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Power in the Darkness by Tom Robinson Band
Power in the Darkness by Tom Robinson Band
1978 | Pop, Rock
7.0 (1 Ratings)
Album Favorite

"""This one is like the mystery house on Escape to the Country, it’s a curveball. The point I wanted to make with ‘2-4-6-8 Motorway’ is that it’s not one of my favourite songs, the point is it’s always been there but I only really discovered it and fell in love with it in the last couple of weeks. That’s one of the most exciting and inspiring things about making music, discovering songs that have existed your whole life, even though you may have only been semi-aware of them. “I’ve always found it much easier to place my faith in songs that have existed my whole life than a new band or a new artist, you know what they are, you know they’re not going to let you down, they’re not going to do anything sexist or say anything racist or make a terrible second EP. “It’s also so exciting discovering things, I love all those reissue labels like Light in the Attic and finding these treasure troves of records and artists that have been there your whole life, like ‘How has this existed my entire time on earth and I’ve never stumbled upon it?’ ‘2-4-6-8 Motorway’ is a stone cold classic, it’s very British, it’s a big song."""

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Chariots of Fire (1981)
Chariots of Fire (1981)
1981 | Drama, International, Sport
Yep - just as overly-mannered, anticlimactic, awards bait-y, and loooonnngggg as everyone says. However, also like everyone says, there's no denying that righteous Vangelis score and drop-dead gorgeous shots (in particular the sumptuous locales, but even the grandiose interior shots here remind you just how much can actually be captured on a camera lens). But honestly? You could do *way* worse in terms of Oscar bait (or even wrongful Best Picture winners). I thought this was mostly fine right up until - ironically - the Olympics happen where it then proceeds to fall apart narratively, structurally, and thematically. This features some fairly compelling notes on antisemitism, faith, and patriotism but they all only get mentioned like once or twice before taking a backseat to the rather sterile and predictable running stuff - which is shot competently but uninvolving, if you're going to underwrite most of the other stuff then you at least gotta have that, boss. Also noticeably misogynistic - setting up the paper-thin women characters as sticks-in-the-mud who have to be condescendingly explained to like infants why they should just shut up and realize that what these rich, spoiled asshole men want is more important than what they want. Plus everyone in this runs like they have to take a massive shit.