple egos are fighting for control over the ‘real’ Kanye.
WAVE
West doesn’t stare in the mirror for too long. On the tenth track, redemption happens. Chris Brown, disguised as an angel, comes to West’s aid by providing much-needed light.
Miraculously, the sun emerges from the shade, a bird flies out its cage, and a nostalgic feeling is felt.
West realizes that nothing is impossible because waves don’t die and feelings don’t really go away.
FML (FOR MY LADY)
On the eleventh track, West realizes what’s really important to him and that’s his wife. Someone he won’t jeopardize for no other woman. Also, his children are all layers of his soul.
The Weeknd appears in the form of West’s conscience.
West remains focused and listeners can feel the positive aura of God surrounding him. He is determined to remain faithful to only Kim, no other woman.
REAL FRIENDS
West continues his introspective outlook and raps about trust issues that everyone can relate to. His honest, down-to-earth lyrics, mixed in with Ty Dolla $ign’s vocals, paints a vivid picture. Also, it forms a collectible souvenir that hangs nicely in listeners’ collective memories.
WOLVES
The thirteenth track provides a cooling effect with wild emotions and bizarre-sounds.
The setting, maybe an extraterritorial realm in West’s subconscious mind. Perhaps, it’s the Milky Way Galaxy or a dream-state of Saturn.
A time for relaxation, preparing listeners for a surprise guest.
SILVER SURFER INTERMISSION
The fourteenth track features a phone conversation between incarcerated Max B and French Montana. Also, Max voices his gratitude to West for showing him love.
30 HOURS
On the fifteenth track, West takes a trip down memory lane and raps about an ex-girlfriend that he used to drive 30-hours to see. He used to drive from Chicago to St. Louis, St. Louis to Chicago. He recalls the good times they shared. But unfortunately, her infidelity was the reason why they broke up.
NO PARTIES IN L.A.
The sixteenth track will go down in history as a legendary bar-fest between two elite emcees. Kendrick Lamar and West rap with dope punchlines and clever metaphors over a Madlib-produced track. Once again, West is flowing like the old Kanye that people love.
FACTS
The seventeenth track is a standout anthem where West brags that Yeezy just jumped over Jumpman. He’s in boss-mode, talking that big-money talk.
FADE
The final track features Post Malone and Ty Dollar $ign. The song has a reoccurring sample from Rare Earth, “Your love is fading/I feel it fade.”
The Eli Linnetz-directed video shows Teyana Taylor explicitly dancing.
CONCLUSION
Kanye West’s “The Life of Pablo” is a memorable hip-hop album with solid content and heavy replay value.
https://www.bongminesentertainment.com/kanye-west-life-pablo/
ULTRA LIGHT BEAMS
The opening track functions as a Sunday-morning church revival, where Kanye is the ordained minister. He’s standing in the pulpit, preaching a time-sensitive sermon to his loyal congregation.
His message: God over Satan, keep the faith, pray for Paris, pray for parents, and we’re living God’s dream.
West sets the tone and declares where he stands on religious and socially-driven issues.
A Gospel choir emerges. The Dream and Kelly Price reinforce West’s message by singing verses of encouragement, leading to a heartfelt testimonial by Chance The Rapper.
While the collection plates are being filled with hopes of a better tomorrow, Kirk Franklin concludes the service by praying for everyone. He uplifts those who feel they are not good enough or have said, “I’m sorry,” too many times.
Father Stretch My Hands (Pt. 1)
A spiritual figure, Pastor T.L. Barrett, ushers in the second track with praises to The Most High. Future appears for a brief moment and Kid Cudi delivers a stunning chorus.
A liberated West returns to the pulpit and gives a brief, but somewhat explicit testimony of his past and present relationships to Amber Rose and Kim Kardashian.
Father Stretch My Hands (Pt. 2)
West continues his testimony and raps about his personal experiences. He speaks on the importance of returning his wife’s phone calls and not wanting to make the same mistakes his father made. Also, he mentions the passing of the mother in Hollywood, being broke, and the reason why he broke his jaw.
West’s words hit home, making room for another liberated soul to tell his story of triumph.
Desiigner, a newly-signed artist of G.O.O.D. Music, emerges from the underbelly of the ghetto. He raps about getting money illegally, drugs, and violence-familiarized by urban-street hustlers.
Though his grim subject matter contradicts the song’s hopeful message of liberation, it somehow adds mysticism or substance to Kanye’s brutally-honest testimony.
Desiigner, blessed with a futuristic flow, highlights a few things that West’s congregation needs to examine in order to be totally liberated.
FAMOUS
Whenever an important event occurs in an urban community, an after party is sure to follow. And a host of celebrities are always on standby to attend it. The Life of Pablo is no exception.
The fourth song features Rihanna and legendary-producer Swizz Beatz. Also, it contains timeless vocals from Sister Nancy and Nina Simone.
West, no longer in church clothes, stands out lyrically with witty, braggadocios lyrics.
Whether that statement is factual or not, it’s doesn’t really matter because West believes it is.
FEEDBACK
The fifth song serves as a transformational period, where West shows signs of the old Kanye.
West doesn’t need a psychiatrist to diagnose his problems. He does that himself by wearing them on his sleeves.
LOW LIGHTS
On the sixth track, West wrote via Twitter, “I put Low Lights on my album just thinking about all the moms driving their kids to school, then going to work.”
Listeners can now relate to the everyday struggle that mothers endure.
The song features an acapella sample from “So Alive” by Kings of Tomorrow.
The woman gives a grateful-testimony of God’s graciousness over a laid-back, simple piano groove. Her honesty is felt. Also, she sounds liberated because her Creator has accepted her for who she is.
HIGH LIGHTS
From lows to high, the seventh track is in direct correlation to “Low Lights”.
West and Young Thug put on their festive robes because it’s time to celebrate life. El Debarge and The Dream chime in, and West addresses a lingering issue.
But this is only the beginning. West finishes strong with more thought-provoking lyrics.
FREESTYLE 4
The eighth track features Desiigner. Again, when he and West are together, all hell breaks loose.
The once festive scene transforms into a grimy underworld filled with a prostitute that West is explicitly lusting after. The temptation makes it difficult for him to stand on his opening statement of Jesus over Satan. But the power of darkness is more powerful than West thinks. So, he subconsciously indulges in sexual misconduct.
I LOVE KANYE
On the ninth track, West realizes that he’s at war with himself. The old Kanye, known for chopping up soul records is fighting against the new Kanye that everyone hates. But Kanye wants to go back to being sweet again if that’s even possible. His multiple egos are fighting for control over the ‘real’ Kanye.
WAVE
West doesn’t stare in the mirror for too long. On the tenth track, redemption happens. Chris Brown, disguised as an angel, comes to West’s aid by providing much-needed light.
Miraculously, the sun emerges from the shade, a bird flies out its cage, and a nostalgic feeling is felt.
West realizes that nothing is impossible because waves don’t die and feelings don’t really go away.
FML (FOR MY LADY)
On the eleventh track, West realizes what’s really important to him and that’s his wife. Someone he won’t jeopardize for no other woman. Also, his children are all layers of his soul.
The Weeknd appears in the form of West’s conscience.
West remains focused and listeners can feel the positive aura of God surrounding him. He is determined to remain faithful to only Kim, no other woman.
REAL FRIENDS
West continues his introspective outlook and raps about trust issues that everyone can relate to. His honest, down-to-earth lyrics, mixed in with Ty Dolla $ign’s vocals, paints a vivid picture. Also, it forms a collectible souvenir that hangs nicely in listeners’ collective memories.
WOLVES
The thirteenth track provides a cooling effect with wild emotions and bizarre-sounds.
The setting, maybe an extraterritorial realm in West’s subconscious mind. Perhaps, it’s the Milky Way Galaxy or a dream-state of Saturn.
A time for relaxation, preparing listeners for a surprise guest.
SILVER SURFER INTERMISSION
The fourteenth track features a phone conversation between incarcerated Max B and French Montana. Also, Max voices his gratitude to West for showing him love.
30 HOURS
On the fifteenth track, West takes a trip down memory lane and raps about an ex-girlfriend that he used to drive 30-hours to see. He used to drive from Chicago to St. Louis, St. Louis to Chicago. He recalls the good times they shared. But unfortunately, her infidelity was the reason why they broke up.
NO PARTIES IN L.A.
The sixteenth track will go down in history as a legendary bar-fest between two elite emcees. Kendrick Lamar and West rap with dope punchlines and clever metaphors over a Madlib-produced track. Once again, West is flowing like the old Kanye that people love.
FACTS
The seventeenth track is a standout anthem where West brags that Yeezy just jumped over Jumpman. He’s in boss-mode, talking that big-money talk.
FADE
The final track features Post Malone and Ty Dollar $ign. The song has a reoccurring sample from Rare Earth, “Your love is fading/I feel it fade.”
The Eli Linnetz-directed video shows Teyana Taylor explicitly dancing.
CONCLUSION
Kanye West’s “The Life of Pablo” is a memorable hip-hop album with solid content and heavy replay value.
https://www.bongminesentertainment.com/kanye-west-life-pablo/