All Reviews A-Z

Here is a thing which I will plan to update each time I add a new review. This should make it easy for anyone who is sufficiently depraved enough to enjoy what I write and craves more. There isn’t a huge amount yet, but I do have a tonne of reviews written years ago for IMDB which I haven’t posted here yet, along with all my other Album reviews for Amazon. This list will grow. For now, click on anything you like!

Movie Reviews

11/22/63 – Bridget Carpenter

2001 Maniacs – Tim Sullivan

300: Rise Of An Empire – Noam Murro

A Dark Song – Liam Gavin

A Girl Walks Home Alone At Night – Ana Lily Amirpour

A Quiet Place – John Krasinski

A Hard Day – Kim Seong Hun

A Mighty Wind – Christopher Guest

A Nightmare On Elm Street – Wes Craven

A Tale Of Two Sisters – Kim Ji Woon

Aftermath – Elliott Lester

After The Silence – Fred Gerber

Airwolf – Donald Bellisario

Akira – Katsuhiro Otomo

Alan Partridge: Alpha Papa – Declan Lowney

Alien – Ridley Scott

Aliens – James Cameron

Alien 3 – David Fincher

Annihilation – Alex Garland

Arachnophobia – Frank Marshall

Assault On Precinct 13 – John Carpenter

Attack Of The Adult Babies – Dominic Brunt

August Rush – Kirsten Sheridan

AWOL – Sheldon Lettich

Bad Lieutenant – Abel Ferrara

Bait – Kimble Rendall

Bangkok Dangerous – The Pang Brothers

Baskin – Can Evrenol

Battle Royale – Kinji Fukasaku

Beavis And Butthead – Mike Judge

Beetlejuice – Tim Burton

Bedevilled – Jang Cheol-soo

Benny And Joon – Jeremiah S Chechik

Big Driver – Mikael Salomon

Big Trouble In Little China – John Carpenter

Bill And Ted’s Bogus Journey – Peter Hewitt

Bill And Ted’s Excellent Adventure – Stephen Herek

Birdy – Alan Parker

Black Coal, Thin Ice – Diao Yinan

Blair Witch – Adam Wingard

Blood Father – Jean Francois Richet

Bloodsport – Newt Arnold

Bodyguards And Assassins – Teddy Chan

Body Shots – Michael Christofer

Body Snatchers – Abel Ferrara

Bordello Of Blood – Gilbert Adler

Braindead – Peter Jackson

Brooklyn Rules – Michael Corrente

Brother – Takeshi Kitano

Bruiser – George A Romero

Cam – Daneil Goldhaber

Cannibal – Manuel Martin Cuenca

Captain America: The First Avenger – Joe Johnston

Carne – Gaspar Noe

Cell – Tod Williams

Chasing Amy – Kevin Smith

Chasing Sleep – Michael Walker

Children Of The Corn – Fritz Kiersch

Cockneys Vs Zombies – Matthias Hoene

Come And See – Elem Kilmov

Commando – Mark L Lester

Conan The Barbarian – John Milius

Creepshow 2 – Michael Gornick

Cronos – Guillermo Del Toro

Cursed – Wes Craven

Cyborg – Albert Pyun

Dark City – Alex Proyas

Dark Tide – John Stockwell

Dawn Of The Dead – Zack Snyder

Day of The Dead – George A Romero

Daylight – Rob Cohen

Dead Of Night (1977) – Dan Curtis

Dead Snow – Tommy Wirkola

Death Sentence – James Wan

Death Wish 2 – Michael Winner

Demons – Lamberto Bava

Desperado – Robert Rodriguez

Dial M For Murder – Alfred Hitchcock

Die Another Day – Lee Tamahori

Dirty Pretty Things – Stephen Frears

Disturbia – D.J. Caruso

Dobermann – Jan Kounen

Dogma – Kevin Smith

Donnie Brasco – Mike Newell

Don’t Blink – Travis Oates

Don’t Tell Mom The Babysitter’s Dead – Stephen Herek

Double Impact – Sheldon Lettich

Dr No – Terence Young

Dream Warriors – Chuck Russell

Drug War – Johnie To

Dumb And Dumber – The Farrelly Bros

Dumplin‘ – Anne Fletcher

Eaten Alive – Tobe Hooper

El Mariachi – Robert Rodriguez

Escape From Sobibor – Jack Gold

Escape Plan – Mikael Hafstrom

Embodiment Of Evil – Jose Marins

Everyone’s Hero – Christopher Reeve, Colin Brady, Daniel St. Pierre

Evil Dead – Fede Alvarez

Excision – Richard Bates Jr

Extinction – Miguel Angel Vivas

Family For Christmas – Amanda Tapping

February – Oz Perkins

Final Destination – James Wong

Final Destination 2 – David R Ellis

First Blood – Ted Kotcheff

Fist Of Fury – Bruce Lee

For Your Eyes Only – John Glen

Freddy’s Dead – Rachel Talalay

Freddy’s Revenge – Jack Sholder

Freddy Vs Jason – Ronny Yu

Frenzy – Alfred Hitchcock

Frenzy – Jose Montesinos

Friend Request – Simon Verhoeven

From Russia With Love – Terence Young

Game of Death – Bruce Lee/Robert Clouse

Game Night – John Francis Daley/Jonathan Goldstein

Girls Against Boys – Austin Chick

God Bless America – Bobcat Goldthwaite

Goldeneye – Martin Campbell

Goldfinger – Guy Hamilton

Goodnight Mommy – Veronika Franz/Severin Fiala

Grave Encounters – The Vicious Brothers

Grave Encounters 2 – John Poliquin

Gravity – Alfonso Cuaron

Halloween – John Carpenter

Halloween 2 and 3 – Rick Rosenthal/Tommy Lee Wallace

Halloween 4 – Dwight H Little

Halloween 5 – Dominique Othenin Gerard

Hard-Boiled – John Woo

Hard Target – John Woo

Hansel And Gretal – Yim Phil-Sung

Heartbreakers – David Mirkin

Heli – Amat Escalante

Hellboy – Guillermo Del Toro

Hellions – Bruce Macdonald

Home Alone – Chris Columbus

Honor And Glory – Godfrey Ho

Horrible Bosses – Seth Gordon

Ichi – Fumihiko Sori

Ichi The Killer – Takashi Miike

Inoperable – Christopher Laurence Chapman

Into The Mirror – Kim Sung Ho

I Really Hate My Job – Oliver Parker

It Comes At Night – Trey Edward Shults

It’s All About Love – Thomas Vinterberg

Jaws – Steven Spielberg

Jaws 2 – Jeannot Szwarc

Jaws 3 – Joe Alvez

Jaws 4 – Joseph Sargent

John Wick – Chad Stahelski/David Leitch

Jurassic Park – Steven Spielberg

Ju-On Black Ghost – Mari Asato

Ju-On White Ghost – Ryuta Miyake

Kickboxer – Mark DiSalle/David Worth

Kids – Larry Clark

Kill Bill Vol 1 – Quentin Tarantino

King Kong – Merian C Cooper/Ernest B Schoedsack

Kingdom Of Heaven – Ridley Scott

Knock Knock – Eli Roth

Lady Bird – Greta Gerwig

Leatherface – Maury & Bustillo

Leon – Luc Besson

Lifeboat – Alfred Hitchcock

Last Action Hero – John McTiernan

Live And Let Die – Guy Hamilton

Loaded – Alan Pao

Lost Highway – David Lynch

Love On Safari – Leif Bristow

Macbeth – Orson Welles

Manuscripts Don’t Burn – Mohammed Rousalof

Megan Is Missing – Michael Goi

Milius – Joey Figuero

Mother’s Day – Darren Lynn Bousman

Mouth To Mouth – Alison Murray

Mr And Mrs Smith – Alfred Hitchcock

My Soul To Take – Wes Craven

Never Sleep Again – Daniel Farrands/Andrew Kach

Night Of The Demons – Kevin S Tenney

Night Of The Living Dead – George A Romero

Nowhere To Run – Robert Harmon

On The Road – Walter Salles

Origin: Spirits Of The Past – Keichi Sugiyama

Outrage – Takeshi Kitano

Out Of The Furnace – Scott Cooper

P2 – Frank Khalfoun

Pandorum – Christian Alvart

Peacock – Michael Lander

Perdita Durango – Alex de la Iglesia

Perlasca – Alberto Negrin

Pieta – Kim Ki Duk

Police Academy 1-7 – Various

Pontypool – Bruce McDonald

Predator 2 – Stephen Hopkins

Priceless – Pierre Salvadori

Pride, Prejudice, And Mistletoe – Don McBrearty

Problem Child – Dennis Dugan

Project X – Nima Nourizadeh

Q: The Winged Serpent – Larry Cohen

Radius – Caroline Labreche/Steeve Leonard

Raw Deal – John Irvin

Rear Window – Alfred Hitchcock

Re:born – Yuji Shimomura

Red Heat – Walter Hill

Red Sonja – Richard Fleischer

Resident Evil – Paul WS Anderson

Resident Evil 2 – Alexander Witt

Return To Oz – Walter Murch

Rhapsody In August – Akira Kurosawa

Ring – Hideo Nakata

Ring 2 – Hideo Nakata

Ring 0 – Norio Tsuruta

Rings – F.Javier Gutierrez

Rogue – Greg McLean

Room – Lenny Abrahamson

Room 237 – Rodney Ascher

Rope – Alfred Hitchcock

Rosewood Lane – Victor Salva

Rubber – Quentin Dupeiux

Rust And Bone – Jacques Audiard

Sabotage – David Ayer

Sanctum – Alister Grierson

Scream – Wes Craven

Scream 2+ 3 – Wes Craven

Seeking A Friend For The End Of The World – Lorene Scafaria

Seul Contre Tous – Gaspar Noe

Seven Samurai – Akira Kurosawa

Shanghai Kiss – David Ren/Ken Kernwiser

Society – Brian Yuzna

Someone’s Watching Me – John Carpenter

Sophie Scholl – The Final Days – Marc Rothemond

Spiderman 2 – Sam Raimi

Staunton Hill – Cameron Romero

Still Walking – Hirokazu Koreeda

Street Trash – Jim Munro

Stripes – Ivan Reitman

Street Hawk – Virgil W Vogel

Suicide Club – Sion Sono

Sukiyaki Western Django – Takeshi Miike

Survive Style 5 + – Gen Sekiguchi

Tag – Sion Sono

Tears Of The Sun – Antoine Fuqua

Ted – Seth MacFarlane

The 39 Steps – Alfred Hitchcock

The Art Of War – Christian Deguay

Thelma And Louise – Ridley Scott

The Birds – Alfred Hitchcock

The Blair Witch Project – Daniel Myrick, Eduardo Sanchez

The Boss Of It All – Lars Von Trier

The Craft – Andrew Fleming

The Crow – Alex Proyas

The Detective – Oxide Pang

The Devil’s Rain – Robert Fuest

The Divide – Xavier Gens

The Driver – Walter Hill

The Empress And The Warriors – Ching Siu Tung

The Evil Dead – Sam Raimi

The Evil Dead 2 – Sam Raimi

The Fifth Element – Luc Besson

The First Men In The Moon – Nathan Juran

The Forest Of Love – Sion Sono

The Ghost And The Darkness – Stephen Hopkins

The Gate – Tibor Takacs

The Gift – Joel Edgerton

The Girl With All The Gifts – Colm McCarthy

The Girl Who Leapt Through Time – Mamoru Hosoda

The Green Inferno – Eli Roth

The Grudge – Takashi Shimazu

The Guest – Adam Wingard

The Happiness Of The Katakuris – Takashi Miike

The Hitcher – Robert Harmon

The House Of The Devil – Ti West

The Idiots – Lars Von Trier

The Innkeepers – Ti West

The Isle – Kim Ki Duk

The Kings Of Summer – Jordan Vogt Roberts

The Last Boy Scout – Tony Scott

The Last Exorcism – Daniel Stamm

The Last Exorcism 2 – Ed Gass-Donnelly

The Last House On The Left – Wes Craven

The Lifeguard – Liz W Garcia

The Man From Earth – Richard Schenkman

The Man Who Knew Too Much – Alfred Hitchcock

The Mannsfield 12 – Craig Ross Jr

The Night Eats The World – Dominique Rocher

The Pact – Nicholas McCarthy

The Perfection – Richard Shepard

The Red Squirrel – Julio Medem

The Sand – Isaac Gabaeff

The Secret Life Of Pets – Chris Renaud

The Storm Warriors – The Pang Brothers

The Stranger – Robert Lieberman

The Stuff – Larry Cohen

The Tortured – Robert Lieberman

The Visit – M Night Shyamalan

The Wailing – Na Hong-jin

The Wisdom Of Crocodiles – Po Chih Leong

The Witch – Robert Eggers

The Windmill Massacre – Nick Jongerius

Train To Busan – Yeon Sang-ho

Triangle – Hark Tsui/Ringo Lam

Trilogy Of Terror – Dan Curtis

Troy: The Odyssey – Tekin Girgin

Twins – Ivan Reitman

Unbreakable – M Night Shyamalan

Universal Soldier – Roland Emmerich

USS Indianapolis – Mario Van Peebles

V/H/S – Various

V/H/S 2 – Various

Visitor Q – Takashi Miike

Wake In Fright – Ted Kotcheff

Wake Wood – David Keating

Way Of The Dragon – Bruce Lee

We Are What We Are – Jim Mickle

We Are Still Here – Ted Geoghagen

Wes Craven’s New Nightmare – Wes Craven

Winter Soldier – Winterfilm Collective

Wolfcop – Lowell Dean

Yellowbrickroad – Jessie Holland/Andy Mitton

You Were Never Really Here – Lynne Ramsey

Zombie Creeping Flesh – Bruno Mattei

Zombieland – Ruben Fleischer

TV Reviews

Are You Afraid Of The Dark

Back To School At 35

Breaking Bad

Friends

Game Of Thrones

Gladiators

Neighbours

Saved By The Bell

Strike It Lucky

The League Of Gentlemen

The Walking Dead

Wolf Creek

Wreslemania 34

Music Reviews

11 – Bryan Adams

18 Till I Die – Bryan Adams

3 Feet High And Rising – De La Soul

7800 Farenheit – Bon Jovi

A Hard Day’s Night – The Beatles

A Love Supreme – John Coltrane

A Night At The Opera – Queen

Abbey Road – The Beatles

Accessories – The Gathering

Aftermath – The Rolling Stones

Afterwords – The Gathering

Air – Agua De Annique

Aladdin Sane – David Bowie

Alice In Wonderland – Disney

American Life – Madonna

Atomic Jones – Tom Jones

Beaucoup Of Blues – Ringo Starr

Bedtime Stories – Madonna

Black Tie White Noise – David Bowie

Blaze Of Glory – Bon Jovi

Blood, Sweat, And Tears – Blood, Sweat, and Tears

Blue – Joni Mitchell

Blur – Blur

Bookends – Simon & Garfunkel

Bounce – Bon Jovi

Brave (Part One) – Marillion

Brave (Part Two) – Marillion

Bryan Adams – Bryan Adams

Burning Bridges – Bon Jovi

Cinderella – Disney

Closer – Joy Division

Clutching At Straws (2) – Marillion

Clutching At Straws (1) – Marillion

Conan The Barbarian Soundtrack – Basil Poledouris

Conan The Destroyer Soundtrack – Basil Poledouris

Confessions On The Dancefloor – Madonna

Crash! Boom! Bang! – Roxette

Crush – Bon Jovi

Destination Anywhere – Bon Jovi

Diamond Dogs – David Bowie

Disclosure – The Gathering

Dumb And Dumber Soundtrack – Various

Entroducing – DJ Shadow

Erotica – Madonna

Evita – Madonna

Five O’Clock World – The Vogues

For Sale – The Beatles

Fugazi (1) – Marillion

Fugazi (2) – Marillion

Fulfillingness’ First Finale – Stevie Wonder

Fun And Fancy Free – Disney

Get Up – Bryan Adams

Hangman’s Beautiful Daughter – Incredible String Band

Hard Candy – Madonna

Harvest Moon – Neil Young

Have A Nice Day – Bon Jovi

Have A Nice Day – Roxette

Heaven Or Las Vegas – Cocteau Twins

Head On – Samson

Help! – The Beatles

Heroes” – David Bowie

Hey Stoopid – Alice Cooper

High Roller – Urchin

Home – The Gathering

Holidays In Eden (1) – Marillion

Holidays In Eden (2) – Marillion

How To Measure A Planet? – The Gathering

Hunky Dory – David Bowie

I’m Breathless – Madonna

Into The Fair – Bryan Adams

Jagged Little Pill – Alanis Morissette

Joyride – Roxette

Just Like Us – Paul Revere And The Raiders

Keep The Faith – Bon jovi

Ladies Of The Canyon – Joni Mitchell

Lazer Guided Melodies – Spiritualized

Let It Be – The Beatles

Lets Dance – David Bowie

Life’s Rich Pageant – REM

Like A Prayer – Madonna

Like A Virgin – Madonna

Little Deuce Coupe – The Beach Boys

Lodger – David Bowie

Look Sharp – Roxette

Lost Highway – Bon Jovi

Low – David Bowie

Madonna – Madonna

Magical Mystery Tour – The Beatles

Mandylion – The Gathering

Manic Street Preachers Live In Belfast – Manic Street Preachers

McCartney – Paul McCartney

Melody Time – Disney

Miles Of Aisles – Joni Mitchell

Misplaced Childhood (1) – Marillion

Misplaced Childhood (2) – Marillion

Music! – Madonna

My Fair Lady Soundtrack – Various

Never Let Me Down – David Bowie

New Jersey – Bon Jovi

Nighttime Birds – The Gathering

Night On My Side – Gemma Hayes

On A Day Like Today – Bryan Adams

Out Of Our Heads – The Rolling Stones

Our Favourite Shop – The Style Council

Pearls Of Passion – Roxette

Please Please Me – The Beatles

Pin Ups – David Bowie

Pretender – Jackson Browne

Pure Air – Agua De Annique

Ray Of Light – Madonna

Restless And Wild – Accept

Revolver – The Beatles

Rolling Stones – The Rolling Stones

Rolling Stones 2 – The Rolling Stones

Room Service – Roxette

Room Service – Bryan Adams

Rubber Soul – The Beatles

Saludos Amigos – Disney

Savage – Eurythmics

Scary Monsters – David Bowie

Script For A Jester’s Tear (1) – Marillion

Script For A Jester’s Tear (2) – Marillion

Seasons End (2) – Marillion

Seasons End (1) – Marillion

Second Coming – The Stone Roses

Sentimental Journey – Ringo Starr

Sgt Pepper’s Lonely Hearts Club Band – The Beatles

Shut Down Vol 2: The Beach Boys

Sleepy Buildings – The Gathering

Slippery When Wet – Bon Jovi

Song To A Seagull – Joni Mitchell

Souvenirs – The Gathering

Space Oddity – David Bowie

Speaking In Tongues – Talking Heads

Spirit – Bryan Adams

Station To Station – David Bowie

Surfer Girl – The Beach Boys

Surfin Safari – The Beach Boys

Surfin USA – The Beach Boys

Tattooed Millionaire – Bruce Dickinson

The Adventures Of Ichabod & Mr Toad – Disney

The Buddha Of Suburbia – David Bowie

The Circle – Bon Jovi

These Days – Bon Jovi

The Man Who Sold The World – David Bowie

The Marshall Mathers LP – Eminem

The Rise And Fall Of Ziggy Stardust – David Bowie

The Roads Don’t Love You – Gemma Hayes

The West Pole – The Gathering

The White Album – The Beatles

Tin Machine – David Bowie/Tin Machine

Tonight – David Bowie

Tori Amos Live In Belfast – Tori Amos

Transformer – Lou Reed

Tracy Chapman – Tracy Chapman

True Blue – Madonna

Urban Hymns – The Verve

Van Halen – Van Halen

Waking Up The Neighbours – Bryan Adams

With The Beatles – The Beatles

What About Now – Bon Jovi

What’s Going On – Marvin Gaye

Wonderwall Music – George Harrison

Yellow Submarine – The Beatles

YHLQMDLG – Bad Bunny

You Want It You Got It – Bryan Adams

Young Americans – David Bowie

Youth Novels – Lykke Li

Book Reviews

1000 Zombies – Alex Cox

Atmospheric Disturbances – Rivka Galchen

Catching Fire – Suzanne Collins

Dinosaurs – Navigators

Fang Of The Vampire – Scream Street

Japan Day By Day – Frommers

London 2008 – Time Out

London Free And Dirt Cheap – Frommers

Paris 2009 – Time Out

Play With Colours – The Happets

The Art Of Racing In The Rain – Garth Stein

The Devouring – Simon Holt

The Gargoyle – Andrew Davidson

The Hunger Games – Suzanne Collins

The Invention Of Everything Else – Samantha Hunt

The Mayan Prophecies – Gerald Benedict

The Maze Runner – James Dashner

Undead – Kirsty Mckay

Woodstock – Get Rekt!

Rekt PNG Images, Free Transparent Rekt Download - KindPNG

Yeet! People still say that, right? Right, that’s the intro done, today I’m removing as much bias as I can as I review my tenth favourite movie of 1970. Which movie is that? Woodstock! It’s a comprehensive, some may say exhaustive, documentary on the music festival of the same name. A landmark moment in music, and in 20th Century US history, it’s probably the most famous gig of all time. While there are plenty of artists who were huge at the time, or who are favourites of mine who couldn’t or didn’t make the show, it’s nevertheless a fascinating time capsule. Lets see how it scores.

Sales: 4I can see some viewers going five on this – honestly that’s fine. I don’t think anything less than four would be fair given the fact that it’s a documentary (not a genre that makes money usually), and that it made over 50 million from a less than 1 million budget. Possibly, people who go three may say that for such an important movie it should have made even more money.

Chart: 4: The film was a slow burner, given it was only in selected theaters but due to crowds trying to pack in to the limited showings, it eventually spread. Chart details are limited though – this is a tough category to be accurate in without the data.

Critical Consensus5: The film received rave reviews at the time, and that positivity hasn’t died down over the decades. It’s frequently called out as one of, if not the greatest documentaries ever. It was nominated for two Oscars, winning Best Documentary.

Director4: Directing can come down to personal style, but for me Wadleigh does enough to make the film feel, look, and sound as if you are there. You’d be hard pushed for me to accept anything less than a 3 here unless you feel like The Director simply had to capture the footage and stick it all together. Of course it wasn’t as simple as that – the mixture of crowd shots from deep within, of the stage from backstage and front row, of the buildup, the swooping aerials, it all serves as the template of music documentary film-making.

Performances: 3As this is a Documentary, feel free to switch this category out for something else. Otherwise you need an average here – 2 or 3. Or, you could simply go with the actual musical performances. I’m going for an average 3.

Music: 4As with any Music Festival, the music is going to be hit and miss for most people. For me, the high moments are epic and the lesser songs and artists still work if only for a single watch. There’s no doubting there are some of the most important performers of the 20th Century, at times giving their most iconic performances.

Cinematography: 3There’s only so much that can be done in this category giving the time and place and format, but it’s as good as you would expect. 3 or 4 seems to be the natural selection.

Writing: 2Another one you can switch out for something else – your standard documentary’s ‘Writing’ may be the incisive questions asked by the film-maker. Here again, it’s all about watching the musicians and fans. Of course, there are snippets with locals, fans, etc, but I think I’m going with a 2 average here which, when calculated with the previous average 3, will give a true average of 2.5 for both – yay!

Wardrobe: 3Damn it! It’s another average. It’s 1970, and a bunch of hippies. If you really love that sort of thing, by all means go five. If you hate that sort of thing, give it a 1 – though I’d question why you’re watching the film in the first place. Swap this one out if you want, but I’ll go with an average 3.

Editing: 4Much of the power and impact of the film comes from the editing. It’s a 4 or a 5 for me here. It does jump around a little too much for me at times which, while mimics the realism and madness of a live show, can make it difficult when you just want to appreciate the performance.

Make up and Hair: 2I may have detected a flaw in this scoring system where it comes to documentaries. Don’t worry, there’s hardly any documentaries in my Top Ten lists – in fact this may be the only one – so lets just go average here and say no more. Possibly you should cut this down to 1o categories each with a score out of 10.

Effects: 3Same again, average 3.

Art and Set: 2And once more, average 2.

Sound: 4: It sounds phenomenal, especially recent versions. The team don’t scrimp on the crowd noise so you really get a feel for the intensity and energy sweeping through the farm, as well as the music itself.

Cultural Significance: 5I can’t approve lower than a 4 here. The key question may be, do you consider the actual event’s significance, or the film’s release? Obviously the even was hugely significant, but I feel like that significance would have dwindled over time – remember, this is 50 years ago now (!) and this documents the event in a pure and cinematic way which serves to keep it fresh. The film has been mentioned in media several times since, and of course it’s difficult to imagine musical documentary films after which weren’t influenced.

Accomplishment: 5The purpose of the film was to document the event for those who were there, and those who weren’t – the music, the fans, the look, the sound, the day and the night. I think it succeeds.

Stunts3: Average 3.

Originality: 3I don’t think music festivals or documentaries on them were anything new at this point, but it certainly set a precedent. I can’t say it does much in an overly original way – it’s more the style and the verite approach (again which others had done in recent years) which helps it feel less static.

Miscellaneous: 5: I’m going to give a 5 here, mainly to counter the average scores I was forced to give elsewhere. I could say that some of the additional footage which has come to light over the years only serves to increase the mythology and potency of the event.

Personal: 4While I love the film and the event, I’m not going to give it a perfect 5. It does feel more like one of those one-off experiences I don’t need to see again, and I’d tend towards simply picking and choosing the songs I like and listening to the audio rather than watching the whole thing again. Then again, when the mood takes me I’ll watch some excerpts.

Total: 72/100

72 Seems like a reasonable score given how I feel about the movie. That’s maybe low B, high C material depending on how you grade. It does feel like it edges further towards ‘important for what it is’ and away from ‘entertaining for what it is’, if that makes a difference to you as a viewer. It’s definitely not something I watch regularly, but it is definitely more important than many of the movies I do watch regularly. And yet, it does entertain very well. Maybe if there were more of the artists I cared about I would increase my personal 4 to a 5. In any case, it’s still in my favourite ten movies of 1970 – what more do you want from me? GET REKT!

Let me know in the comments how you feel about Woodstock? Were you there? Were you conceived there? Are you still there? Share!

Best Visual Effects – 1981

Official Nominations: Raiders Of The Lost Ark. Dragonslayer.

Just the two nominees this year, and a clear win for Raiders. It’s not so much the fact that Raiders was innovative, moreso that it does so much. Similar to Star Wars, it was a stepping stone towards the big budget special effects bonanzas to come, but crucially it uses its effects as a tool to serve the story, world, and characters. The closing moments of the Ark being opened and the Nazis being melted down to creamy goo, was one of the defining movie moments in my young life and one which encouraged me to seek out further gore effects while also gaining an appreciation for the craft. Dragonslayer meanwhile reunited much of the Star Wars team – the ILM guys using the film to show off their talents outside of the Lucasfilm world. Featuring more than the admittedly wonderful dragon effects, it’s the more innovative movie from an Effects perspective, and is deserving of the win too. In terms of its influence on me, and wider pop culture though, I have to go with Raiders.

My Winner: Raiders Of The Lost Ark.

Watch 'Raiders of the Lost Ark' Face Melt Scene in ULTRA Slow Motion - Bloody Disgusting

My Nominations: Dragonslayer. Raiders Of The Lost Ark. American Pop. An American Werewolf In London. Clash Of The Titans. Escape From New York. The Evil Dead. The Howling. Possession. Scanners. Time Bandits. Wolfen.

Baski continues his innovative techniques and desire to push the boundaries of what anAnimated Feature could be with American Pop, investing in both the emerging computer graphics techniques but also most noticeably in Rotoscoping to give the film its unique look. We all know American Werewolf In London is the winner for Make-up this year, and arguably it should not be nominated here. The film is a feast for the eyes, and it’s not simply the Make-up effects which make that possible, but the practical Visual Effects which make the action and chase scenes so impactful, not to mention the all time classic transformation scene. It’s one of the most influential movies of all time in terms of changing the mainstream’s perception of practical effects empowering storytelling.

Clash Of The Titans is one of the most important movies in my personal movie journey, opening my eyes to the ability of artists to bring impossible things to life and translating stories from dusty tomes into mass-market big screen thrills. Your average viewer now will likely view it all as hokey, but the effects were a revelation to me as a kid, before Jurassic Park came along, and they’re still incredibly impressive based on the tools available at the time. Escape From New York would set out the template for Blade Runner (which would improve in every feasible way), crafting a dank and neon drenched futurescape, while The Evil Dead is a barmy, off the wall masterpiece of visual creativity from the gore effects, to the colour palette, lighting, and the way the camera behaves. It’s another startling triumph in a year in which everyone seemed to take several giant leaps forward.

The Howling is the second big Werewolf movie of the year  and is the more serious horror movie while also having some stellar effects. Just not as strong in most respects that An American Werewolf In London. Wolfen distances itself from Horror and instead plays like a cop drama which just happens to feature a furry shapeshifter. Underseen compared with the other two, it’s worth a look if only for its cast and the thermo/heat tracking technique used to show the predatory stalking of the wolf. Possession is notorious for its stressful production, its manic tone, and its exciting effects – an interesting film but one which will ultimately frustrate. Time Bandits is another treat for the eyes, using a dizzying array of expertise to bring a visually difficult script to screen, while Scanners will forever be known for one thing – arguably the greatest head explosion put on screen. It’s wonderful – the film is so much more than one effect and that one scene, but that’s what it’ll be remembered for.

My Winner: An American Werewolf In London.

Let us know your winner in the comments!

Village Of The Damned – Get Rekt!

Rekt PNG Images, Free Transparent Rekt Download - KindPNG

Welcome back to another tantalizing edition of Get Rekt – the show all your friends are talking about! Today, I’m going to score my 10th favourite movie of 1960, the chilling horror classic Village Of The Damned! Adapted only a few years after John Wyndham’s novel, the excellently named Wolf Rilla introduced us to creepy kids and mind-walls. It’s my favourite screen version of the story, but I’ve always felt it could be updated with more potency.

Sales3: The film made a profit – not a tidy profit, but a profit nonetheless. I’m sure it has made more money over the years with video and DVD sales, but it wouldn’t be classed as any more than a cult hit from a financial perspective.

Chart: 3: Similar to the category above, the film performed well enough for a low budget film wherever it was released.

Critical Consensus5: By and large the film has been positively received since release. There have been sequels and remakes but this remains the definitive version. Nowadays it may not be as effective for modern audiences because so much time has passed – but show this to a younger audience today and it still works. New critics coming to the movie with fresh eyes tend to lavish plenty of praise upon it.

Director4: I’m tempted to just give high marks for Wolf Rilla’s name. Rilla’s background in Television perhaps adds to the low-fi documentary style approach, which in turns aids the murky, stroll through a graveyard at night aura, and his decision to make the film more grounded in English culture certainly helps add a touch of realism. Often mistaken for a Hammer production, it does have certain connotations with that School, but takes a less grandiose approach to its scares. It’s short, effective, punchy, and with enough paranoia and subtext for critics to break it down and analysis.

Performances4: An admirable British cast of lesser known familiar faces serve their purpose – from paranoid husbands to increasingly terrified mothers, and of course a range of creepy kids. Some of the performances seem a little hokey now but I enjoy the majority of the cast.

Music3: Ron Goodwin’s most famous works are of course for his War films, but the score for Village Of The Damned is suitably incessant and mysterious. It’s reminiscent to me of the music used in the original Twilight Zone series – sudden swells of strings, wavering bell and key sounds, and throbbing brass.

Cinematography4: While there isn’t anything obviously impressive going on, again its the holistic approach to the filming – the pastoral countryside and idyllic spaces becoming blocked up in the minds of the inhabitants, the suggestion of a perfect world hiding monsters in plain sight. The opening and closing sequences are the highlights – the sudden collapse of a village without explanation, and an explosion putting to bed the niceties of the 50s as the world topples into a new uncertain future.

Writing3: The dialogue serves the narrative but there’s precious little memorable dialogue here, and there are some concessions made for US audiences which takes the British viewer out of the story momentarily – language which wouldn’t be used in an English town. It’s the overall idea and execution where the screenplay’s strength lies, but the majority of the credit must go to the original text.

Wardrobe4: It’s all authentic, and the vision of the kids in their quaint, mature suits, when coupled with their hair and juxtaposed with the rural attire of their families which heightens their otherness.

Editing4: Gripping and effective, especially in the scenes of violence, action, and in the final encounter as David tried to break down his ‘father’s’ mental wall.

Make up and Hair4: Great work in these departments to make sure that the kids are some of the creepiest and most iconic ever seen on screen.

Effects4: From flashing eyes to crashing cars and explosions, there’s a fair amount of effects work for a small budget film which few expected to perform as well as it did. I could take a 3 on this, but I think the work is more than competent.

Art and Set3: Filmed in Studio but also on location, both give an accurate portrayal of quaint English life shaken by the big bad outside world.

Sound3: Nothing noteworthy.

Cultural Significance4: The film is maybe more well remembered now than the book. The film led to a sequel, a remake, a TV series, and any number of references in everything from The Simpsons to Silent Hill.

Accomplishment4: The film was made for chills and unnerving scares, and it succeeds. Again, it’s not as impactful now as it would have been then, but we can hardly discredit those involved for that.

Stunts3: The few main stunt sequences are handled well.

Originality4. The book was written in Sci-Fi’s modern Golden Age – the time of Nuclear and Alien fears, and both are discussed. The film is another straight enough adaptation and while it’s not the first movie with creepy kids or paranoia caused by creatures from outer space or Science gone rogue, it’s one of the most effective.

Miscellaneous: 3: Nothing much to add here – the trailer is standard for the time, and the posters are fun.

Personal5: I’ve always loved unnerving, atmospheric films where the main characters have zero clue what is happening. With this being one I saw many moons ago and having an impact, there’s a nostalgic bias on my behalf. Watching with well versed eyes it’s clear to see how potent and taut it remains given the constraints on budget and technology.

Total: 74/100

Kidz! Kidz!! This movie has scary kidz, fighting against authority! Why wouldn’t you want to watch it?!? Having seen the ‘low’ score which Les Enfants Terribles received, 74 seems accurate. It’s going to be difficult for any movie to get into the mid 80s I would say. Let us know in the commentz what your take on the movie is, and share your score breakdown! Get Rekt!

Best Stunt Work – 1981

My Nominations: The Cannonball Run. Escape From New York. For Your Eyes Only. The Road Warrior. Raiders Of The Lost Ark.

My favourite category to talk about, and we’re in my favourite era for stunts. Escape From New York is the lesser of these movies where stunts are concerned, mainly because the others are classics in this regard to the point of being iconic. A Bond movie is always going to be nominated in this category – For Your Eyes Only notable for its opening Helicopter chase, its epic ski/motorcycle chase, and its mountain climb finale. Raiders Of The Lost Ark has the most iconic moments – fist fights near swirling aircraft, sprinting from boulders, and its cliff-side truck chase are some of the most memorable action scenes of the decade. The Cannonball Run is rip-roaring nonsense with a great cast and is a who’s who of stunt performers having a blast in a variety of fast cars. I’ve never been a car guy outside of movies, but there’s something – dare I say – sexy, about the fetishized car and care chase on the big screen. It’s such a fun idea for a film – albeit limited – a bunch of car and race enthusiasts compete in an illegal cross country race, evading cops and using their unique skills and tactics to get ahead. The cars, cast, and stunts are the main draw, and the stunts remain the best thing about the movie. A remake is inevitable, but in all honesty I’d prefer a short TV show – each episode focusing on a particular State as the race heads from East to West across the US, showing off the locations and dealing with the backstories and motivations of each character.

As great as the stunts and action are in each of the above movies – there can only be one winner in this category. The Road Warrior is one of the greatest Stunt oriented movies of all time, and its finale has never been bettered, arguably not even by Fury Road. It’s a thrilling spectacle, and the highlight of a movie peppered with other memorable action set-pieces.

18 Things You Never Knew About 'The Road Warrior' | Moviefone

My Winner: The Road Warrior.

Let us know your winner in the comments!

Les Enfants Terribles – Get Rekt!

Rekt PNG Images, Free Transparent Rekt Download - KindPNG

Greetings, Glancers! Here we are with the start of the Get Rekt series – a catchy nomenclature which will undoubtedly appeal to the kidz and drive all that lovely 14 – 23 year based traffic to my site. Get Rekt!

Get Rekt is the new name for me using the Nightman Scoring System (c) to ‘review’ my favourite all time films. I wrote an introductory post about this a while back, and today I’m going to test it on my first victim – 1950’s  Les Enfants Terribles. Jean Coctau’s story which is suddenly more culturally relevant in these days of self and state imposed isolation, follows a brother and sister who grow up with little contact with the big bad world, and Jean Pierre Melville’s adaptation is fairly close to the source material. Strange incestuous games, obsession, suicide – this movie has it all, kidz! Put down that Roblox and suck on this slice of French crepe!

Sales: 3: The further back we go, and the further from Hollywood we get, the more difficult it is to pull data on factors such as budget and sales, especially with my half-assed approach. What’s clear is that the film was successful, but not in any major way, and certainly not in any meaningful worldwide scale. It wasn’t as successful as Melville’s previous film, but is certainly more well remembered today.

Chart3: I’m forced to go with a more or less average score for this category, as Charts were not as widely written about or discussed in 1950’s France as they would be today. We can draw basic conclusions.

Critical Consensus4: Cocteau’s novel was controversial decades earlier, even in the more liberal France and Melville’s film is no less shocking. Modern viewers may be surprised by the content, and critics nowadays continue to remark on this in both positive and negative lights. Only one facet of consensus, critics also pick up on the level of artistry on display and how the atmosphere often offers a more fantastical tone. It’s a film which has seen both a Criterion and BFI release – they don’t hand those out to just any old movie. It isn’t all positive though, with many commentating on the overbearing narration and flights into whimsy which don’t always sit well with the core relationships and emotional impact.

Director: 4: It’s undoubtedly one of Melville’s best, most well received films but it was fairly early in his career and he would hone and perfect his visual style later. Cocteau’s influence is certainly a significant percentage of the final product.

Performances3: While subjective, it’s generally easy enough to say if a performance is ‘good’ or ‘bad’, with all the gradients in between. It would be a stretch to suggest the cast are well known, especially today which may make comparisons difficult. Nicole Stephane, who stars as the sister, was nominated for a BAFTA for her performance. Her and Edouard Dermit drive the film and their relationship is suitably creepy – both with each other and those they interact with outside their bubble. Dermit isn’t the most physically convincing as someone under the thrall and threat of a bully. I could see people voting a 4 here, 5 seems reserved for fanboys while anything less than 3 would be disingenuous.

Music: 2: The musical score is not something oft remarked on upon viewings of the film. There are snippets of songs, usually delivered by the cast, and what other music there is is pulled from Classic Sources – Vivaldi and Bach. These may be familiar pieces to some. Melville does use the Score well in several places to heighten some of the more dreamlike and atmospheric sequences, but to me the content of the Score always felt like an afterthought. Perhaps a little harsh, I could go with a 3 here.

Cinematography: 3: How much of the film’s look is down to Melville versus Cocteau versus Decae is up for debate, but does it matter? It looks good, there are unusually positioned shots with the camera often peering down on the siblings. Having said that, the film as a whole leans towards not being as visually expressive as both writer and director are typically known to be, with concessions towards the static source material allowed. I’d be happy with a 4 here too.

Writing4: Writing for me is highly subjective – some lauded material and writing styles grate on my personal sensibilities, while others I am engaged by more deeply than what others may feel. I’m a sucker for quotable dialogue, especially those I can use with abandon in daily conversations. Quotation-wise, there isn’t much I can easily recall, but the strength of the writing comes from Cocteau’s original and its refusal to bend to conventions or play out in familiar terms. It’s a dark story no matter from which angle you begin to dissect, and while not obviously tragic, the comeuppance and resolution is hardly cheery. I’d happily go 3 if you are more deeply offended by some of the more dated language and the intrusive narration.

Wardrobe3: A difficult category to get full marks in, from me at least, given my lack of fucks given about clothing and fashion in general. Christian Dior worked on the costumes for the movie, and that is at least a name I recognise. To me the costumes are nothing more or less than what they need to be. Those swimming trunks tho…

Editing3: There are a few unusual sequences, but in terms of the ultra modern techniques which would come out of later New Wave films, this one isn’t as revelatory.

Make up and Hair3: Similar to wardrobe, make-up and hair only appear to me if they’re obvious. I’m not great with the physical stuff, sorry folks. Nothing outlandish or ground-breaking or untoward here.

Effects3: Can you criticize a film for not having many or any visual or special effects? That’s something to keep in mind. In those cases I think you have to go with a 3, otherwise replace the category with something else. That’s not to say Les Enfants Terribles is free from effects work – there are multiple expressive and interesting transitions.

Art and Set: 4: You can’t go wrong here, the eye of both Cocteau and Melville in prime form – from cramped bedrooms to chequered halls the characters seem alien among their surroundings and no matter where they find themselves there’s a sense of claustrophobia.

Sound: 3: Nothing revolutionary, the Sound mix is used to accentuate the atmosphere, but it’s not something immediately noticeable to me.

Cultural Significance: 3: This is a tricky one. In some respects I can see many going 4 with this, and just as many going 2. You only know what you know. The film was significant as a stepping stone for Melville and the French New Wave, which again would go on to influence much of what came out of Hollywood in the 70s. But what is the film directly responsible for, and do we still feel those ripples today? Is it a film still referenced? Not overtly I would argue, and I would also argue that the creators today using this as a reference point is dwindling. But it did have an impact and it was and still is a bold film which likely changed a lot of filmmaker’s opinions on what can be shown and thematically presented on screen.

Accomplishment3: It must have been daring to bring Cocteau’s novel to the screen. But what did the movie set out to accomplish – a mere visual translation of the text, or something more? I feel the goal was to be more striking than the novel, but the narration elements are a black mark against this goal, at least if we’re arguing from this perspective. Was the goal to shock? I don’t think so. To impart some of Cocteau’s wisdom and observations about youth, family, relationships upon us, via Melville’s lens? That feels closer to the mark. The observations are laid bare – make of them what you will.

Stunts3: There isn’t a lot to cover here – there’s a car crash, various fights and falls. These are well enough staged and shot, with consideration for the era. It’s hardly a movie about stunts and action though – what there is, is done adequately.

Originality4: It’s an adaptation of a novel, so it’s difficult to argue for top marks here. It doesn’t do enough differently from the text. Even if you ignore the original, this is still an often thematically bold film which treads waters not generally touched in mainstream Cinema. You do see similar relationships in subsequent films, but maybe it can all be more accurately tracked back to Les Liaisons Dangereuses. 

Miscellaneous: 3: I don’t have much to add in this category – again something which will plague the older films, so I go with the average score.

Personal: 4: You didn’t think I would be going with a 5 for all my films did you? The further back we go, the more difficult it is for me to find films I truly love – at least on the same scale as in later years. While there’s no doubting how much I like and appreciate this film… I can’t say I love it.

Total Score: 65/100

Come on, Kidz! Ask Mom and Dad to buy you this for your Birthday then pop on over here and let us know your thoughts. There’s no way I would have ever thought this would be rated by me as low as 65 out of 100, but there you go. If you’re playing along, feel free to break down the film as I have, and share your scores!

Nightman Listens To – Mike Oldfield – Tubular Bells (Top 1000 Series)!

Greeting’s Glancers! We all know this, right? Tubular Bells – one of the most famous pieces of music of the 20th Century, possibly one of the most recognisable instrumental works ever written. Iconic. And yet, most people, myself included, only know the pieces from The Exorcist. I think I’ve heard this album before – being a horror fan, I listen to the soundtracks of my favourite movies, but beyond the bits used in Friedkin’s classic I don’t really remember much about the music. It’s only two tracks though, so this should be a shorter post – huzzah!

What Do I Know About Mike Oldfield – An obscenely talented multi-instrumentalist and composer. Beyond Tubular Bells, he did that Christmas song everyone loves.

What Do I Know About Tubular Bells – Famous for appearing in The Exorcist, and famous for being one of the few pieces of 20th Century instrumental music to have a wider cultural impact and success. I believe Mike wrote, played, and recorded the whole thing himself.

Tubular Bells Part 1: This is the piece that everyone knows. While the central motif (love it starts on the off note) runs throughout the whole piece in some form, it’s really the opening 2-3 minutes which people recognise as The Exorcist music. Afterwards, the accompaniment shifts to guitar and woodwind, often drifting into beautiful and poignant fantasy/folk sections which sound like they would fit more in an Animated fairy tale than the most famous Horror movie ever made. Each transition feels natural and gives a sense of endless progress – the bass charged, scratchy guitar led section is almost Metal, this is followed by a spacey, throbbing manic phase, and on to more introspective clanging, organ-based sections. The layering is extraordinary, with new instruments fading in to take up barely a supporting role before expanding to being the lead, motifs revolving around, fading, and returning; the patience and thought and focus it must have taken for one person to build this is impressive to say the least. There’s even a touch of the Morricone in places – you can hear snippets of influence in many moments, but above all this is a maddeningly confident solo extraordinaire. You can slice this up a hundred ways, and each piece will be captivating. I could do without the spoken pieces telling us what the upcoming instrument is.

Tubular Bells Part 2: The second half of the album is tonally very similar to the first – multi-instrumental, loose yet tight, with seamless transitions and a wealth of information. While the first half ended with some slight vocalisations, this half begins with the same. It’s a guitar heavy opening, reminiscent of the folk meanderings of something like The Wicker Man. It’s another piece to be swept away be or get lost in. There’s a section in the middle which feels like a precursor to some of the music from Ocarina Of Time – Lon Lon Ranch, Zelda’s Theme and all that, before moving into a more stirring, rousing piece around the 34 minute mark led by booming drums and scorched guitars like a demented Medieval march. Both pieces are beautiful and a joy to hear. Then it goes all funky and weird, with growling and Zeppelin riffs and musical theatre pianos. It would be difficult to find another instrumental with so much invention and nonsense and having it all work. Then it closes with a random rendition of Popeye, because why the hell not.

What Did I Learn: I can’t say I actually learned anything, but it re-iterated just how much of a genius Oldfield is and how shameful it is that other popular musicians will never approach anything as jaw-dropping as this. I always knew it was good, I just didn’t remember it being this good.

Does It Deserve Its Place In The Top 1000 Albums Ever: Absolutely. If ever there were an instrumental album to hold a single spot in such a list, this is it. Every metrci you could have for being a ‘Best Ever Album’ is met – sales, influence, critical acclaim, skill, impact – it’s all there, plus it still sounds great decades later.

Best Art Direction – 1981

Official Nominations: Raiders Of The Lost Ark. The French Lieutenant’s Woman. Heaven’s Gate. Ragtime. Reds.

Heaven’s Gate would be a worthy winner, but as it’s a 1980 movie we can immediately dismiss it. Raiders got the win this year – it’s my winner too thanks to the variety and meticulous detail of its sets and overall production. The French Lieutenant’s Woman, Ragtime, and Reds are justified in their inclusion in a year when there were any number of costume, sci-fi, and history oriented pieces to choose from.

My Winner: Raiders Of The Lost Ark.

20 facts you might not know about 'Raiders of the Lost Ark' | Yardbarker

My Nominations: Raiders Of The Lost Ark. Mephisto. Das Boot. Clash Of The Titans. Escape From New York. For Your Eyes Only. Gallipoli. The Road Warrior. Quest For Fire. Time Bandits.

It’s a mystery and a shame that some of my entries were not official picks – perhaps the biggest disappointment being the absence of Time Bandits, a worthy nomination surely in anyone’s eyes. For me, that takes a place in the four horse race along with Raiders, the post-apocalyptic S&M wonder of The Road Warrior, and the future shock nightmare of Escape From New York. 

Elsewhere, Clash Of The Titans delivers the goods in being, to this day, one of the best Greek mythology/sword n sandals movies, while Quest For Fire places most of its importance on its visual appeal. Mephisto and Das Boot were nominated elsewhere, and should have been in with a shout in this category, while Gallipoli was just as noteworthy while being ignored entirely. Finally, For Your Eyes Only remains one of my personal favourite Bond movies from a look and feel perspective, while lacking the scale and scope of some other entries, it uses what it has in a more meaningful, less extravagant way to echo the more grounded, serious tone of the movie.

My Winner: Escape From New York.

Let us know your winner in the comments!

Nightman’s Updated Favourite Films Of 1987!

20: A Chinese Ghost Story (HK)

Regular Glancers will know I grew up with Bruce Lee movies, and as such I would hunt out anything which sounded like it would have people knocking seven Tibetan shades of shite out of each other. If it had a Horror element – even better! I didn’t know what to make of A Chinese Ghost Story when I first watched it – was it going to be a straight horror movie, was it going to feature zany kung fu masters tackling creatures from Chinese folklore I had zero experience of? It’s all of those things, none of those things, and more. It’s weird. It’s funny. It has a love story. It has trees. It features the gorgeous Joey Wong and the legendary Leslie Cheung in some of their most famous work. It’s one of Tsui Hark’s best movies. It stars Cheung as a nobody, a debt collector who happens to stumble into a rural temple to find somewhere to sleep, falls in love with a tortured ghost, and tried to rescue her soul from Hell. It’s not the first movie to start with in your Hong Kong Cinema journey, but it should be one of the first ten.

19: Withnail And I (UK)

You’ll have seen from my Least Favourite Movies posts, that I’m not a fan of British Comedies. TV shows – absolutely – we’re the best in the world in that regard, but when it comes to movies the reliance on self-titled quirky characters and romance leaves me cold. As with anything there are exceptions – Withnail And I being a prime example. There’s no attempt to hold a sign over a character’s head to scream ‘I’m the quirky one’, there’s no romance in the traditional sense. It’s just two blokes heading away for a weekend in the country so they can get drunk and moan about being actors. Japes occur. It’s all about the performances and the dialogue. It looks (purposefully) shit, the soundtrack is great, and it barely has an ending or a plot, but it’s brilliant.

18: City On Fire (HK)

There was a decided turn in the 1980s away from period action movies, costume and history oriented martial arts fare, towards contemporary, gun based action. Tarantino famously borrowed several scenes and pieces of dialogue from City On Fire, a Ringo Lam movie starring Chow Yun Fat as an undercover cop who infiltrates a gang of robbers and ends up in a Mexican Standoff in a warehouse, with police surrounding them outside. Sound familiar? It doesn’t have the quirks and cools and non-linear framing of Reservoir Dogs, but it has Chow Yun Fat and a tonne of action and energy. It was one of a series of the heroic bloodshed type movies which came out of HK in this era, and is one of the best.

17: Planes, Trains, And Automobiles (US)

Likely to be the only Steve Martin vehicle to grace any of my Favourites lists, this one succeeds because of John Hughes, John Candy, and in spite of Martin. Who, to his credit, is fine but plays the same plain white bread guy he always does. Thanksgiving doesn’t mean shit to anyone outside of the US, so I always viewed this as a Christmas movie. Chicago in November looks like Christmas anyway. As its John Candy you can expect lots of zany laughs, and as it’s Hughes you know you’re in for an offbeat heart-warming tale.

16: Good Morning, Vietnam (US)

Robin Williams, letting rip, completely off the leash.

15: The Princess Bride (US)

I always start any conversation about The Princess Bride by saying I’m not its biggest fan – mainly because there are those who worship the thing. I like it, it’s great, but there are better movies, and I have more favourites – many more this year alone. I love the story in a story nature of it, and it’s another in a line of excellent fantasy oriented kids movies which don’t feel like they are patronising its intended audience. While much of the humour also suits adults, it’s still not a movie for that age range. It’s strong enough, funny enough, well acted and written enough to be enjoyed by all ages, but at its heart it’s an escapist adventure movie for lonely kids.

14: The Living Daylights (UK)

A lesser loved Bond movie, Dalton led the series into its grittiest, darkest period, many years before Zack Snyder misinterpreted overlong running times and blue tints for emotion. Dalton’s Bond may have still quipped, may have still got the ladies, but he was doing a job for Queen and Country, his humour of the gallows, a defence mechanism of being exposed to death and mayhem in all its ugly forms. In The Living Daylights, Bond is embroiled in a Soviet Tug of War, and ends up faffing about in a Cargo plane in Afghanistan. It’s not the most exciting story in the series and it’s unlikely to be anyone’s favourite, but it sets the darker tone, re-establishes the formula, and gives Dalton a chance to shine.

13: Lethal Weapon (US)

A number of genres, in their own way, signify the 1980s. The Buddy Cop movie is one of those, and Lethal Weapon is probably the most famous of the genre, establishing and cementing cliches, the laughs, the action, and the ‘buddiness’. Gibson is the unhinged wildcard set alongside Glover’s close to retirement, by the book veteran. Together, they investigate the apparent suicide of one of Glover’s friend’s daughters. Initially wary of each other, their respect and relationship grows, and jokes and action, and a fair amount of introspection and darkness pours out. It’s one of those movies which epitomises the decade – over the top, big budget thrills, violent, fun, stylized, but it’s the script and the cast which make it memorable above the pretenders.

12: Full Metal Jacket (US/UK)

Stanley Kubrick takes on War again, and again crafts a seminal piece of Cinema. Similar to Westerns, I wasn’t into War movies in my youth, feeling too stilted and macho but lacking any flair or action. Full Metal Jacket was one of those movies, along with The Great Escape and Platoon, to wise me up. It would become the archetype of many movies to come – not merely in the War genre – dividing into two distinct parts with a bootcamp/training section, and a battle/War section. There’s more to it, but that’s one of the most famous aspects of the film which people continue to bring up. The Dirty Dozen had done something similar two decades earlier, but Kubrick uses both to show the horror of the institution over and above the horrors of war. Supremely acted, written, and directed, it’s one of the most must see movies of the decade.

11: Evil Dead 2 (US)

A sequel, remake, and one of those in-betweeny things, Raimi, Campbell, and fans return to up the ante and double down on the slapstick humour of the first movie. What it loses in scares, it makes up for gore effects, and Raimi continues with his inventive camera techniques and visceral insanity. One of the great ‘modern’ horror movies.

10: The Untouchables (US)

Somehow such an underrated film, especially when weighed up alongside the big boys like Goodfellas and The Godfather, which I have always felt deserves to be mentioned in the same breath as those. De Niro is hamming it up and having the time of his life, Kevin Costner is melting hearts as a moral, upstanding husband, daddy, and good guy, Sssshean Connery is the grandad, and Andy Garcia is fucking awesome as always. Charles Martin Smith is at his best, Billy Drago is one of Cinema’s finest henchmen, the soundtrack is excellent, the suits are on point, but it’s DePalma’s movie; he cranks up the tension, controls the mood and tempo, and ensures that it’s a film about family as much as, but in a vastly different way from, The Godfather and Goodfellas are.

9: Hellraiser (UK)

Arguably the film which has come closest to showing us what a nightmare looks and feels like. Hellraiser, like much of Barker’s work, is about ideas; Barker’s worlds and words are brimming with ideas, invention, puzzles, and dubious morality – a constant ebb and flow between opposing, looping factions. Hellraiser concerns a family moving into a new home and resurrecting the bloody corpse of a murderous relative who wishes to continue from where he left off, exploring the darkest desires of humanity for his own enjoyment. Unfortunately for him, and fortunately for us, there are others beyond our world who enjoy pleasure and pain more than he, and take great delight at dragging it out of his flesh. It’s such a grime and dirt ridden, low-budget film that it’s extraordinary just how extraordinary it looks. The cast look like they’ve survived a Tim Burton dream he was too scared to finish, the Cenobites are a fantastic inclusion to the Horror world, and it’s bloody, bleak, and beautiful in its own horrific way.

8: The Running Man (US)

One of Arnie’s more maligned movies – it’s neither the big action smash of Predator nor the family friendly fun of Twins, but it’s somewhere in between, a loose adaptation of Stephen King’s nihilistic tale of a broken society, interspersed by James Bond one-liners. An early Battle Royale. It’s a future where gameshows and TV are still the primary form of entertainment, but rather than winning a million quid by answering questions (Who Wants To Be A Millionaire), or gaining adoration for being a racist sex hungry asshole (Big Brother), society has regressed to a more bloodthirsty, gladiatorial time. Criminals (guilty or otherwise) are thrown into an expansive game arena and pitted against a variety of games and fan-favourite warriors in a literal game to the death.

It’s such a lot of fun – the one-liners, the costumes, the cast, the idea of all these muscle-bound boyos duking it out for freedom or the adoration of the baying crowd. There’s an epic head explosion in the early moments, there’s Richard Dawson hamming it up, and there’s such an ugly 80s coke-fuelled haze over it – wonderful stuff. You just know when they remake it, they’re going to take all of the fun out.

7: Dream Warriors (US)

Speaking of fun, Dream Warriors is the most entertaining film in the Elm Street franchise. We largely ignore the events of the second movie, and instead re-unite cast members from the original with a new breed of tormented kids. Freddy is back, and he’s stalking the kids of some kind of medical/psychiatric institution. Nancy learns of this and comes back to finish off Krueger once and for all. While the first movie introduced the idea of a killer attacking you in your sleep, Dream Warriors doubles down on the dream logic of fighting back – in your dreams you can be a super-powered version of yourself and therefore the kids each use their own strengths and character traits to go on the offensive. Patricia Arquette and Lawrence Fishbourne appear, Langenkamp and Saxon return, and of course Englund is on top form. It’s inventive in its look and effects, is peppered with one-liners and interesting ideas, and it moves it a rip-roaring pace. It’s not exactly haunting or scary in the same way as the first movie was, but what it lacks in scares it makes up for in action.

6: Citizens On Patrol (US)

I’m an unashamed Police Academy fan. As a Cinema fan, they’re not exactly high art, and outside of the first film they’re barely coherent entertainment. But I love them. COP is my favourite sequel, giving us more of the original bunch, the return of Harris, more Zed, and fun new characters. It’s ridiculously silly, but there are more laugh out loud moments here for me, than probably every comedy released in the last ten years. It’s a capsule to my childhood, it’s nostalgic outside of my own experiences, and it’s good old fashioned summery, carefree Hollywood escapism.

5: Prince Of Darkness (US)

It’s in my TTT John Carpenter’s post

4: Near Dark (US)

TT Of The Decade.

3: The Lost Boys (US)

TT Of The Decade.

2: Predator (Top Ten Of All Time) (US)

TT Of The Decade.

1: Robocop (Top Ten Of All Time) (US)

TT Of The Decade.

Let us know your favourites in the comments!

Nightman Listens To – Marillion – Marbles (Part 5)!

Greetings, Glancers! We’ve finally made it – the final part of Marbles before we move on to something else. Or Somewhere Else. I’m ready for it.

Marbles (album) - Wikipedia

Angelina doesn’t need to be seven and a half minutes long. I’m sure the opening thirty seconds or so mean something, but I’m guessing the average listener or fan wouldn’t miss it. There’s radio chatter and the lyrics mention ‘tuning in to Angelina’, but again you could get that across without the thirty seconds of noise. It’s not until the 2nd minute that the meat o the song begins. The slow and static section before then is echoed later – I suspect the opening would drag for me with time and more listens, but I’m fine with it for now. The actual meat of the song is right up there with the rest of the album, chilled, smooth, more reflective melodies. The vocal harmonies are quite lovely, the introduction of a woman’s airy vocals add an unexpected depth, and the guitar solo is tasteful. Perhaps the song’s biggest problem is its placement – we’ve already had several similarly paced songs on an album which we’ve been listening to for an hour. I didn’t find it any better or worse than those, but did we need another? In isolation it’s another strong Marillion song, in the thematic context of the album it makes sense, but considering the running time of the album I wouldn’t be surprised if listeners are exhausted or distracted at this point.

Is Angelina H’s favourite Babestation performer? I can read the lyrics as pointing towards such an assumption, or that she’s a radio DJ. But why? What’s it all about? In a album concerned with memory and regret, is this a memory of sneaking a phone to call up some sex hotline when you’re a teenager? Is Paul going to have a story about H’s parents fighting over mysterious, costly entries on their phone bill – Mum asking Dad what The Permed Milfs (or whatever sex lines were called in the 70s) is? Too many of the lyrics don’t suggest childhood, but an adult drunk, stoned, and unable to sleep, lost in a routine of addiction and insomnia. Is this just another song exploring the pitfalls of the lonely rock star life? That would make sense in tying up the various thematical strands of Marbles. 

Drilling Holes feels like the most overt Beatles-esque Marillion song yet. Musically, lyrically, even the name all gave me Beatles vibes. It’s not a bad song by any means, but I think it’s one of the weakest on the album. Having said that, even though I prefer Angelina, I might pick this over Angelina to stay on Marbles if I was asked to cut a song. It’s a little shorter, but the difference in tone and structure breaks up the momentum of the album and acts as a breather before the final two songs. It’s has a noticeably harsher sound, with warbling phasers, clattering keys and bass, and the layering is aiming for chaos rather than the relaxed vibe felt on the majority of the album. There’s a lot going on, from the Lucy In The Sky floaty interludes replete with harpsichord sounds, the day to day detail of the lyrics, the funky bass transitions, the swelling of sounds with barely a note or sound repeated – it’s maybe the most dense production on the album.

Lyrically I was reminded of A Day In The Life – the lyrics seemingly randomly fixating on small matter of fact details rather than some overt grand theme – while being open enough to interpretation than you can apply a variety of themes to it. It’s also has that slightly nonsensical, Goons-esque playing on words which Lennon was so fond of; Non-sequitors, Escher sentences, words looping and contradicting. I did like how the idea of a man drilling holes, and the various other characters coming around and causing interruptions through the day (s) was mirrored by the throng of musical shifts and dissonance.

I originally read the lyric as being another childhood recollection, a child seeing all of this going on in their home, but it seems to be more of a day in the life of a rock star in a band. Hours pass with the only notable incident being someone arriving to drill holes or work in the kitchen, before the band (most of them, anyway) show up for a party. The ‘woman in a panic’ I interpreted as Lucy, the ‘man wearing plastic’ as your cliche record company exec – but more than anything the references all serve the goal of explaining the matter of fact, daily grind of a random day in a rather strange life. So while I think it’s one of the musically less enjoyable songs on the album, it’s arguably the most musically interesting and creative, and one of the best written lyrics.

Marbles IV closes out the Marbles arc, another drifting, dreamy short entry, but harmless and not without its charm. From my own standpoint, the most interesting thing I have to say about the song is my own mishearing of the lyrics. The closing repetitions of ‘only words’, I heard as Hollywood’, but before reading ‘sometimes I think I should go see a shrink in case he can find me some more’ (which makes perfect comical sense in line with the whole marbles/sanity thing), I was singing it as ‘sometimes I think I should go see a shrink if Lucy can find me someone’. I had this whole bit prepared in my head to write about how even though H is no longer the helpless, he admits to still relying heavily on a mother figure to help him figure out his problems. Turns out I’m a half-deaf idiot, though we likely knew that anyway.

Neverland closes the album, another lengthy song, and one I keep forgetting is there. I think during my first listens of the album, I would accidentally turn Youtube off after Marbles IV or I was listening to some gimped upload which didn’t actually include Neverland. It’s another great song, a little overlong sure, with some pieces maybe feeling artificially stretched towards the end. The opening is on par with the best of the album – sombre, melodic – and the minimalist synth backing coupled with some of H’s vocals set us up for another great ride. The jump-scare introduction of the rest of the band pushes the emotions up a notch and H moves into a more rock oriented vocal. I know Paul isn’t a fan of H’s harder vocals a lot of the time, but I think this is an example of H doing it well. It’s sincere and led by the emotion of the song and the individual take, rather than some pre-conceived idea of having to sound raw.

Elsewhere, more good guitar moments – the pained D Sharp to D transitions and onwards down the scale are potent, their Gilmour-esque sustain wrenching every ounce of emotion out of every second, lovely orchestration of the layering keyboards, the lyrical call-backs to previous songs. The final couple of minutes I can take or leave but I imagine the song’s better instrumental moments could be dragged out even further when played live.

Being called Neverland, we’re firmly in the realm of fantasy again – the world created by a mind devoid of marbles. We get a more specific reference to the title in ‘Wendy Darling’, and again with the talk of hooks and tic toks, and it would be easy to see this as another song of escapism. The escapism is there, but it’s also about love, about loneliness, and seems to be a complimentary nod of dedication to H’s muse, whether that be a real person or otherwise. They’re the person, the thing who made H who he is, providing the spark and the soul, and allowing all of these thoughts and songs to be shared. Sure, this relationship may have caused damage elsewhere, caused damage to other visible relationships, but this is the one which will last. It’s an ambiguous note to end on – is it a good thing or a bad thing, and who decides?

Yes. Marillion’s best album, up to this point. It’s exactly the sort of music I was listening to around the time it was released, but it’s only now that I’m hearing it. If any album was going to make me a Marillion fan, this would be it. In a fair and righteous world, any number of songs, albums, and artists would have greater levels of success, acclaim, and fame than those who get the plaudits, and Marbles is an example of one such album. It’s deserving of what it has received, but also of so much more. We’re not in a fair or righteous world and I’m a firm believer that most of the best art and music ever created, or potentially created, will never be seen or heard because the creator never had the opportunity or the will to actually create or share it. We should thankful for what does get out there.

Between You And Me (@BYAMPOD) | Twitter

On to the final Marbles BYAMPOD (unless there will be a postbag episode), and Paul begins with an alarming shout of ‘I’m not putting it in’. Read into that what you will. Paul and Sanja have heard some stories about the recent Marillion live shows from friends and discuss themed restaurants. What would a Marillion themed restaurant be called? Surely the Dessert Menu would include Sugar Mice and the bar would be known as The Bitter Suite? Those are too easy. Barillion? Enough. Has there ever been an album cover which is just bird shit? That’s my car bonnet.

On to Angelina – Paul likes it, Sanja less so. They agree it’s a late night song, with Paul drawing comparison to House. Like much of the album, it’s a success in terms of atmosphere and painting a mood with sound. It’s not a song which gets a live airing too often, but Paul says it always works well. Sparse jammy openings. Warm Wet Circles. BIRTH CANALS. Actually… H, water based songs, canoes, horny dirtbag… how has H not written a song called ‘Birth Canals’ yet? While I said I would potentially cut the song, that was more in relation to finding something to cut from the second half to ease up the length. It fits sonically. Thematically too, even if I wasn’t sure exactly what the theme was. If I were to make my own cut of the album – a single album – I’d keep Angelina on. It’s one of the songs which will make my own playlist. Actualina.

H says the song was inspired by seeing a Capitol Radio poster driving in to London. The interplay between DJ and Babestation is mentioned and that’s what I picked up on. So… not really about anything, but by extension loneliness and escape. The production keeps the emotional relevance in place, it sounds like the Steven Wilson mix is too polished and removes some of the feels.

Drilling Holes is a lot of fun for Sanja – she wouldn’t seek it out, but enjoys it when it’s on. Paul doesn’t like it, saying it feels contrived and too whimsical, unlike the bands they are trying to emulate. I don’t have as much of an issue with this because I found them clearly trying to ape a sound. Does it make it better saying ‘lets make an early Pink Floyd/Beatles song’ and then making it – being honest about it up front? I suppose it doesn’t matter much to me, though I get what Paul’s saying. In any case, we agree it’s one of the less enjoyable songs on the album. It’s interesting that Dave mentions how it’s a mixture of so many takes and him throwing in the parts which didn’t repeat. I definitely picked that up, and I think that’s a cool idea. I’ve mentioned before, but I love the idea or experiment of handing a sheet of lyrics to 10 different artists and having them write music for it to see how different the results are. Kind of what’s going on here, but with one artist recording different takes and one producer taking the parts he likes. It’s a hippy, drug-fuelled, Alice In Wonderland day according to Sanja. Paul tells us it seems to be a recollection of them enjoying their time recording Season’s End while actively avoiding the sound of the rest of the album.

Neverland is described as many fans’ picks as the best Marillion song. That’s interesting, I’d rank quite a few on this album alone as being ‘better’ in my eyes. Still a great song, but it’s no Invisible Man or Ocean Cloud. We agree about cutting a few minutes out, but it goes on my playlist. I’m not sure a shorter version would have been a huge hit single, but it certainly would have been stronger – as a standalone and in the context of the album. It’s the perfect end to the Marbles. We’re then treated to a Teaser trailer for BYAMPOD season 2 – Mr Biffo Reads The Works Of J.M Barrie. Incidentally, Michael Jackson’s favourite book.

The guys talk about the repeated references in interviews to this being ‘a male album’. What anyone means by that is anyone’s guess, but it’s not a thing I listened for or something I ever look for in any media. Man, woman, whatever – I’ll listen to whatever you’re offering and try to bridge the gap between the artist’s emotions and mine while listening. Sanja sees Neverland as a gorgeous love song, starting out in a dark and hopeless place and coming into light, and an opposing, correlated force to Invisible Man. Both see it as a song of reconciliation, of forgiveness, and as a powerhouse performance lyrically and vocally from H. Paul has a lot of personal emotional ties to the song, while it may be one of H’s most revealing lyrics.

Turns out we will have a postbag episode, but the guys give a brief summary of their feelings as a whole. Even in my most favourite albums of all time, there are songs I would change, or something I would change – cutting a few moments, changing the running order etc. Is there a perfect album? I look at my favourites – The Holy Bible I would take off She Is Suffering, Joni Mitchell’s Blue I would switch out The Last Time I Saw Richard, The Wall I’m not much of a fan of Run Like Hell, G’n’R’s Appetite For Destruction has a couple of songs I’d swap with others, The Bends has some better B-Sides than what makes it on the album etc etc. And that’s that – go listen, subscribe, like, and share, and let us know what you thought in the comments!

Best Cinematography – 1981

Official Nominations: Reds. Excalibur. On Golden Pond. Ragtime. Raiders Of The Lost Ark.

Vittorio Storaro picked up his second win in as many years, this time for Reds. It’s not exactly on par with Apocalypse Now – what is – but I’m happy for the recognition he was getting around this time after a couple of decades of excellent work before. It’s nice to see something like Excalibur in with a shout, the fantasy genre usually entirely dismissed by The Academy but Alex Thomson’s work elevating things in their eyes. On Golden Pond was always going get a nomination, Ragtime is a curious but justified pick, and Raiders never had a shot of winning but couldn’t be avoided. It’s Raiders which yet again gets my vote, with Douglas Slocombe never picking up an official win even after Academy favourites such as The Lion In Winter and British classics like The Italian Job. Slocombe’s hazy, sun-sweated vision is just as vital a part of the Indiana Jones saga as Ford, Spielberg, or Lucas are.

My Winner: Raiders Of The Lost Ark.

Raiders Of The Lost Ark – [FILMGRAB]

My Nominations: Raiders Of The Lost Ark. Blow Out. Chariots Of Fire. Clash Of The Titans. Escape From New York. For Your Eyes Only. Gallipoli. The Road Warrior. Quest For Fire. Southern Comfort.

I’ve only pulled Raiders over so that I could make room for the more interesting choices. Of my additions, only Chariots Of Fire realistically stood a chance of getting a nom due to its other noms and wins – David Watkin would win a few years later for Out Of Africa. Elsewhere, my choices range from the mumbling pseudo-history of Quest For Fire, which shoots Africa and Scotland to look otherworldly, to the outright fantasy of Clash Of The Titans giving me early fantasies of wanting to move to Greece when I grew up.

Gallipoli should have been in with a shot of receiving a genuine nomination, Russell Boyd continuing his stellar work with Peter Weir, while Blow Out is one of the more visually oppressive and chilling De Palma film’s, enhanced by Vilmos Zsigmond. For Your Eyes Only is one of the more chilling Bond movies, not least because of the snowy locales, but because it’s the most serious of the Moore flicks. From Cortina, to Greece, to England, locations are part and parcel of the Bond package but Alan Hume doesn’t allow the glitz and glamour to take central stage and instead play a role in grounding the story as more of a character piece than most Bond movies.

Southern Comfort even more impressively uses its location as a character, the smouldering and dense rivers and forests of the bayou, squeezing ever inwards to trap a group of National Guard members as they fight among themselves for survival after upsetting the locals. Escaping from dangerous locals is just a day in the life of Snake Plissken, with Dean Cundy’s shadow-drenched Escape From New York every bit as oppressive as Walter Hill’s swamps. Finally, The Road Warrior receives another nomination from me, showing the unending wasteland of the outback as a permanently sunlit purgatory.

My Winner: Raiders Of The Lost Ark

Let us know your winner in the comments!