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Lucy Buglass (45 KP) rated Bohemian Rhapsody (2018) in Movies
Jun 20, 2019
An honest, captivating and respectful biopic
Biopics are not easy to perfect and when you’re dealing with an iconic figure such as Freddie Mercury, it becomes even harder. When this film was announced it seemed natural to feel a little bit of apprehension, because could anyone really portray Freddie? Who could bring him to life on screen before thousands of fans? Thankfully, for me at least, my worries were soon quenched as soon as I began to watch it. I thought was a stunning film and I have no problem admitting that brought tears to my eyes on several occasions.
Rami Malek was an excellent choice to portray Freddie, to the point where I found myself believing I was watching the man himself. His stage presence especially was spot on and the live performances were simply stunning to watch, especially with surround sound. I felt transported, part of the crowd, and it was such a special moment to share with the rest of the cinema. We become part of different times and places in a matter of minutes, giving you an idea of just how globally successful and adored Queen were. Despite the film’s main focus being Freddie, the supporting roles of the rest of the band were fantastic too, and I have so much praise for Gwilym Lee, Ben Hardy and Joseph Mazzello for their performances.
Freddie dealt with a lot of discrimination during his career, particularly due to his race, sexuality and flamboyant personality. The film chose to portray these issues honestly, because pretending they didn’t exist would be an insult. When Freddie first starts performing with the rest of Queen, he’s greeted with questions such as “Who’s the P***?”, which for a modern audience is a terrible racial slur that I don’t even feel comfortable writing here. But for a Indian-British Parsi musician performing to a largely white audience in the ’70s, this word would have been used a lot. I feel it was important for the filmmakers to shed light on this as it provides context into Freddie’s upbringing and life that some may not have known about, including his real name: Farrokh Bulsara.
In terms of his sexuality, the film uses the role of the press to exploit and make a big deal about his personal relationships. The press conference scene was particularly uncomfortable as he’s bombarded with inappropriate questions instead of focusing on Queen and their music. He was constantly criticised in papers and magazines for simply being himself, and that’s a heartbreaking truth that Bohemian Rhapsody really hammers home. His long-term relationship with Mary Austin is also focused on throughout, and how that broke down but they still remained in touch. It’s a complex part of his life that the film does well to explore in just over 2 hours.
It’s not all bleak, and although these dark truths are explored, the film is fundamentally a celebration of Freddie’s life and extraordinary talent. Several Queen songs are present throughout the film and we even see the writing process behind some of them, my favourite being the creation of We Will Rock You in which they wanted the audience to play along with them through stomps and claps. The birth of Bohemian Rhapsody is comical in nature and received a lot of backlash at the time, but as we know, has since gone on to become an iconic song we all know the lyrics to.
Even in Freddie’s final days, after he was diagnosed with AIDS, the film encourages us to celebrate their music and make the most of the time Freddie has left, which is exactly what he himself wanted to do. I can’t think of a more respectful and considerate way to show it than that.
I could probably write an entire essay about just how much I thought Bohemian Rhapsody got right, but hopefully I’ve managed to condense my thoughts somewhat. This is a film you simply must experience for yourself, at least once.
https://lucygoestohollywood.com/2018/11/14/bohemian-rhapsody-an-honest-captivating-and-respectful-biopic/
Rami Malek was an excellent choice to portray Freddie, to the point where I found myself believing I was watching the man himself. His stage presence especially was spot on and the live performances were simply stunning to watch, especially with surround sound. I felt transported, part of the crowd, and it was such a special moment to share with the rest of the cinema. We become part of different times and places in a matter of minutes, giving you an idea of just how globally successful and adored Queen were. Despite the film’s main focus being Freddie, the supporting roles of the rest of the band were fantastic too, and I have so much praise for Gwilym Lee, Ben Hardy and Joseph Mazzello for their performances.
Freddie dealt with a lot of discrimination during his career, particularly due to his race, sexuality and flamboyant personality. The film chose to portray these issues honestly, because pretending they didn’t exist would be an insult. When Freddie first starts performing with the rest of Queen, he’s greeted with questions such as “Who’s the P***?”, which for a modern audience is a terrible racial slur that I don’t even feel comfortable writing here. But for a Indian-British Parsi musician performing to a largely white audience in the ’70s, this word would have been used a lot. I feel it was important for the filmmakers to shed light on this as it provides context into Freddie’s upbringing and life that some may not have known about, including his real name: Farrokh Bulsara.
In terms of his sexuality, the film uses the role of the press to exploit and make a big deal about his personal relationships. The press conference scene was particularly uncomfortable as he’s bombarded with inappropriate questions instead of focusing on Queen and their music. He was constantly criticised in papers and magazines for simply being himself, and that’s a heartbreaking truth that Bohemian Rhapsody really hammers home. His long-term relationship with Mary Austin is also focused on throughout, and how that broke down but they still remained in touch. It’s a complex part of his life that the film does well to explore in just over 2 hours.
It’s not all bleak, and although these dark truths are explored, the film is fundamentally a celebration of Freddie’s life and extraordinary talent. Several Queen songs are present throughout the film and we even see the writing process behind some of them, my favourite being the creation of We Will Rock You in which they wanted the audience to play along with them through stomps and claps. The birth of Bohemian Rhapsody is comical in nature and received a lot of backlash at the time, but as we know, has since gone on to become an iconic song we all know the lyrics to.
Even in Freddie’s final days, after he was diagnosed with AIDS, the film encourages us to celebrate their music and make the most of the time Freddie has left, which is exactly what he himself wanted to do. I can’t think of a more respectful and considerate way to show it than that.
I could probably write an entire essay about just how much I thought Bohemian Rhapsody got right, but hopefully I’ve managed to condense my thoughts somewhat. This is a film you simply must experience for yourself, at least once.
https://lucygoestohollywood.com/2018/11/14/bohemian-rhapsody-an-honest-captivating-and-respectful-biopic/
Movie Metropolis (309 KP) rated Zombieland: Double Tap (2019) in Movies
Oct 24, 2019
Ten years is a long time in Hollywood. Ten years ago, to this day Avatar was yet to be released to the unsuspecting masses, with Titanic still reigning supreme over the global box-office and debutant director Ruben Fleischer surprised the cinema-going public with Zombieland.
Made on a tiny budget of just over $20million, it went on to gross over $100million globally and received unanimous praise. A sequel was widely expected in the years that followed but never materialised. That’s probably down to a few things; one being Emma Stone’s meteoric rise to fame, Jesse Eisenberg starring in some of the biggest and most celebrated films of the decade that followed and Woody Harrelson, well, being Woody Harrelson (that’s not a dig, we love you Woody).
Fleischer meanwhile went on to direct 30 Minutes or Less, Gangster Squad and Venom among a couple of other projects. The time for a Zombieland sequel came and went with the film’s core fanbase hoping that one day they’d get what they desired.
That day is now here with the release of Zombieland: Double Tap. With a cast of returning characters and the original director at the helm, things certainly look promising from a technical point of view, but has the ship sailed on getting this franchise off the ground?
Zombie slayers Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone), and Little Rock (Abigail Breslin) square off against a newly evolved strain of the undead as well as combatting their own personal demons in an effort to survive the ongoing zombie apocalypse.
Despite the popularity of the film’s actors since its predecessor, it’s nice to see all of the lead cast slot back into their roles seamlessly. Granted they’re a little older than we last remember them, and a little wiser too, but these characters still retain the charm and humour that made the last movie such a success.
Harrelson remains the standout and that’s mainly down to a nicely written script, penned by Rhett Reese, Paul Wernick and Dave Callaham. Between them they’ve worked on films like Gareth Edwards’ Godzilla, Ant-Man, Deadpool and its sequel and Life. That’s a pretty impressive roster of films it has to be said.
Eisenberg and Stone are also nicely written with a good character arc that means we get to see opposing sides to their roles. Unfortunately, Breslin is underused throughout, reduced to a part that feels much more like a support role. Of the new characters introduced, Rosario Dawson and Zoey Deutch are thinly written but reasonably entertaining.
The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them
Thankfully, the script remains a real highlight over the brisk 99-minute run-time with some genuine hilarity. The screenplay’s attempts at emotion work reasonably well but fall flat on a couple of occasions – the basis of the previous film was its humour and no surprises, this is where the sequel excels.
It’s a nice film to look at too. While some of the landscapes look a little too artificial, the sweeping shots of desolate buildings and roads add a sense of scale that was sometimes lacking last time around. The opening sequence inside the White House is great to watch and sets up the rest of the film well.
Zombieland: Double Tap works best when our band of characters is bouncing off each other and it’s a good job as the zombie action is fleeting. Some action pieces are well choregraphed but for a film about the world being overrun by the undead, there’s a distinct lack of them. The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them until the final act and that’s a bit of a shame.
Nevertheless, Zombieland: Double Tap remains easy-to-watch and likeable throughout with a cracking cast of characters. Unfortunately, the world has moved on from 2009 and zombie films, TV shows and books are ten-a-penny nowadays (something nicely referenced at the beginning of the film) and while Zombieland 2 does an awful lot right, in the end it’s a decent sequel to a great film, and nothing more than that.
Stick around for a post-credits sequence that follows on from the predecessors “greatest cameo ever”.
Made on a tiny budget of just over $20million, it went on to gross over $100million globally and received unanimous praise. A sequel was widely expected in the years that followed but never materialised. That’s probably down to a few things; one being Emma Stone’s meteoric rise to fame, Jesse Eisenberg starring in some of the biggest and most celebrated films of the decade that followed and Woody Harrelson, well, being Woody Harrelson (that’s not a dig, we love you Woody).
Fleischer meanwhile went on to direct 30 Minutes or Less, Gangster Squad and Venom among a couple of other projects. The time for a Zombieland sequel came and went with the film’s core fanbase hoping that one day they’d get what they desired.
That day is now here with the release of Zombieland: Double Tap. With a cast of returning characters and the original director at the helm, things certainly look promising from a technical point of view, but has the ship sailed on getting this franchise off the ground?
Zombie slayers Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone), and Little Rock (Abigail Breslin) square off against a newly evolved strain of the undead as well as combatting their own personal demons in an effort to survive the ongoing zombie apocalypse.
Despite the popularity of the film’s actors since its predecessor, it’s nice to see all of the lead cast slot back into their roles seamlessly. Granted they’re a little older than we last remember them, and a little wiser too, but these characters still retain the charm and humour that made the last movie such a success.
Harrelson remains the standout and that’s mainly down to a nicely written script, penned by Rhett Reese, Paul Wernick and Dave Callaham. Between them they’ve worked on films like Gareth Edwards’ Godzilla, Ant-Man, Deadpool and its sequel and Life. That’s a pretty impressive roster of films it has to be said.
Eisenberg and Stone are also nicely written with a good character arc that means we get to see opposing sides to their roles. Unfortunately, Breslin is underused throughout, reduced to a part that feels much more like a support role. Of the new characters introduced, Rosario Dawson and Zoey Deutch are thinly written but reasonably entertaining.
The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them
Thankfully, the script remains a real highlight over the brisk 99-minute run-time with some genuine hilarity. The screenplay’s attempts at emotion work reasonably well but fall flat on a couple of occasions – the basis of the previous film was its humour and no surprises, this is where the sequel excels.
It’s a nice film to look at too. While some of the landscapes look a little too artificial, the sweeping shots of desolate buildings and roads add a sense of scale that was sometimes lacking last time around. The opening sequence inside the White House is great to watch and sets up the rest of the film well.
Zombieland: Double Tap works best when our band of characters is bouncing off each other and it’s a good job as the zombie action is fleeting. Some action pieces are well choregraphed but for a film about the world being overrun by the undead, there’s a distinct lack of them. The movie makes a big deal out of introducing some new breeds of zombie flesh-eaters, but doesn’t really do anything with them until the final act and that’s a bit of a shame.
Nevertheless, Zombieland: Double Tap remains easy-to-watch and likeable throughout with a cracking cast of characters. Unfortunately, the world has moved on from 2009 and zombie films, TV shows and books are ten-a-penny nowadays (something nicely referenced at the beginning of the film) and while Zombieland 2 does an awful lot right, in the end it’s a decent sequel to a great film, and nothing more than that.
Stick around for a post-credits sequence that follows on from the predecessors “greatest cameo ever”.
Cumberland (1142 KP) created a post in The Smashbomb Book Club
Jun 13, 2019
Gareth von Kallenbach (980 KP) rated Walk the Line (2005) in Movies
Aug 14, 2019
Condensing something as vast and complex as the life of a person into a film is often a daunting task. With so many events that comprise the span of an individual, knowing what to cover and what to omit is a daunting task for any writer. For an icon like Johnny Cash, this task becomes monumental as not only does the history and humanity of the individual need to be captured, but the very soul of the artist as well.
Thankfully in the film Walk the Line Writer Gil Dennis and Writer/Director James Mangold capture the very essence of The Man in Black. Unlike many biopics that focus on the rise and fall of an individual, Walk the Line strives to balance than man and his demons without losing the compassion of the character.
The film stars Joaquin Phoenix as Johnny Cash, a man who rose from poverty in Dyess Arkansas to become on of the most beloved and enduring entertainers in history. Chronicling portions of his childhood, and the hardships he endured as well as his sting in the Air Force, we are shown things that helped shape the man he was to become. Shortly after his Air Force career, Johnny marries Vivian (Ginnifer Goodwin), and they start a family. Struggling to make ends meet as a door to door salesman, and facing pressure to take a job with her father in San Antonio Johnny manages to gain an audition for Sun Records in Nashville.
When told in the audition that his Gospel songs will not sell, Johnny instead performs one of his own compositions and earns a record contract. Before long, he and his band are on the road playing with the likes of Jerry Lee Lewis, Elvis Presley, and June Carter (Reese Witherspoon). June who has been part of a singing family
as well as an object of admiration for Johnny since their childhoods soon becomes a friend to Johnny as he copes with rising fame and the pressures and temptations of life on the road.
As Johnny spends more and more time on the road, tensions between him and Vivian grow causing Johnny to delve deeper into the temptations that are available to him as a star. During this time, Johhny becomes obsessed with June, who wile attracted to Johnny has just come from a failed marriage and does not want to break up Johnny’s family. It is against this backdrop that the unusual courtship between the two begins. They spend time with one another on the road, they talk for hours on end, and even perform duets with one another on stage, yet Johnny’s love for June remains a source of frustration that only leads him deeper into his destructive behaviors.
While the addition that grips Johnny is a driving part of the film, the main focus of the story is the love between Johnny and June and their unusual courtship that survived despite marriages, addictions, denials, and their own insecurities. Phoenix and Witherspoon are amazing and give Oscar Caliber performances that are easily the best in recent years. Not only do they both convey the mannerisms of their flesh and blood counterparts, but they convey solid chemistry and compassion from the audience.
While one can say that Johnny was an adulterer and a drug addict, his gentle nature, compassion, and humanity are abundantly clear in the way he is portrayed by Phoenix. We do not see Cash as a stuck up rock star, we see him as a simple human being, who used his gifts to connect with the masses yet never lost site of his heart. His tenderness, honesty, and devotion to his music, June, and eventually himself are clear and Phoenix is able to portray this by a reserved and endearing manner that captures the man he is portraying. Far too many films of this type are loaded with scenes of conflict, screaming, conflict and destruction that it was refreshing to see Johnny attempt to win June by stubbornness, and persistence yet never losing his easy going mannerisms despite being wracked by addiction.
Much has been made of the decision to let Phoenix and Witherspoon sing their parts rather than dub the voices. Unlike in the film “Ray” where Jaime Foxx had his singing dubbed over, the accurate and heartfelt interpretations of the songs only underscores the triumph and complexity of their performances.
Not just a good film but a great film, Walk the Line is an endearing and entertaining film that keeps you engrossed from start to finish. If you are not a fan of Johnny Cash when you see this film, at the least you will find a new found respect for this American Legend.
Thankfully in the film Walk the Line Writer Gil Dennis and Writer/Director James Mangold capture the very essence of The Man in Black. Unlike many biopics that focus on the rise and fall of an individual, Walk the Line strives to balance than man and his demons without losing the compassion of the character.
The film stars Joaquin Phoenix as Johnny Cash, a man who rose from poverty in Dyess Arkansas to become on of the most beloved and enduring entertainers in history. Chronicling portions of his childhood, and the hardships he endured as well as his sting in the Air Force, we are shown things that helped shape the man he was to become. Shortly after his Air Force career, Johnny marries Vivian (Ginnifer Goodwin), and they start a family. Struggling to make ends meet as a door to door salesman, and facing pressure to take a job with her father in San Antonio Johnny manages to gain an audition for Sun Records in Nashville.
When told in the audition that his Gospel songs will not sell, Johnny instead performs one of his own compositions and earns a record contract. Before long, he and his band are on the road playing with the likes of Jerry Lee Lewis, Elvis Presley, and June Carter (Reese Witherspoon). June who has been part of a singing family
as well as an object of admiration for Johnny since their childhoods soon becomes a friend to Johnny as he copes with rising fame and the pressures and temptations of life on the road.
As Johnny spends more and more time on the road, tensions between him and Vivian grow causing Johnny to delve deeper into the temptations that are available to him as a star. During this time, Johhny becomes obsessed with June, who wile attracted to Johnny has just come from a failed marriage and does not want to break up Johnny’s family. It is against this backdrop that the unusual courtship between the two begins. They spend time with one another on the road, they talk for hours on end, and even perform duets with one another on stage, yet Johnny’s love for June remains a source of frustration that only leads him deeper into his destructive behaviors.
While the addition that grips Johnny is a driving part of the film, the main focus of the story is the love between Johnny and June and their unusual courtship that survived despite marriages, addictions, denials, and their own insecurities. Phoenix and Witherspoon are amazing and give Oscar Caliber performances that are easily the best in recent years. Not only do they both convey the mannerisms of their flesh and blood counterparts, but they convey solid chemistry and compassion from the audience.
While one can say that Johnny was an adulterer and a drug addict, his gentle nature, compassion, and humanity are abundantly clear in the way he is portrayed by Phoenix. We do not see Cash as a stuck up rock star, we see him as a simple human being, who used his gifts to connect with the masses yet never lost site of his heart. His tenderness, honesty, and devotion to his music, June, and eventually himself are clear and Phoenix is able to portray this by a reserved and endearing manner that captures the man he is portraying. Far too many films of this type are loaded with scenes of conflict, screaming, conflict and destruction that it was refreshing to see Johnny attempt to win June by stubbornness, and persistence yet never losing his easy going mannerisms despite being wracked by addiction.
Much has been made of the decision to let Phoenix and Witherspoon sing their parts rather than dub the voices. Unlike in the film “Ray” where Jaime Foxx had his singing dubbed over, the accurate and heartfelt interpretations of the songs only underscores the triumph and complexity of their performances.
Not just a good film but a great film, Walk the Line is an endearing and entertaining film that keeps you engrossed from start to finish. If you are not a fan of Johnny Cash when you see this film, at the least you will find a new found respect for this American Legend.
Chris Sawin (602 KP) rated Dance of the Dead (2008) in Movies
Jun 18, 2019
Jimmy Dunn (Jared Kusnitz) never seems to take anything seriously. He likes to spend more time in detention than he does in class. So it’s no surprise that Lindsey (Greyson Chadwick), the girl Jimmy was going to take to prom, decides to not go with him after realizing that Jimmy has no ambition. To make matters worse, something weird is going on in the graveyard next to the nuclear power plant in town. The dead are walking and they’re headed to the prom. The town is now in the hands of the losers who couldn’t get dates to the prom. There goes the neighborhood and here comes the pain; that is something that is certainly meant in more ways than one.
This is the type of horror film you have the urge to turn off as soon as it starts. Written by Joe Ballarini (My Little Pony: The Movie) and directed by Gregg Bishop (the “Dante the Great” segment of V/H/S Viral), Dance of the Dead is a part of the eight films that made up Ghost House Underground; horror films from all over the world chosen by Sam Raimi and Rob Tapert supposedly representing a “fresh” perspective of the horror genre. The problem is that most people would seek out one of these films and then never bother with the rest because why would you torture yourself any further?
The first 20 or so minutes of the film revolve around high school melodrama and the prom. This is supposedly where you get accustomed to the film’s humor, but it’s mostly nothing more than high school kids being obnoxious and unbearable. The graveyard scene is where things get even worse. Zombies start rising from beyond the grave and decomposing hands start bursting through headstones since that makes more sense than soil. Emerging from the ground simply wasn’t enough either; these zombies explode from their graves with smoke and a loud crash. Moments later during the same sequence, there are zombies jumping several feet into the air out of the ground, landing on their feet, and running after these kids. If it sounds cool in the slightest, then this description isn’t doing this dumpster fire justice.
The zombies are all over the place in Dance of the Dead. They start off as the zombies that run similar to the zombies in Zack Snyder’s Dawn of the Dead remake. Later on in the film, they stumble around and are slow like George Romero’s zombies. Even later after that, the zombies are running again while some attempt to speak, say, “Brains!” and then get in a car and drive off. Someone had pointed out that the zombies in the film who are fresh out of the ground run while older ones move slower, which only makes this turd milkshake slightly less nutty. Dance of the Dead also can’t decide what zombie films to pay homage to either. Return of the Living Dead has a massive influence, but the film clearly pays tribute to Night of the Living Dead when the kids reach a house and decide to board up all the windows and take shelter. It seems like the one consistent aspect this film has is to be inconsistent.
Did you know zombies can be held at bay solely by the power of rocking out? Three stoners in a band (a guitarist, a bassist, and a drummer) inadvertently discover that their music stops zombies in their tracks. A bit later in the film during the prom, the gymnasium is full of zombies. There’s music playing and it shows three zombies on stage playing musical instruments; a guitar, a bass, and a drum set. Fast forward a little more and the three stoners are back again playing their stoner rock and the zombies are back to being frozen during their performance. There’s no consistency when it comes to what they play or how it affects zombies.
“In extreme circumstances, the assailants can be stopped by removing the head or destroying the brain.” Do you remember this quote from Shaun of the Dead? Try to keep it in mind, especially the, “removing the head,” part. A guy gets his head torn off by a zombie and you’d think he’d be dead, but this actually turns his decapitated head into a zombie. He comes back later on; his headless corpse carrying his decapitated head around. It’s one thing to try and reinvent a genre, but when you have so many reinventions along with homage out to wazoo you’re basically throwing cow pies at a brick wall and seeing what sticks.
Zombies shouldn’t make out with each other. Vampires shouldn’t sparkle and Warm Bodies isn’t canon. Two students turn into zombies and still end up in a giant make out session after they’ve turned. The kiss turns awkward as they start chewing on each other mid-kiss. They start taking bites out of each other while they’re still sucking face. This is the scariest aspect of the film considering that maybe most of us don’t want our eyeballs chewed out of our skulls during something so intimate.
When the special effects aren’t being a complete eyesore from being so cheap and ugly, the gore in Dance of the Dead is decent. Blood splattering everywhere is pretty common throughout the film. The acting isn’t completely terrible either. It absolutely isn’t good by any means. Dance of the Dead is basically Degrassi with zombies and everything lame you’re expecting to tag along with that reference. Lucas Till (X-Men: First Class, MacGyver) has a brief cameo as one of the rockers in the film and he's probably the only cast member you'll recognize.
The jumbled mass of homage and redefining of zombie lore in Dance of the Dead throws a monkey wrench in calling the film stereotypical and cliché, but it certainly feels that way. It seems like a rejected, alternate, first draft of a film you’ve already seen rather than a film that attempts to stand on its own two legs. It may be fun for fans of campy horror films, but its originality is borderline offensive since Dance of the Dead seems to just combine everything you know about zombies or purposely does the opposite at an attempt at being a different chomp of undead horror. Unfortunately though, Dance of the Dead is too overwhelmingly absurd for its own good as its gore feels like the drunken antics of a washed up clown rather than a competent horror film.
Dance of the Dead is available to stream on Amazon Prime, YouTube, and Google Play for $1.99, Vudu for $2.99, and iTunes for $5.99. The DVD is $7.72 on Amazon while the Blu-ray (which is Region 2 only) is $25.52 from a third party seller. The DVD is $7.49 in new condition and with free shipping on eBay or $4 with $2.99 shipping pre-owned. If you enjoy terrible things, the eight disc set of all the Ghost House Underground titles are available as a boxed set on Amazon for $179.74 and on eBay for $39.99 in brand new condition and with free shipping.
This is the type of horror film you have the urge to turn off as soon as it starts. Written by Joe Ballarini (My Little Pony: The Movie) and directed by Gregg Bishop (the “Dante the Great” segment of V/H/S Viral), Dance of the Dead is a part of the eight films that made up Ghost House Underground; horror films from all over the world chosen by Sam Raimi and Rob Tapert supposedly representing a “fresh” perspective of the horror genre. The problem is that most people would seek out one of these films and then never bother with the rest because why would you torture yourself any further?
The first 20 or so minutes of the film revolve around high school melodrama and the prom. This is supposedly where you get accustomed to the film’s humor, but it’s mostly nothing more than high school kids being obnoxious and unbearable. The graveyard scene is where things get even worse. Zombies start rising from beyond the grave and decomposing hands start bursting through headstones since that makes more sense than soil. Emerging from the ground simply wasn’t enough either; these zombies explode from their graves with smoke and a loud crash. Moments later during the same sequence, there are zombies jumping several feet into the air out of the ground, landing on their feet, and running after these kids. If it sounds cool in the slightest, then this description isn’t doing this dumpster fire justice.
The zombies are all over the place in Dance of the Dead. They start off as the zombies that run similar to the zombies in Zack Snyder’s Dawn of the Dead remake. Later on in the film, they stumble around and are slow like George Romero’s zombies. Even later after that, the zombies are running again while some attempt to speak, say, “Brains!” and then get in a car and drive off. Someone had pointed out that the zombies in the film who are fresh out of the ground run while older ones move slower, which only makes this turd milkshake slightly less nutty. Dance of the Dead also can’t decide what zombie films to pay homage to either. Return of the Living Dead has a massive influence, but the film clearly pays tribute to Night of the Living Dead when the kids reach a house and decide to board up all the windows and take shelter. It seems like the one consistent aspect this film has is to be inconsistent.
Did you know zombies can be held at bay solely by the power of rocking out? Three stoners in a band (a guitarist, a bassist, and a drummer) inadvertently discover that their music stops zombies in their tracks. A bit later in the film during the prom, the gymnasium is full of zombies. There’s music playing and it shows three zombies on stage playing musical instruments; a guitar, a bass, and a drum set. Fast forward a little more and the three stoners are back again playing their stoner rock and the zombies are back to being frozen during their performance. There’s no consistency when it comes to what they play or how it affects zombies.
“In extreme circumstances, the assailants can be stopped by removing the head or destroying the brain.” Do you remember this quote from Shaun of the Dead? Try to keep it in mind, especially the, “removing the head,” part. A guy gets his head torn off by a zombie and you’d think he’d be dead, but this actually turns his decapitated head into a zombie. He comes back later on; his headless corpse carrying his decapitated head around. It’s one thing to try and reinvent a genre, but when you have so many reinventions along with homage out to wazoo you’re basically throwing cow pies at a brick wall and seeing what sticks.
Zombies shouldn’t make out with each other. Vampires shouldn’t sparkle and Warm Bodies isn’t canon. Two students turn into zombies and still end up in a giant make out session after they’ve turned. The kiss turns awkward as they start chewing on each other mid-kiss. They start taking bites out of each other while they’re still sucking face. This is the scariest aspect of the film considering that maybe most of us don’t want our eyeballs chewed out of our skulls during something so intimate.
When the special effects aren’t being a complete eyesore from being so cheap and ugly, the gore in Dance of the Dead is decent. Blood splattering everywhere is pretty common throughout the film. The acting isn’t completely terrible either. It absolutely isn’t good by any means. Dance of the Dead is basically Degrassi with zombies and everything lame you’re expecting to tag along with that reference. Lucas Till (X-Men: First Class, MacGyver) has a brief cameo as one of the rockers in the film and he's probably the only cast member you'll recognize.
The jumbled mass of homage and redefining of zombie lore in Dance of the Dead throws a monkey wrench in calling the film stereotypical and cliché, but it certainly feels that way. It seems like a rejected, alternate, first draft of a film you’ve already seen rather than a film that attempts to stand on its own two legs. It may be fun for fans of campy horror films, but its originality is borderline offensive since Dance of the Dead seems to just combine everything you know about zombies or purposely does the opposite at an attempt at being a different chomp of undead horror. Unfortunately though, Dance of the Dead is too overwhelmingly absurd for its own good as its gore feels like the drunken antics of a washed up clown rather than a competent horror film.
Dance of the Dead is available to stream on Amazon Prime, YouTube, and Google Play for $1.99, Vudu for $2.99, and iTunes for $5.99. The DVD is $7.72 on Amazon while the Blu-ray (which is Region 2 only) is $25.52 from a third party seller. The DVD is $7.49 in new condition and with free shipping on eBay or $4 with $2.99 shipping pre-owned. If you enjoy terrible things, the eight disc set of all the Ghost House Underground titles are available as a boxed set on Amazon for $179.74 and on eBay for $39.99 in brand new condition and with free shipping.
Daniel Boyd (1066 KP) rated Who Built The Moon? by Noel Gallagher / Noel Gallagher's High Flying Birds in Music
Nov 28, 2017 (Updated Nov 28, 2017)
A new direction from Noel (1 more)
Some unexpectedly bold creative choices are made
A Breath Of Fresh Air
Who Built The Moon? was released on Friday 24/11/17 and has already proved to be the most divisive album that Noel has ever been a part of. I personally love it. I think if Noel had dropped another record in the now expected style of the first two HFB's records, we would be rolling our eyes. Instead he is trying something new, a bold step for a man of 50 who has been making music publicly for the last quarter of a century.
Working with notorious industry producer, David Holmes, this record possesses a whole new sound for Noel, his lyrics and vocals are obviously instantly recognisable, but the instrumentation and production on the record is like something we have never heard him do before. Now it's all well and good trying something new, but is it any good? Well, it is actually.
The record opens with a stomping instrumental called Fort Knox. A track reminiscent of George Harrison meets the Gorillaz, that you can't help but at least nod along to. This isn't the first time that Noel has opened a record with an instrumental, (2000's Standing On The Shoulders of Giants opened with Fuckin' In The Bushes,) but I think it may be his best instrumental to date.
Next up is the record's lead single; Holy Mountain. This track carries on the pace set by Fort Knox and contains elements of Slade and Bowie to boot. Much has already been said about the comparison to She Bangs, but it doesn't bother me, this is a fantastic song and I feel like it was a solid choice for the album's first single. Having Paul Weller playing the organ on it doesn't hurt much either.
Following this is one of my favourite songs on the record, Keep On Reaching. I actually heard Noel talking about this song in an interview before I heard the track itself and from what he was describing, I didn't think I was going to care for it. Well my preconceptions were whacked away once I got around to listening to the track. Absolutely brilliant song that feels uplifting and triumphant.
The next song is called It's A Beautiful World and I have to admit I found it to be a bit of a grower. I first heard the track played live on Jools Holland and didn't love it, then I heard the album track and liked it a bit more, then I listened to it again and wasn't feeling it as much. Now six or seven listens later, I love this song. There are a few odd choices made here and I can understand why people would initially be put off, but I think this track works perfectly, especially within the context of the rest of the album.
After this we hear She Taught Me How To Fly, which is probably my least favourite track on the record. Again though I have to admit that this has grown on me since I first heard it. Hearing it live for the first time on Jools Holland, combined with seeing that scissor player for the first time was a bit much for me and to be honest I really wasn't a fan of the track. While I still don't love the track, I do enjoy it within the context of the album and I much prefer it now to when I initially heard it.
Track six is called Be Careful What You Wish For and for me, it falls into the same category as She Taught Me How To Fly, in that it is good, but not great. I'd say that these two songs are definitely the 'filler' section of the album. On any other record, these songs would be highlights, but on a Noel Gallagher record, they only qualify as filler in my opinion. They do add to the album as a whole though and are absolutely necessary if you are looking to experience the album all the way through from start to finish, which is also definitely the best way to experience this album.
The record picks up again with Black & White Sunshine. A roaring rock n' roll stomper that definitely sounds the most like Oasis over anything else on the album. The song's upbeat tone and slightly melancholy lyrics match up with Noel's signature writing style and it works just as well here as it did in the Oasis days. It's nice to hear something that feels slightly more familiar in amongst all of the other more experimental stuff on this record.
After hearing Fort Knox, I was really excited to hear the other instrumental on this album, Wednesday - Part 1. Unfortunately it's nowhere near as good as Fort Knox and it's been split into two parts. It's still a decently enjoyable piece of music that helps the album plod along into it's final stretch, but if like me you were hoping this to be just as good as Fort Knox, you will be left disappointed.
Next up is what is perhaps my favourite track on the record; If Love Is The Law. This glorious banger of a tune adds so much to the record overall and sounds mega through a good set of headphones. Johnny Marr's unmistakable guitar playing works awesomely on this track, as does his harmonica work. The lyrics are top notch, Noel's voice sounds great and it is a brilliant tune from start to finish.
The last official track on the album is the title track, The Man Who Built the Moon. This song tells the story of a cowboy full of regrets, using all sorts of interesting metaphors it is definitely the most narrative track on the album. The tone of the song slightly reminds me of The Ballad Of The Mighty I, the closing track from Noel's last record. It is a great song and works fantastically as a way to end this record.
Lastly we have Wednesday - Part 2, which is simply a continuation of Wednesday - Part 1, not much else to say here really.
Finally, we have a bonus track called Dead In The Water. This was recorded live during a session Noel did on an Irish radio station while promoting his previous album. Noel apparently didn't even know he was being recorded at the time while he was singing, which I think makes this song even more special. Allegedly, David Holmes was reluctant to put this on the record, as he felt it was out of place with the rest of the songs on the record, but I am so glad that Noel convinced him otherwise. Noel's voice here, sounds pure and frankly astonishing and the lyrics are fantastic too. The tone sounds similar to Talk Tonight and it is definitely one of the album's best moments.
The one gripe I have about this album, is that while this is a fresh new direction for Noel, it's not a style that hasn't been done before by other bands and arguably been done better. The Gorillaz' records or any of the late Beatles albums serve as a good example of this. Then again, Noel is well known from 'borrowing,' song elements from other artists, so maybe this is as original as it gets for him and we should be grateful for that.
Regardless, as a long time Oasis, (and particularly Noel Gallagher,) fan, I am glad that Noel is doing something new. I am also glad that with both Gallagher brothers now producing music, we won't be getting two extremely similar sounding albums. This is exciting for Oasis fans and can maybe serve as a step forward for fans who are still stuck in the past, in finally getting over their favourite band breaking up - it only took 8 years.
Working with notorious industry producer, David Holmes, this record possesses a whole new sound for Noel, his lyrics and vocals are obviously instantly recognisable, but the instrumentation and production on the record is like something we have never heard him do before. Now it's all well and good trying something new, but is it any good? Well, it is actually.
The record opens with a stomping instrumental called Fort Knox. A track reminiscent of George Harrison meets the Gorillaz, that you can't help but at least nod along to. This isn't the first time that Noel has opened a record with an instrumental, (2000's Standing On The Shoulders of Giants opened with Fuckin' In The Bushes,) but I think it may be his best instrumental to date.
Next up is the record's lead single; Holy Mountain. This track carries on the pace set by Fort Knox and contains elements of Slade and Bowie to boot. Much has already been said about the comparison to She Bangs, but it doesn't bother me, this is a fantastic song and I feel like it was a solid choice for the album's first single. Having Paul Weller playing the organ on it doesn't hurt much either.
Following this is one of my favourite songs on the record, Keep On Reaching. I actually heard Noel talking about this song in an interview before I heard the track itself and from what he was describing, I didn't think I was going to care for it. Well my preconceptions were whacked away once I got around to listening to the track. Absolutely brilliant song that feels uplifting and triumphant.
The next song is called It's A Beautiful World and I have to admit I found it to be a bit of a grower. I first heard the track played live on Jools Holland and didn't love it, then I heard the album track and liked it a bit more, then I listened to it again and wasn't feeling it as much. Now six or seven listens later, I love this song. There are a few odd choices made here and I can understand why people would initially be put off, but I think this track works perfectly, especially within the context of the rest of the album.
After this we hear She Taught Me How To Fly, which is probably my least favourite track on the record. Again though I have to admit that this has grown on me since I first heard it. Hearing it live for the first time on Jools Holland, combined with seeing that scissor player for the first time was a bit much for me and to be honest I really wasn't a fan of the track. While I still don't love the track, I do enjoy it within the context of the album and I much prefer it now to when I initially heard it.
Track six is called Be Careful What You Wish For and for me, it falls into the same category as She Taught Me How To Fly, in that it is good, but not great. I'd say that these two songs are definitely the 'filler' section of the album. On any other record, these songs would be highlights, but on a Noel Gallagher record, they only qualify as filler in my opinion. They do add to the album as a whole though and are absolutely necessary if you are looking to experience the album all the way through from start to finish, which is also definitely the best way to experience this album.
The record picks up again with Black & White Sunshine. A roaring rock n' roll stomper that definitely sounds the most like Oasis over anything else on the album. The song's upbeat tone and slightly melancholy lyrics match up with Noel's signature writing style and it works just as well here as it did in the Oasis days. It's nice to hear something that feels slightly more familiar in amongst all of the other more experimental stuff on this record.
After hearing Fort Knox, I was really excited to hear the other instrumental on this album, Wednesday - Part 1. Unfortunately it's nowhere near as good as Fort Knox and it's been split into two parts. It's still a decently enjoyable piece of music that helps the album plod along into it's final stretch, but if like me you were hoping this to be just as good as Fort Knox, you will be left disappointed.
Next up is what is perhaps my favourite track on the record; If Love Is The Law. This glorious banger of a tune adds so much to the record overall and sounds mega through a good set of headphones. Johnny Marr's unmistakable guitar playing works awesomely on this track, as does his harmonica work. The lyrics are top notch, Noel's voice sounds great and it is a brilliant tune from start to finish.
The last official track on the album is the title track, The Man Who Built the Moon. This song tells the story of a cowboy full of regrets, using all sorts of interesting metaphors it is definitely the most narrative track on the album. The tone of the song slightly reminds me of The Ballad Of The Mighty I, the closing track from Noel's last record. It is a great song and works fantastically as a way to end this record.
Lastly we have Wednesday - Part 2, which is simply a continuation of Wednesday - Part 1, not much else to say here really.
Finally, we have a bonus track called Dead In The Water. This was recorded live during a session Noel did on an Irish radio station while promoting his previous album. Noel apparently didn't even know he was being recorded at the time while he was singing, which I think makes this song even more special. Allegedly, David Holmes was reluctant to put this on the record, as he felt it was out of place with the rest of the songs on the record, but I am so glad that Noel convinced him otherwise. Noel's voice here, sounds pure and frankly astonishing and the lyrics are fantastic too. The tone sounds similar to Talk Tonight and it is definitely one of the album's best moments.
The one gripe I have about this album, is that while this is a fresh new direction for Noel, it's not a style that hasn't been done before by other bands and arguably been done better. The Gorillaz' records or any of the late Beatles albums serve as a good example of this. Then again, Noel is well known from 'borrowing,' song elements from other artists, so maybe this is as original as it gets for him and we should be grateful for that.
Regardless, as a long time Oasis, (and particularly Noel Gallagher,) fan, I am glad that Noel is doing something new. I am also glad that with both Gallagher brothers now producing music, we won't be getting two extremely similar sounding albums. This is exciting for Oasis fans and can maybe serve as a step forward for fans who are still stuck in the past, in finally getting over their favourite band breaking up - it only took 8 years.