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Wait for Me by Moby
Wait for Me by Moby
2009 | Rock
(0 Ratings)
Album Favorite

"This song was on my computer, by a mistake I think, and on our family computer. We had a computer much later on - before computers were normal to have in every house - and we didn’t have a radio or MTV when I was growing up. “I didn’t discover music when I was a kid and I still don’t really, because I don’t have many music platforms on my phone, but ‘A Seated Night’ was randomly downloaded through LimeWire onto our computer and it was the first song that I discovered through technology. “I really love Moby, although I haven’t dived deep into him yet. I love the choir and I think that’s why I fell in love with this song, it’s just so nice. I love arranging myself into a choir and I’ve used a real choir for my music, a gay choir from Norway called Faggots. They’re really good, they just sing like real people and are really talented, more than I ever knew before I was working with them. “They’re on “It Happened Quiet” and “Churchyard” and they’re also on my new record, where you can hear them quite promptly. They’re gorgeous. Ever since I heard this song, it had always been my dream to have a choir on my record.”"

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Untraceable (2008)
Untraceable (2008)
2008 | Drama, Horror, Mystery
𝘜𝘯𝘸𝘢𝘵𝘤𝘩𝘢𝘣𝘭𝘦. Wants to be a 𝘚𝘪𝘭𝘦𝘯𝘤𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘓𝘢𝘮𝘣𝘴 x Saw hybrid, ends up being 𝘍𝘦𝘢𝘳𝘋𝘰𝘵𝘊𝘰𝘮 with most of the fun stuff subtracted, and if it were a piece of tacky CBS cybercrime dross. There's some real heat to the torture porn here but it's undercut by the fact that they consciously choose to rarely show it at all and overedit it to hell and back when they do (both fronts offended even worse than 𝘏𝘰𝘴𝘵𝘦𝘭: 𝘗𝘢𝘳𝘵 𝘐𝘐) - instead opting to be a rote procedural where everyone dumps heavy bouts of cheesy exposition about things that it's clear no one actually knows what they're talking about, until its final moments where it takes a dumbass pivot where it decides to be a preachy, hypocritical, defanged commentary about technology which is about as non-knowledgeable as your average "Black Mirror" episode. Diane Lane gives it an honest try but it saves absolutely nothing from this lifeless white noise. One of the only positives is that it's unpredictable, but only in the sense that there's nothing to predict. At least it's one of the precious few of these things to make realistic online comments - and Lane very seriously repeats the full acronym for 'rofl' during a live snuff film. Still sucks though.
  
S1m0ne (2002)
S1m0ne (2002)
2002 | Drama, Sci-Fi
The trifecta of flatness: a comedy with next to no laughs, a satire with no bite, and a drama without sufficient emotion. Yet another technophobic dud that fires on zero cylinders and has nothing to say - try to picture if 𝘏𝘦𝘳 was one of the (many) shittier "Black Mirror" episodes. Besides Rachel Roberts' perfectly realized, fittingly mysterious performance (which, of course, is underused) nothing else shines through here - has zero depth beyond a few performative quips and has that rush-through-everything-of-any-importance pacing + structure that I detest. Here we have what could have been a poignantly interesting film about a disenchanted director whose only authentic relationship is with a synthetic A.I. as well as a boiling satire about the state of celebrity, the objectification of women in entertainment, technology, etc. But instead we're left with such a rote, surface-level, come-and-go boilerplate narrative about this thinly-written 'failed director' trope having to hide an obviously fake woman from every idiot on the planet. Skimps out on where it counts, the brief spoof arthouse movies in these are more intelligent and watchable than the actual movie - which ironically feels as insincere and fakey as its central character. Also I miss Jay Mohr.
  
District 9 (2009)
District 9 (2009)
2009 | Action, Sci-Fi, Thriller
Not thought-provoking or challenging in the slightest, but as always my boy Sharlto Copley saves this from mediocrity (he single-handedly doubled my rating for it). I'll happily stand alone in being glad this went for loud, beastly body horror over the broad, half-finished, overly obvious metaphor that it introduces but refuses to interrogate in favor of conventional genre trappings at the end. But thank LORD this doesn't get preachy about how an innocuous use of technology is the death of society or some bullshit, like these realist-dingy-future films usually tend to do. Super messy (not only can it not decide when to use its gimmick nor what its purpose is, but why even film half this stuff?), hard to find a shot that lasts longer than five seconds and overall it's pretty polluted both visually and audibly for this to make much sense (the editing... hoo boy). That being said, this is totally lovingly grisly and it ends with an extended segment of Copley in an alien mech ripping random government dudes to shreds and chunks of bloody human meat. Also design-wise - as tends to be the case with Blomkamp - it's a knockout... when we can actually see it.