list analogzombie's Recent Activity - Spout http://www.spout.com/ analogzombie's Recent Activity - Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg analogzombie's Recent Activity - Spout http://www.spout.com/ 136 30 Spout Group:Spout Customer Care - Get answers to your questions here! http://www.spout.com/groups/Spout_Customer_Care/420/default.aspx Group Name: Spout Customer Care - Get answers to your questions here!
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Have a general question? Need help with some thing on the site? Have a bug you would like to report? Well then, you have come to the right place. No matter what you are having trouble with, we would like to help you find a solution. And maybe, through your own experience with the site, you will want to help other users too. That's what communities are all about. 


Created: 8/1/2007
Number of Members: 79
Number of discussion posts: 513
]]>Mon, 31 Aug 2009 12:47:00 GMTSpout Customer CareWed, 01 Aug 2007 09:06:04 GMT790513Group Spout Group:HORROR MOVIES 101 - FOR ALL WHO LOVE HORROR MOVIES http://www.spout.com/groups/HORROR_MOVIES_101/222/default.aspx Group Name: HORROR MOVIES 101 - FOR ALL WHO LOVE HORROR MOVIES
Group Description:    " I bid you welcome...  Enter freely and of your own will..."
Created: 12/17/2006
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]]>Sun, 30 Aug 2009 00:53:17 GMTHORROR MOVIES 101Sun, 17 Dec 2006 01:20:09 GMT41462333Group Spout Group:foureyedmonsters - Talk to Susan & Arin about the movie and those addictive podcasts. http://www.spout.com/groups/foureyedmonsters/338/endorsed.aspx Group Name: foureyedmonsters - Talk to Susan & Arin about the movie and those addictive podcasts.
Created: 6/4/2007
Number of Members: 322
Number of discussion posts: 56
]]>Fri, 28 Aug 2009 05:42:31 GMTfoureyedmonstersMon, 04 Jun 2007 15:28:43 GMT322056Group Spout Group:Weekly Theme - "Fighting off boredom with the Iron Fist of Variety" http://www.spout.com/groups/Weekly_Theme/625/default.aspx Group Name: Weekly Theme - "Fighting off boredom with the Iron Fist of Variety"
Created: 6/30/2008
Number of Members: 52
Number of Lists: 12
Number of discussion posts: 701
]]>Thu, 27 Aug 2009 20:20:23 GMTWeekly ThemeMon, 30 Jun 2008 15:13:45 GMT5212701Group Spout Group:Spout Mavens - Spout's best movie reviewers. Membership is limited. http://www.spout.com/groups/Spout_Mavens/366/default.aspx Group Name: Spout Mavens - Spout's best movie reviewers. Membership is limited.
Group Description:

A group of Spout's best reviewers.
Read the requirements.


Created: 6/20/2007
Number of Members: 36
Number of Lists: 9
Number of discussion posts: 451
]]>Wed, 26 Aug 2009 20:10:52 GMTSpout MavensWed, 20 Jun 2007 10:13:29 GMT369451Group Spout Group:missing a film - we'll help you find a film http://www.spout.com/groups/missing_a_film/263/default.aspx Group Name: missing a film - we'll help you find a film
Created: 3/5/2007
Number of Members: 131
Number of Lists: 1
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]]>Wed, 26 Aug 2009 11:30:05 GMTmissing a filmMon, 05 Mar 2007 16:37:43 GMT1311234Group Spout Group:Friends of Foreign Flicks - Discussions of all films not American. http://www.spout.com/groups/Friends_of_Foreign_Flicks/591/default.aspx Group Name: Friends of Foreign Flicks - Discussions of all films not American.
Group Description:

At some point you just want more than what's right in front of you.


Created: 4/24/2008
Number of Members: 30
Number of Lists: 1
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]]>Wed, 26 Aug 2009 04:05:26 GMTFriends of Foreign FlicksThu, 24 Apr 2008 11:44:11 GMT30192Group Spout Group:The Documentary - A place to talk about the much overlooked genre of the Documentary. http://www.spout.com/groups/The_Documentary/79/default.aspx Group Name: The Documentary - A place to talk about the much overlooked genre of the Documentary.
Created: 4/2/2006
Number of Members: 49
Number of Lists: 4
Number of discussion posts: 53
]]>Tue, 25 Aug 2009 21:05:39 GMTThe DocumentarySun, 02 Apr 2006 00:58:55 GMT49453Group Spout Group:Sound on Sight - Podcasts, movie reviews, interviews, news and more. http://www.spout.com/groups/Sound_on_Sight/529/default.aspx Group Name: Sound on Sight - Podcasts, movie reviews, interviews, news and more.
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Sound on Sight proudly brings you two podcasts each week. Voted best podcast in 2008, these hard working hosts cover everything from mainstream Hollywood films to noir, horror, science fiction, cult cinema, documentary film making and more. Look out for a new show added every Tuesday and Thursday morning.

http://www.soundonsight.org/

 

 


Created: 1/6/2008
Number of Members: 104
Number of discussion posts: 150
]]>Tue, 25 Aug 2009 21:03:03 GMTSound on SightSun, 06 Jan 2008 21:24:34 GMT1040150Group Spout Group:Worst Movie Ever - The Group is dedicated to uncovering the bombs, so you don't have too. http://www.spout.com/groups/Worst_Movie_Ever/104/default.aspx Group Name: Worst Movie Ever - The Group is dedicated to uncovering the bombs, so you don't have too.
Created: 5/5/2006
Number of Members: 200
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]]>Tue, 25 Aug 2009 16:43:26 GMTWorst Movie EverFri, 05 May 2006 20:20:45 GMT20010412Group Spout Group:Movie Polls - Vote in weekly polls and discuss http://www.spout.com/groups/Movie_Polls/657/default.aspx Group Name: Movie Polls - Vote in weekly polls and discuss
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Each week I will post a new poll.  Please vote in the poll and reply to the discussion thread to discuss the question.  Please do not vote more than once.


Created: 11/25/2008
Number of Members: 66
Number of discussion posts: 414
]]>Tue, 25 Aug 2009 02:42:29 GMTMovie PollsTue, 25 Nov 2008 16:54:38 GMT660414Group Spout Group:Zombie Obsession - Zombie Lovers, Unite! http://www.spout.com/groups/Zombie_Obsession/329/default.aspx Group Name: Zombie Obsession - Zombie Lovers, Unite!
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Join us to discuss your favorite or most horrifying Zombie Movies or just your most memorable Zombie Moments.  From Funny to Scary to Gory to Bizarre...

 


Created: 5/28/2007
Number of Members: 104
Number of Lists: 1
Number of discussion posts: 594
]]>Mon, 24 Aug 2009 17:29:56 GMTZombie ObsessionMon, 28 May 2007 02:04:45 GMT1041594Group Spout Group:A World of MSTies - Thank You, Won't We? http://www.spout.com/groups/A_World_of_MSTies/590/default.aspx Group Name: A World of MSTies - Thank You, Won't We?
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Glorify the best show ever (MST3K) with wit, wisdom and downright wackiness!


Created: 4/23/2008
Number of Members: 10
Number of Lists: 2
Number of discussion posts: 23
]]>Mon, 24 Aug 2009 17:25:25 GMTA World of MSTiesWed, 23 Apr 2008 20:21:48 GMT10223Group Spout Group:It's a Wonderful Night for Oscar! - Devoted to everything nominated or snubbed by the Academy of Golden Guys http://www.spout.com/groups/It_s_a_Wonderful_Night_for_Oscar/46/default.aspx Group Name: It's a Wonderful Night for Oscar! - Devoted to everything nominated or snubbed by the Academy of Golden Guys
Group Description: Year after year, movie lovers and non movie lovers alike discuss ad nauseum the fate of films nominated for the utmost honor, the Academy Award. Some people watch it for the fashion. Some people watch for the haute couture. Some people watch for their fill of celebrity sightings. If you are a member of this group, you love everything about the Super Bowl of movies, especially the movies themselves! You love to make predictions, guess at the politics, discuss and dissect who should have been nominated and who should have won...or, you're just an avid movie lover that likes to pay attention. Come join the group!
Created: 3/4/2006
Number of Members: 41
Number of Lists: 58
Number of discussion posts: 226
]]>Mon, 24 Aug 2009 11:11:33 GMTIt's a Wonderful Night for Oscar!Sat, 04 Mar 2006 15:24:32 GMT4158226Group Spout Group:Movie Marathons http://www.spout.com/groups/Movie_Marathons/693/default.aspx Group Name: Movie Marathons
Group Description:

This is a group for members to start and organize movie marathons. Its primary purpose is to get more people exposed to more film. And to watch these films and discuss them as a group.

Anyone can start a marathon and marathons can be organized in many different ways to showcase the films of a director, actor, genre, theme etc...

Check the Guidlines and Suggestions discussion for ideas.


Created: 7/22/2009
Number of Members: 15
Number of discussion posts: 22
]]>Sat, 22 Aug 2009 16:33:02 GMTMovie MarathonsWed, 22 Jul 2009 01:35:58 GMT15022Group Spout Group:Movies we do not want to see - Try to convince us to see these movies! http://www.spout.com/groups/Movies_we_do_not_want_to_see/70/default.aspx Group Name: Movies we do not want to see - Try to convince us to see these movies!
Group Description: Want to be a member? Send me a message with a list of at least 5 movies that you do not want to see. There are many movies that I do not want to see. I'm not sure if its right of me to decide never to see a movie without seeing it. You know...like when a kid says they hate mushrooms even though they admit never trying them. So maybe this is a good spot for people to display movies they don't think they want to see, and see if anyone can convince us to try them out.
Created: 3/22/2006
Number of Members: 20
Number of Lists: 3
Number of discussion posts: 190
]]>Wed, 19 Aug 2009 00:31:56 GMTMovies we do not want to seeWed, 22 Mar 2006 14:27:50 GMT203190Group Spout Post: oh god george http://www.spout.com/blogs/analogzombie/archive/2008/7/18/32716.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 7/18/2008 11:12:30 AM
Body: For someone like myself, a zombie film lover and Romero devotee, this film was a hope that the wayward Land of the Dead would not be the final chapter in Romero's zombie bible. It's a good thing then that Dawn of the Dead stands on such a high pedestal that it is unlikely to be dethroned, ever. Diary of the Dead is a major disappointment. The film definitely carries the style that seemed interesting and quirky in Martin, and was flat out unnerving in Day of the Dead. It does feel like a Romero film. Even Land of the Dead had his signature opn it, although somewhat diminished and washed off. Unfortunately that's about all this film has going for it. Romero is not the best director by far. That issue is not really open for debate. What he does well is to create a mood, a feeling, an environment that seems plausible and beleiveable. He brings horror into the real world. Diary of the Dead does attempt to do this. The college students, the cranky professor, the world gone out of control, it's just that the performances are often so bad no information is conveyed tot he audience. He never grounds the apocalypse in our world. It never hits home, because he we never truly see the outside world excpet through the lens of a new programs, and radio declarations. Unlike Dawn of the Dead in which the survivors isolate themselves fromt he world, ROmero begins Diary of the Dead witht he characters already isolated. There isn't a sense of something they are running from. Instead they are moving towards the world and their families. This desire to connect is at the core of Romero's social commentary in the is film, but it never resonates. I understand that he's exploring the world of self-centered media, MySpace, YouTube, blogs, but it appears that Romero is too old, too much a part of a different media ethic, to have anything truly important to say. Romero came of age as a commercial editor at a time when the news was shot on 16mm. Night of the Living Dead was a film he piece meal with borrowed and left over goods. The concepts at work here are just not fully fleshed out. It's also obvious that the man is very disconnected from the youth he seeks to portray in this film. Their clothes, mannerisms, and motivations seem half-hearted and unreal. Some of that is due to the relatively poor acting, but there is no excuse to put someone in Buddy Holly glasses to show he's a nerdy hipster in 2007. Unfortunately Diary of the Dead seems closer to Romero's more forgettable works like Bruiser, than to his past zombie masterpieces.
]]>Fri, 18 Jul 2008 15:12:30 GMTanalogzombieanalogzombie Blog7/18/2008 11:12:30 AMFor someone like myself, a zombie film lover and Romero devotee, this film was a hope that the wayward Land of the Dead would not be the final chapter in Romero's zombie bible. It's a good thing then that Dawn of the Dead stands on such a high pedestal that it is unlikely to be dethroned, ever. Diary of the Dead is a major disappointment. The film definitely carries the style that seemed interesting and quirky in Martin, and was flat out unnerving in Day of the Dead. It does feel like a Romero film. Even Land of the Dead had his signature opn it, although somewhat diminished and washed off. Unfortunately that's about all this film has going for it. Romero is not the best director by far. That issue is not really open for debate. What he does well is to create a mood, a feeling, an environment that seems plausible and beleiveable. He brings horror into the real world. Diary of the Dead does attempt to do this. The college students, the cranky professor, the world gone out of control, it's just that the performances are often so bad no information is conveyed tot he audience. He never grounds the apocalypse in our world. It never hits home, because he we never truly see the outside world excpet through the lens of a new programs, and radio declarations. Unlike Dawn of the Dead in which the survivors isolate themselves fromt he world, ROmero begins Diary of the Dead witht he characters already isolated. There isn't a sense of something they are running from. Instead they are moving towards the world and their families. This desire to connect is at the core of Romero's social commentary in the is film, but it never resonates. I understand that he's exploring the world of self-centered media, MySpace, YouTube, blogs, but it appears that Romero is too old, too much a part of a different media ethic, to have anything truly important to say. Romero came of age as a commercial editor at a time when the news was shot on 16mm. Night of the Living Dead was a film he piece meal with borrowed and left over goods. The concepts at work here are just not fully fleshed out. It's also obvious that the man is very disconnected from the youth he seeks to portray in this film. Their clothes, mannerisms, and motivations seem half-hearted and unreal. Some of that is due to the relatively poor acting, but there is no excuse to put someone in Buddy Holly glasses to show he's a nerdy hipster in 2007. Unfortunately Diary of the Dead seems closer to Romero's more forgettable works like Bruiser, than to his past zombie masterpieces. Spout Post: Re:Manda Bala http://www.spout.com/groups/Spout_Mavens/Re_Manda_Bala/366/32500/1/ShowPost.aspxPost By: analogzombie
Post To: Spout Mavens
Post Date: 7/13/2008 6:32:00 PM
Body: Some notes: The kidnapper featured in the film is now dead, from a few well placed gunshots. Jader Barbalho, as of 2007, is still in politics as a Federal Deputy. I really enjoyed this film. For me the saturated color and excellent music selection really sold the film. Other choices could have left it feeling dull and History Channel Investigates-like. Funny, I couldn't help but think of Baz Luhrmann's Romero & Juliet, another film that captures the feel of Brazil quite well. Here's my review: http://www.spout.com/blogs/analogzombie/archive/2008/7/13/32499.aspx
]]>Sun, 13 Jul 2008 22:32:00 GMTanalogzombieSpout Mavens7/13/2008 6:32:00 PMSome notes: The kidnapper featured in the film is now dead, from a few well placed gunshots. Jader Barbalho, as of 2007, is still in politics as a Federal Deputy. I really enjoyed this film. For me the saturated color and excellent music selection really sold the film. Other choices could have left it feeling dull and History Channel Investigates-like. Funny, I couldn't help but think of Baz Luhrmann's Romero & Juliet, another film that captures the feel of Brazil quite well. Here's my review: http://www.spout.com/blogs/analogzombie/archive/2008/7/13/32499.aspx Spout Post: Manda Bala http://www.spout.com/blogs/analogzombie/archive/2008/7/13/32499.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 7/13/2008 6:25:31 PM
Body: Is a cold blooded gangster capable of becoming Robin Hood? When a government fails its people, does kidnapping the rich and holding them for ransom qualify as barbaric? Does a Senator who embezzles billions of dollars, yet manages to use their connections to escape justice deserve to remain in power if his people will it so? Manda Bala (Send a Bullet) is a look into a society that is in near collapse. It’s politicians look out only for themselves. The good and noble of the system run into numerous road blocks in their vain attempts to hold those in power accountable. The poor see no future except for crime. The middle class view the whole situation as somehow fated, and the upper middle class are looking to protect themselves by any means available through their privilege. Such is modern Brazil. From The City of God to Favela Rising, tales of the woes of the Brazilian people have become bankable subject matter. Manda Bala hones in on one very specific issue and uses that national experience to illuminate the lives of a cross section of modern society in Sao Paulo. Jader Barbalho, a powerful senator from the impoverished area of Para, is the core focus of Jason Kohn’s film. Barbalho came to power by dominating his region through the control of radio, television, and other media outlets. By bribing the populace with food, building materials and medical goods, he has found a way to maintain his position. In the late 1980’s Brazil developed a plan to help the poorest of it’s citizens. SUDAM was to be a grand investment project that would develop homegrown industries and small businesses with the intention of braking the cycle of poverty. The money never filtered down to the people that needed it. Through an elaborate series of faux companies, and laundering fronts, Jader Barbalho managed to steal over $2 billion in the course of a decade. Many of the companies Jader was responsible for investing the government’s money into only existed on paper. Others, like the frog farm the film spends a lot of time with, were fronts. Actually costing only $300,000, Barbalho pumped nearly $3 million into it. In a country in which elected officials are protected from prosecution in criminal courts can anyone expect someone like Jader Barbalho not to become a bandit? So to in such a place, can one honestly expect the poor and disenfranchised slum dwellers not to turn the tables on the rich and create a cottage industry out of kidnapping? These are the ideas Manda Bala raises. Through interviews with representatives from every facet of society Kohn explores the topic. Special police who have lost faith in their work, rich men who hide in bulletproof cars, judges who can only laugh at the state of events, and kidnappers using their ill gotten gains to build waterlines and health clinics in the slums, the film delves into the heart of their motivations and desperations. It is truly a sad state of affairs, but Manda Bala never over reaches itself. The film never proposes any answers. It merely shines a light on one of the greatest financial scandals in modern politics. It’s clear that Kohn is styling his film after the social conscious and entertaining films of Errol Morris. While he does capture the flow of Morris’ narrative, and the maestro’s penchant for colorful characters, one thing is missing from Kohn’s effort, namely the entertainment. While Manda Bala is insightful, sometimes humorous, and very timely, it manages to be bland for long stretches. The use of voiceover translation works in places, but more often than not, the speaker would have been better served by more traditional subtitles. It seems that translators weren’t always available as there are parts of the film in which subtitles are used exclusively. The immediacy of the images and body language of the interviewees are better conveyed in this fashion, and Kohn would have done better to stick to this method. It is the sometimes disjointed nature of speaker to translator, cut to imagery and stock footage, and then back to speaker and translator that can bring a sense of urgency to the translation that is not met by Kohn. It is these languid pauses of information that are Manda Bala’s greatest misstep. Slight misgivings aside, the film works. It works amazingly well. It would have been easy, and familiar, for the filmmakers to present the SUDAM scandal in a PBS style. The engaging personal interviews, rich South American color palette, and countless instances of humor work to disarm the viewer and give pause between revelations. Sometimes these pauses lean on the boring, but when they are executed well the effect is subtle. Between laughs the absolute terror and exasperation of all those involved begins to sink in. Understanding what happened is one thing, understanding the circumstances that would allow such a thing to occur, is different, and much more important. Director Jason Kohn manages to pull all his loose threads into a coherent and comprehensive look at the ills of a society in which the SUDAM scandal could happen.
]]>Sun, 13 Jul 2008 22:25:31 GMTanalogzombieanalogzombie Blog7/13/2008 6:25:31 PM Is a cold blooded gangster capable of becoming Robin Hood? When a government fails its people, does kidnapping the rich and holding them for ransom qualify as barbaric? Does a Senator who embezzles billions of dollars, yet manages to use their connections to escape justice deserve to remain in power if his people will it so? Manda Bala (Send a Bullet) is a look into a society that is in near collapse. It’s politicians look out only for themselves. The good and noble of the system run into numerous road blocks in their vain attempts to hold those in power accountable. The poor see no future except for crime. The middle class view the whole situation as somehow fated, and the upper middle class are looking to protect themselves by any means available through their privilege. Such is modern Brazil. From The City of God to Favela Rising, tales of the woes of the Brazilian people have become bankable subject matter. Manda Bala hones in on one very specific issue and uses that national experience to illuminate the lives of a cross section of modern society in Sao Paulo. Jader Barbalho, a powerful senator from the impoverished area of Para, is the core focus of Jason Kohn’s film. Barbalho came to power by dominating his region through the control of radio, television, and other media outlets. By bribing the populace with food, building materials and medical goods, he has found a way to maintain his position. In the late 1980’s Brazil developed a plan to help the poorest of it’s citizens. SUDAM was to be a grand investment project that would develop homegrown industries and small businesses with the intention of braking the cycle of poverty. The money never filtered down to the people that needed it. Through an elaborate series of faux companies, and laundering fronts, Jader Barbalho managed to steal over $2 billion in the course of a decade. Many of the companies Jader was responsible for investing the government’s money into only existed on paper. Others, like the frog farm the film spends a lot of time with, were fronts. Actually costing only $300,000, Barbalho pumped nearly $3 million into it. In a country in which elected officials are protected from prosecution in criminal courts can anyone expect someone like Jader Barbalho not to become a bandit? So to in such a place, can one honestly expect the poor and disenfranchised slum dwellers not to turn the tables on the rich and create a cottage industry out of kidnapping? These are the ideas Manda Bala raises. Through interviews with representatives from every facet of society Kohn explores the topic. Special police who have lost faith in their work, rich men who hide in bulletproof cars, judges who can only laugh at the state of events, and kidnappers using their ill gotten gains to build waterlines and health clinics in the slums, the film delves into the heart of their motivations and desperations. It is truly a sad state of affairs, but Manda Bala never over reaches itself. The film never proposes any answers. It merely shines a light on one of the greatest financial scandals in modern politics. It’s clear that Kohn is styling his film after the social conscious and entertaining films of Errol Morris. While he does capture the flow of Morris’ narrative, and the maestro’s penchant for colorful characters, one thing is missing from Kohn’s effort, namely the entertainment. While Manda Bala is insightful, sometimes humorous, and very timely, it manages to be bland for long stretches. The use of voiceover translation works in places, but more often than not, the speaker would have been better served by more traditional subtitles. It seems that translators weren’t always available as there are parts of the film in which subtitles are used exclusively. The immediacy of the images and body language of the interviewees are better conveyed in this fashion, and Kohn would have done better to stick to this method. It is the sometimes disjointed nature of speaker to translator, cut to imagery and stock footage, and then back to speaker and translator that can bring a sense of urgency to the translation that is not met by Kohn. It is these languid pauses of information that are Manda Bala’s greatest misstep. Slight misgivings aside, the film works. It works amazingly well. It would have been easy, and familiar, for the filmmakers to present the SUDAM scandal in a PBS style. The engaging personal interviews, rich South American color palette, and countless instances of humor work to disarm the viewer and give pause between revelations. Sometimes these pauses lean on the boring, but when they are executed well the effect is subtle. Between laughs the absolute terror and exasperation of all those involved begins to sink in. Understanding what happened is one thing, understanding the circumstances that would allow such a thing to occur, is different, and much more important. Director Jason Kohn manages to pull all his loose threads into a coherent and comprehensive look at the ills of a society in which the SUDAM scandal could happen. Spout Post: Silver Screen Spook Show at the Plaza Atlanta http://www.spout.com/blogs/analogzombie/archive/2008/6/28/31829.aspxPost By: analogzombie
Post To: analogzombie Blog
Post Date: 6/28/2008 2:51:09 PM
Body: Atlanta's Plaza Theatre has gone through a lot of changes over the past couple years. It has emerged from under the LaFont umbrella to become the city's only truly independent cinema. Showcasing the world premiere of the Aqua Teen movie, special screenings of Hot Fuz complete with Simon Pegg appearance, are just its most visible PR events. the true meat of the theatre is its series of pure B movie goodness. From thei Splatter CInema eventsshowing films like "Class of Nuke'em High", to the Summer Camp screenings of "Barbarella" and "Xanadu". For me, the best has to be their Silver Screen Spook Shows with onstage performances akin to the Ghoulardi, Shock CInema, or Elvira late night TV weirdness. Tonight (June 28th) is yet another. This time the feature is Forbidden Planet. Although it's not a personal favorite, I'm sure the Plaza will live up to its reputation.
]]>Sat, 28 Jun 2008 18:51:09 GMTanalogzombieanalogzombie Blog6/28/2008 2:51:09 PM Atlanta's Plaza Theatre has gone through a lot of changes over the past couple years. It has emerged from under the LaFont umbrella to become the city's only truly independent cinema. Showcasing the world premiere of the Aqua Teen movie, special screenings of Hot Fuz complete with Simon Pegg appearance, are just its most visible PR events. the true meat of the theatre is its series of pure B movie goodness. From thei Splatter CInema eventsshowing films like "Class of Nuke'em High", to the Summer Camp screenings of "Barbarella" and "Xanadu". For me, the best has to be their Silver Screen Spook Shows with onstage performances akin to the Ghoulardi, Shock CInema, or Elvira late night TV weirdness. Tonight (June 28th) is yet another. This time the feature is Forbidden Planet. Although it's not a personal favorite, I'm sure the Plaza will live up to its reputation. Spout Post: Re:You're Gonna Miss Me http://www.spout.com/groups/Spout_Mavens/Re_You_re_Gonna_Miss_Me/366/31107/1/ShowPost.aspxPost By: analogzombie
Post To: Spout Mavens
Post Date: 6/11/2008 10:07:54 AM
Body: My review. This is one of the best portraits of the tortured artist I've ever seen.
]]>Wed, 11 Jun 2008 14:07:54 GMTanalogzombieSpout Mavens6/11/2008 10:07:54 AMMy review. This is one of the best portraits of the tortured artist I've ever seen. Spout Post: You're Gonna Miss Me http://www.spout.com/blogs/analogzombie/archive/2008/6/11/31105.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 6/11/2008 10:02:28 AM
Body: The 13th Floor Elevators are one of those bands you know, even if you aren’t aware of it. Emerging from Austin, Texas in the 1960’s, before it was the absolute Mecca of North American Independent Music, the band quickly rose to prominence in the turbulent landscape of San Francisco. Holding down dates at the Filmore, the 13th floor Elevators helped to craft and define what we know today as Psychedelic Rock. Like most movements, adherence to the philosophies espoused by those at the center of the height Ashbury scene required a little give and take. In this sense, the band, and lead singer Roky Erickson, took all the LSD they could find. After all the pioneers of psychedelia, who would be massive influence on everyone from Janis Joplin to the Beach Boys had to practice what they preached. As Kevin McAlester sees it, this massive drug use, while not the supreme cause of Roky’s decent, was the point at which it all began to fall apart. “You’re Gonna Miss Me” is not so much a rock biography, as a portrait of Schizophrenia. It just so happens that in this instance the man in question is not just a nameless face at the bus stop, or a haggard pan handler. He happens to be one the most influential rock musicians of the last fifty years. If anything McAlester forces us to rethink our perceptions of the men tally ill, and homeless, by giving this, decidedly ragamuffin, character a history. Filmed in 2004 and 2005, the film finds Roky living in Austin, completely removed from his music, and trapped in his psychosis. His mother is his primary caretaker who seems to indulge his neurotic whims. She has her own personal psychological demons to deal with. It’s obvious that Roky’s mom is the seat of a lot of the instability in the lives of her children. Her ramshackle abode mirrors his own. The scattered trash and clothes of their homes is a reflection of their cluttered minds. In one of the most poignant scenes of the film, Roky comes home to take a nap. He wanders from noise emitting electronic device, to noise emitting electronic device finally coming to rest in a recliner. As he places dark sunglasses over his face the hum, buzz and whine of innumerable televisions, radios and oscillators fill the air. To this cacophony he announces “Okay, I’m taking a nap now.” His mother merely slips out the front door, leaving her son without medication. Fortunately for Roky, the rest of the family does not feel the same way. While many of his siblings have led self-destructive lives in the wake of his success, Roky’s youngest brother, Sumner, has emerged from strange upbringing to be a member of the Pittsburgh Philharmonic and moderately well-rounded. About halfway through, the film becomes Sumner’s story, as he attempts to wrest control of Roky from his mother. While this would seem a perfect chance to take the documentary into an exploration of a family coming apart, McAlester instead focuses on the healing that a life with Sumner can offer Roky. This is precisely the type of narrative choice that elevates this film beyond an HBO special. The film nuances the real characters of Roky, Sumner, and their mother without ever feeling like it’s openly mocking them. These are very eccentric people, all of them. There are a few instances in which you can’t help but laugh at them, but these are always of their own creation. You get a sense that the director’s camera was just lucky to catch them at these moments. One can only imagine the amount of time it took for the Erickson’s to open up to the film crew. In the film a British rock writer who is working on a biography of the band visits Roky. It’s obvious that he has been working closely with the other members of the Elevators. He fails to illicit even the tiniest bit of confidence from his subject though. Of course his time with him was brief, and McAlester must have spent months, if not years with Roky. It is this dedication to his subject that ultimately comes through in “You’re Gonna Miss Me”. The film is as deep a portrait of a tortured soul as has ever been committed to film.
]]>Wed, 11 Jun 2008 14:02:28 GMTanalogzombieanalogzombie Blog6/11/2008 10:02:28 AM The 13th Floor Elevators are one of those bands you know, even if you aren’t aware of it. Emerging from Austin, Texas in the 1960’s, before it was the absolute Mecca of North American Independent Music, the band quickly rose to prominence in the turbulent landscape of San Francisco. Holding down dates at the Filmore, the 13th floor Elevators helped to craft and define what we know today as Psychedelic Rock. Like most movements, adherence to the philosophies espoused by those at the center of the height Ashbury scene required a little give and take. In this sense, the band, and lead singer Roky Erickson, took all the LSD they could find. After all the pioneers of psychedelia, who would be massive influence on everyone from Janis Joplin to the Beach Boys had to practice what they preached. As Kevin McAlester sees it, this massive drug use, while not the supreme cause of Roky’s decent, was the point at which it all began to fall apart. “You’re Gonna Miss Me” is not so much a rock biography, as a portrait of Schizophrenia. It just so happens that in this instance the man in question is not just a nameless face at the bus stop, or a haggard pan handler. He happens to be one the most influential rock musicians of the last fifty years. If anything McAlester forces us to rethink our perceptions of the men tally ill, and homeless, by giving this, decidedly ragamuffin, character a history. Filmed in 2004 and 2005, the film finds Roky living in Austin, completely removed from his music, and trapped in his psychosis. His mother is his primary caretaker who seems to indulge his neurotic whims. She has her own personal psychological demons to deal with. It’s obvious that Roky’s mom is the seat of a lot of the instability in the lives of her children. Her ramshackle abode mirrors his own. The scattered trash and clothes of their homes is a reflection of their cluttered minds. In one of the most poignant scenes of the film, Roky comes home to take a nap. He wanders from noise emitting electronic device, to noise emitting electronic device finally coming to rest in a recliner. As he places dark sunglasses over his face the hum, buzz and whine of innumerable televisions, radios and oscillators fill the air. To this cacophony he announces “Okay, I’m taking a nap now.” His mother merely slips out the front door, leaving her son without medication. Fortunately for Roky, the rest of the family does not feel the same way. While many of his siblings have led self-destructive lives in the wake of his success, Roky’s youngest brother, Sumner, has emerged from strange upbringing to be a member of the Pittsburgh Philharmonic and moderately well-rounded. About halfway through, the film becomes Sumner’s story, as he attempts to wrest control of Roky from his mother. While this would seem a perfect chance to take the documentary into an exploration of a family coming apart, McAlester instead focuses on the healing that a life with Sumner can offer Roky. This is precisely the type of narrative choice that elevates this film beyond an HBO special. The film nuances the real characters of Roky, Sumner, and their mother without ever feeling like it’s openly mocking them. These are very eccentric people, all of them. There are a few instances in which you can’t help but laugh at them, but these are always of their own creation. You get a sense that the director’s camera was just lucky to catch them at these moments. One can only imagine the amount of time it took for the Erickson’s to open up to the film crew. In the film a British rock writer who is working on a biography of the band visits Roky. It’s obvious that he has been working closely with the other members of the Elevators. He fails to illicit even the tiniest bit of confidence from his subject though. Of course his time with him was brief, and McAlester must have spent months, if not years with Roky. It is this dedication to his subject that ultimately comes through in “You’re Gonna Miss Me”. The film is as deep a portrait of a tortured soul as has ever been committed to film. Spout Post: Re:Summer Palace http://www.spout.com/groups/Spout_Mavens/Re_Summer_Palace/366/28224/1/ShowPost.aspxPost By: analogzombie
Post To: Spout Mavens
Post Date: 5/6/2008 12:49:07 AM
Body: it's all about college: review
]]>Tue, 06 May 2008 04:49:07 GMTanalogzombieSpout Mavens5/6/2008 12:49:07 AMit's all about college: review Spout Post: Summer Palace http://www.spout.com/blogs/analogzombie/archive/2008/5/6/28223.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 5/6/2008 12:45:13 AM
Body: A glow hangs over Lou Ye’s “Summer Palace” like that of your best memories. Ostensibly a college coming of age story for a young girl from the country set against the back drop of late 80’s Tiananmen Square Beijing, the swimmy story and dreamlike images conjure more a feeling freedom than of oppression. I suppose this strikes just the right tone then, for something so subversively political as to get banned by the Chinese government. Still, the politics don’t enter until late in the game, and the bulk of Ye’s film is concerned with the ups and downs of Yu Hong (Hao Lei) and her relationships. From a first encounter before leaving for college to the semi-mature love of Zhou Wei yet more lovers, Yu stumbles as she navigates her way into womanhood. The film is seen entirely through the lens of Yu Hong. As her love life begins to implode the student movement begins to explode. The ramping up of her emotions mirror the growing fervor with which each rally is engaged. With the arrival of her long forgotten first love, Xiao Jun, the film, like Yu Hong, begins to grow dizzy and impatient. It’s almost as if the writing is on the wall and everyone knows how these, seemingly innocent, protests will end. Even as the tension mounts the director keeps the police from view, maintaining a very closed world for his characters. Seen as abstract jeep lights, and heard as gun shots, before they are ever shown, the forces of the government emerge as other worldly beings. Totally out of place with the rest of the film. Their political revolt is more a celebration of youth than anything else. The insular world created by Beijing University cannot stand up to the reality of Chinese social order and the Communist Party. At least this is what is implied by the film, though I feel much deeper roots lie in the edges of Ye‘s narrative, Yu Hong at least, is not actively seeking them. Like the rest of China, Yu must go on, and this initial section is but a slice from her life. It makes up the most defining aspect of her character, but is just when you expect some kind of historical document to emerge from the script that it jumps about 10 years. Suddenly we find her in Wuhan, older, more stable, but still dreaming of her past love, Zhou Wei. Much talk has been made about the film’s frank sex scenes. They lack both the erotic realism of something like Winterbottom’s “9 Songs”, and the soft focus bi-curiosity of Bertolucci’s “The Dreamers”. Instead Ye presents his scenes as real and tender encounters that break through the idea that sex is easy, or hard, or boring, or steamy. It just is, and Ye finds a way to show it to us in all its exciting banality. What Summer Palace captures so perfectly is not social unrest, but college and the transition into adulthood. That time when the world is completely open, yet everything seems so clear and defined. We are right, they are wrong, I love him, He loves me and love is all we need. It’s all very Beatles. With the onset of Yu Hong’s late twenties, everything becomes a bit more clear as her life comes into focus. The film retains it’s dreamlike quality though as Hong’s thoughts drift constantly to her time in college. This time too, is stuck in our minds, as it Ye ensures that it’s glow filters our perception of what lies ahead. Summer Palace is an accomplished and ethereal film, even if the voice over can be too much at times.
]]>Tue, 06 May 2008 04:45:13 GMTanalogzombieanalogzombie Blog5/6/2008 12:45:13 AMA glow hangs over Lou Ye’s “Summer Palace” like that of your best memories. Ostensibly a college coming of age story for a young girl from the country set against the back drop of late 80’s Tiananmen Square Beijing, the swimmy story and dreamlike images conjure more a feeling freedom than of oppression. I suppose this strikes just the right tone then, for something so subversively political as to get banned by the Chinese government. Still, the politics don’t enter until late in the game, and the bulk of Ye’s film is concerned with the ups and downs of Yu Hong (Hao Lei) and her relationships. From a first encounter before leaving for college to the semi-mature love of Zhou Wei yet more lovers, Yu stumbles as she navigates her way into womanhood. The film is seen entirely through the lens of Yu Hong. As her love life begins to implode the student movement begins to explode. The ramping up of her emotions mirror the growing fervor with which each rally is engaged. With the arrival of her long forgotten first love, Xiao Jun, the film, like Yu Hong, begins to grow dizzy and impatient. It’s almost as if the writing is on the wall and everyone knows how these, seemingly innocent, protests will end. Even as the tension mounts the director keeps the police from view, maintaining a very closed world for his characters. Seen as abstract jeep lights, and heard as gun shots, before they are ever shown, the forces of the government emerge as other worldly beings. Totally out of place with the rest of the film. Their political revolt is more a celebration of youth than anything else. The insular world created by Beijing University cannot stand up to the reality of Chinese social order and the Communist Party. At least this is what is implied by the film, though I feel much deeper roots lie in the edges of Ye‘s narrative, Yu Hong at least, is not actively seeking them. Like the rest of China, Yu must go on, and this initial section is but a slice from her life. It makes up the most defining aspect of her character, but is just when you expect some kind of historical document to emerge from the script that it jumps about 10 years. Suddenly we find her in Wuhan, older, more stable, but still dreaming of her past love, Zhou Wei. Much talk has been made about the film’s frank sex scenes. They lack both the erotic realism of something like Winterbottom’s “9 Songs”, and the soft focus bi-curiosity of Bertolucci’s “The Dreamers”. Instead Ye presents his scenes as real and tender encounters that break through the idea that sex is easy, or hard, or boring, or steamy. It just is, and Ye finds a way to show it to us in all its exciting banality. What Summer Palace captures so perfectly is not social unrest, but college and the transition into adulthood. That time when the world is completely open, yet everything seems so clear and defined. We are right, they are wrong, I love him, He loves me and love is all we need. It’s all very Beatles. With the onset of Yu Hong’s late twenties, everything becomes a bit more clear as her life comes into focus. The film retains it’s dreamlike quality though as Hong’s thoughts drift constantly to her time in college. This time too, is stuck in our minds, as it Ye ensures that it’s glow filters our perception of what lies ahead. Summer Palace is an accomplished and ethereal film, even if the voice over can be too much at times. Spout Post: They call us the Wolfpack, they call us UNITED FRONT! http://www.spout.com/blogs/analogzombie/archive/2008/3/25/26579.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 3/25/2008 12:58:31 AM
Body: I may have grown up a continent away and a decade removed from the events in This Is England, but I know a few things about skin culture. Obviously, so does Shane Meadows. He captures the turmoil of working class 80's Britain and the rivalry between the two Skin factions; Primarily the more militant and zenophobic National Front and what would become the SHARPs (Skinheads Against Racial Prejudice). The SHARPs were a direct reaction to the ferocious racism and nazi iconography that crept into the scene. All of this is neatly contained within a poignant and touching coming of age story. A proper follow up to Dead Man's Shoes, This Is England is an illuminating window into a neglected facet of English society. The film is about a fight for the soul of Britain, told through the fight for the soul a young fatherless boy. A grand achievement.
]]>Tue, 25 Mar 2008 04:58:31 GMTanalogzombieanalogzombie Blog3/25/2008 12:58:31 AM I may have grown up a continent away and a decade removed from the events in This Is England, but I know a few things about skin culture. Obviously, so does Shane Meadows. He captures the turmoil of working class 80's Britain and the rivalry between the two Skin factions; Primarily the more militant and zenophobic National Front and what would become the SHARPs (Skinheads Against Racial Prejudice). The SHARPs were a direct reaction to the ferocious racism and nazi iconography that crept into the scene. All of this is neatly contained within a poignant and touching coming of age story. A proper follow up to Dead Man's Shoes, This Is England is an illuminating window into a neglected facet of English society. The film is about a fight for the soul of Britain, told through the fight for the soul a young fatherless boy. A grand achievement. Spout Post: Re:Africa Unite http://www.spout.com/groups/Spout_Mavens/Re_Africa_Unite/366/26232/1/ShowPost.aspxPost By: analogzombie
Post To: Spout Mavens
Post Date: 3/14/2008 6:09:47 PM
Body: It's too bad that the filmmaker didn't focus on the political struggles that led to the explosion of Reggae music, but I assume RIta Marley commisioned this film and Stephanie Black was obligated to make a tour diary.review
]]>Fri, 14 Mar 2008 22:09:47 GMTanalogzombieSpout Mavens3/14/2008 6:09:47 PMIt's too bad that the filmmaker didn't focus on the political struggles that led to the explosion of Reggae music, but I assume RIta Marley commisioned this film and Stephanie Black was obligated to make a tour diary.review Spout Post: Africa Unite: A Celebration of Bod Marley's Vision http://www.spout.com/blogs/analogzombie/archive/2008/3/14/26231.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 3/14/2008 6:04:14 PM
Body: I’ve always been more of a Peter Tosh or Burning Spear fan than that of Bob Marley. My leanings are much more political and rebellious than Marley’s later work, but I still appreciate his music and impact on global culture. His earlier, more militant efforts for black unity and self reliance were the breeding ground of his better music, and it is this music that is celebrated in Arfrica Unite. This is precisely why I think Marley is rolling in his grave now. Ziggy Marley and some of the other Marley children have been aping their father’s visage for years now, and it continues here. Profit is the order of the day complete with Coca-Cola ads and celebrities like Danny Glover. It’s actually sickening. Having seen the Melody Makers live (basically a rotating band of Bob‘s offspring), I can say that Ziggy is the best copy of his father the family has produced. The revolting and shameful acts of siblings Damian and Julian are pale imitations of their father, while Ziggy has, at least somewhat, attempted to branch out on his own. It is regrettable then, that in Africa Unite, they are all here covering songs in front of massive projections of stock Marley clips, instead of showcasing the music that owes so much debt to their father. The music plays second fiddle, though, to the social aims of director Stephanie Black. She basically uses it as score, and periodically cuts back the bands in performance to remind us that this is a concert film after all. The film is more a tour diary of a Pan-African Unity traveling concert conducted in Marley’s name, than anything else, and the music is quickly left behind. Besides the concert footage the film features respected historians and African political figures espousing why his music and words resonate with the African people. It becomes quite funny to glimpse some white faces in the crowd. Sporting Rasta hats and dreads, the descendents of the oppressors do not seem to notice their own hypocrisy. This is the only humor the film has to offer though, as it sticks to a very slapdash editing style emphasizing the gravity of the material. The concert footage is juxtaposed with interviews of modern African youths and legends of Rasta culture and Jamaican music. The interviews with the people that were there then are mostly excellent. Former members of the Wailers and other musicians provide a nice touchstone for people unfamiliar with the political history behind reggae. The young people, on the other hand, seem totally oblivious to most of the larger meanings that the filmmakers and concert promoters are claiming to be reaching towards. It is telling that half a world away most of these kids seem like they could be from Philadelphia, LA, NYC, or Chicago. They belong to a more modern youth culture, one very dissimilar to that of the heyday of Jamaican reggae. Because of this, their sections seem disjointed, and don’t fit well within the larger context of the film. One aspect that does work is the copious use of stock footage with Ken Burns Jr. style narration. These pieces illuminate the real struggle that some fought for, and their lost opportunities. Filmmaker Stephanie Black even goes further to splice a few bits of film from the perspective of the Afrikaners and the British who dominated much of the continent. These clips dovetail with the narrated sections to show the true depth of oppression that Africans lived under and the legacy they are trying to shed . It is too bad then that the film is ultimately undone by the heavy handed, and often naïve, talk of the Marley children, and Rita Marley (Bob’s widow), in particular. To hear them, you might think that Bob Marley was a liberating political figure who through sheer will and force of personality was going to bring peace and freedom to all the world. The sad reality is that Marley has been reduced to a low rent Che Guevara. He will be forever relegated to the t-shirts and posters that upper middle class white American college students use to adorn their dorm rooms. In the end that does his music a disservice. “Africa Unite: A Celebration of Bob Marley’s Vision” reaches high, but falls so short.
]]>Fri, 14 Mar 2008 22:04:14 GMTanalogzombieanalogzombie Blog3/14/2008 6:04:14 PM I’ve always been more of a Peter Tosh or Burning Spear fan than that of Bob Marley. My leanings are much more political and rebellious than Marley’s later work, but I still appreciate his music and impact on global culture. His earlier, more militant efforts for black unity and self reliance were the breeding ground of his better music, and it is this music that is celebrated in Arfrica Unite. This is precisely why I think Marley is rolling in his grave now. Ziggy Marley and some of the other Marley children have been aping their father’s visage for years now, and it continues here. Profit is the order of the day complete with Coca-Cola ads and celebrities like Danny Glover. It’s actually sickening. Having seen the Melody Makers live (basically a rotating band of Bob‘s offspring), I can say that Ziggy is the best copy of his father the family has produced. The revolting and shameful acts of siblings Damian and Julian are pale imitations of their father, while Ziggy has, at least somewhat, attempted to branch out on his own. It is regrettable then, that in Africa Unite, they are all here covering songs in front of massive projections of stock Marley clips, instead of showcasing the music that owes so much debt to their father. The music plays second fiddle, though, to the social aims of director Stephanie Black. She basically uses it as score, and periodically cuts back the bands in performance to remind us that this is a concert film after all. The film is more a tour diary of a Pan-African Unity traveling concert conducted in Marley’s name, than anything else, and the music is quickly left behind. Besides the concert footage the film features respected historians and African political figures espousing why his music and words resonate with the African people. It becomes quite funny to glimpse some white faces in the crowd. Sporting Rasta hats and dreads, the descendents of the oppressors do not seem to notice their own hypocrisy. This is the only humor the film has to offer though, as it sticks to a very slapdash editing style emphasizing the gravity of the material. The concert footage is juxtaposed with interviews of modern African youths and legends of Rasta culture and Jamaican music. The interviews with the people that were there then are mostly excellent. Former members of the Wailers and other musicians provide a nice touchstone for people unfamiliar with the political history behind reggae. The young people, on the other hand, seem totally oblivious to most of the larger meanings that the filmmakers and concert promoters are claiming to be reaching towards. It is telling that half a world away most of these kids seem like they could be from Philadelphia, LA, NYC, or Chicago. They belong to a more modern youth culture, one very dissimilar to that of the heyday of Jamaican reggae. Because of this, their sections seem disjointed, and don’t fit well within the larger context of the film. One aspect that does work is the copious use of stock footage with Ken Burns Jr. style narration. These pieces illuminate the real struggle that some fought for, and their lost opportunities. Filmmaker Stephanie Black even goes further to splice a few bits of film from the perspective of the Afrikaners and the British who dominated much of the continent. These clips dovetail with the narrated sections to show the true depth of oppression that Africans lived under and the legacy they are trying to shed . It is too bad then that the film is ultimately undone by the heavy handed, and often naïve, talk of the Marley children, and Rita Marley (Bob’s widow), in particular. To hear them, you might think that Bob Marley was a liberating political figure who through sheer will and force of personality was going to bring peace and freedom to all the world. The sad reality is that Marley has been reduced to a low rent Che Guevara. He will be forever relegated to the t-shirts and posters that upper middle class white American college students use to adorn their dorm rooms. In the end that does his music a disservice. “Africa Unite: A Celebration of Bob Marley’s Vision” reaches high, but falls so short. Spout Post: ancient Japanese secret http://www.spout.com/blogs/analogzombie/archive/2008/1/19/24073.aspxPost By: analogzombie
Post To: analogzombie Blog
Post Date: 1/19/2008 1:57:18 PM
Body: I just received the excellent new Eclipse Kurosawa collection. Kurosawa was my passport to Japanese film. I'm sure I saw Seven Samurai at some point, but the first time I became aware of one his films was in 2002 during the traveling retrospective at the High Museum here in Atlanta. SInce then I've devoured every Kurosawa book and Criterion release. So much so that Donald RItchie has become a personal hero. For the longest time Kurosawa's early works have remained almost unavailable here in the States. Reading about Scandal In The FIlms of Akira Kurosawa, or importing The Idiot is all well and good but to have the chance to own the five pre-Drunken Angel films that formed Kurosawa's bedrock is a dream come true.
]]>Sat, 19 Jan 2008 18:57:18 GMTanalogzombieanalogzombie Blog1/19/2008 1:57:18 PM I just received the excellent new Eclipse Kurosawa collection. Kurosawa was my passport to Japanese film. I'm sure I saw Seven Samurai at some point, but the first time I became aware of one his films was in 2002 during the traveling retrospective at the High Museum here in Atlanta. SInce then I've devoured every Kurosawa book and Criterion release. So much so that Donald RItchie has become a personal hero. For the longest time Kurosawa's early works have remained almost unavailable here in the States. Reading about Scandal In The FIlms of Akira Kurosawa, or importing The Idiot is all well and good but to have the chance to own the five pre-Drunken Angel films that formed Kurosawa's bedrock is a dream come true. Spout Post: Neil Marshall's Doomsday http://www.spout.com/blogs/analogzombie/archive/2008/1/17/23999.aspx Post By: analogzombie
Post To: analogzombie Blog
Post Date: 1/17/2008 1:59:37 PM
Body: I love Neil Marshall, i really do, well not in that way. Having made Dog Soldiers and The Descent, he's shown himself to be able to take all the best stuff from B-grade monster suspense movies and infuse them with characters you might actually give a damn about. Dog Soldiers is about a group of British Army guys who are sent out on a mission into the deep woods. Only it turns out that they are bait for a family of werewolves. Cut off and alone in a rural farmhouse they have to fight to survive, The Descent is about a group of spelunking girlfirends who find themselves trapped in an extensive and uncharted cave system in North Carolina. Cut off from the world they must fight to survive against a family of pre-human cave creatures. Doomsday is about a plague that sweeps the UK. The survivors are secluded in a walled in Scotland to await their death. 25 years later the plague is back and some of those in the Scottish quarantine zone are still alive, apparently immune. In an effort to find the cure, a team of British special forces moves into the Quarantine zone. Cutoff and alone they must fight to survive against a band of Mad Max-a-likes. I know, Marshall keeps making the same movie over and over, but I prefer to think of it as refinement. After all, Rohmer made the same movie forever, as does Scorsese, and any real autuer. I can't tell from the trailer how Marshall this new one is going to be, as it looks like a Bloodrayne sequel or something on that level. However, all of his films have been hard to categorize based solely on the trailer. I love Mad Max Beyond Thunderdome, at least before the lost boys show up. So if this film blends that astehetic with Marshall's trademark, band of survivors against impossible odds, Doomsday could be a schloky fest for the ages.Trailer here.
]]>Thu, 17 Jan 2008 18:59:37 GMTanalogzombieanalogzombie Blog1/17/2008 1:59:37 PM I love Neil Marshall, i really do, well not in that way. Having made Dog Soldiers and The Descent, he's shown himself to be able to take all the best stuff from B-grade monster suspense movies and infuse them with characters you might actually give a damn about. Dog Soldiers is about a group of British Army guys who are sent out on a mission into the deep woods. Only it turns out that they are bait for a family of werewolves. Cut off and alone in a rural farmhouse they have to fight to survive, The Descent is about a group of spelunking girlfirends who find themselves trapped in an extensive and uncharted cave system in North Carolina. Cut off from the world they must fight to survive against a family of pre-human cave creatures. Doomsday is about a plague that sweeps the UK. The survivors are secluded in a walled in Scotland to await their death. 25 years later the plague is back and some of those in the Scottish quarantine zone are still alive, apparently immune. In an effort to find the cure, a team of British special forces moves into the Quarantine zone. Cutoff and alone they must fight to survive against a band of Mad Max-a-likes. I know, Marshall keeps making the same movie over and over, but I prefer to think of it as refinement. After all, Rohmer made the same movie forever, as does Scorsese, and any real autuer. I can't tell from the trailer how Marshall this new one is going to be, as it looks like a Bloodrayne sequel or something on that level. However, all of his films have been hard to categorize based solely on the trailer. I love Mad Max Beyond Thunderdome, at least before the lost boys show up. So if this film blends that astehetic with Marshall's trademark, band of survivors against impossible odds, Doomsday could be a schloky fest for the ages.Trailer here. Spout Post: Re:World War Z (2) http://www.spout.com/groups/Zombie_Obsession/Re_World_War_Z_2/329/23889/1/ShowPost.aspxPost By: analogzombie
Post To: Zombie Obsession
Post Date: 1/14/2008 8:53:58 PM
Body: If you were to make a film from World War Z it would have to be in the Babel format. I don't see how it could be condensed into a single narrative. Not even if the main characters were at such a powerful level that they could have knowledge about what was happening all over the world. Brook's greatest talent is distilling the horror into a very personal experience of the common man. I've always thought an HBO series would be a better fit for his works.
]]>Tue, 15 Jan 2008 01:53:58 GMTanalogzombieZombie Obsession1/14/2008 8:53:58 PMIf you were to make a film from World War Z it would have to be in the Babel format. I don't see how it could be condensed into a single narrative. Not even if the main characters were at such a powerful level that they could have knowledge about what was happening all over the world. Brook's greatest talent is distilling the horror into a very personal experience of the common man. I've always thought an HBO series would be a better fit for his works. Spout Post: Re:Re:Re:Introduce Yourself http://www.spout.com/groups/Introduce_Yourself/Re_Re_Re_Introduce_Yourself/291/23888/1/ShowPost.aspxPost By: analogzombie
Post To: Introduce Yourself
Post Date: 1/14/2008 8:48:02 PM
Body: Welcome Kristal!If you're a fledgling lover of French film steer yourself to 60's new wave filmmakers and their ilk. Not only are they they genesis of modern French cinema, but also the purveyors of an entirely independent view of cinema as a whole.
]]>Tue, 15 Jan 2008 01:48:02 GMTanalogzombieIntroduce Yourself1/14/2008 8:48:02 PMWelcome Kristal!If you're a fledgling lover of French film steer yourself to 60's new wave filmmakers and their ilk. Not only are they they genesis of modern French cinema, but also the purveyors of an entirely independent view of cinema as a whole. Spout Post: Re:Out of Balance http://www.spout.com/groups/Spout_Mavens/Re_Out_of_Balance/366/23873/1/ShowPost.aspxPost By: analogzombie
Post To: Spout Mavens
Post Date: 1/14/2008 2:02:22 PM
Body: I reviewed this middling film. It gets the science right and definitely paints Exxon as a true creep but the I found myself distracted by poor editing choices.
]]>Mon, 14 Jan 2008 19:02:22 GMTanalogzombieSpout Mavens1/14/2008 2:02:22 PMI reviewed this middling film. It gets the science right and definitely paints Exxon as a true creep but the I found myself distracted by poor editing choices. Spout Member:The_MOW - Mickey Micklon http://www.spout.com/members/148616/default.aspx Identity: The_MOW
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]]>Sun, 30 Aug 2009 04:00:00 GMTThe_MOWMickey Micklon369Uberlister (>100)Sat, 04 Apr 2009 11:50:30 GMTMember Spout Member:horror http://www.spout.com/members/144661/default.aspx Identity: horror
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]]>Sun, 30 Aug 2009 04:00:00 GMTfire13110Beginner (<10)Sat, 01 Sep 2007 21:48:24 GMTMember Spout Member:Argueta http://www.spout.com/members/91469/default.aspx Identity: Argueta
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]]>Sun, 30 Aug 2009 04:00:00 GMTArgueta0Beginner (<10)Fri, 31 Aug 2007 20:52:15 GMTMember Film:Funny Games http://www.spout.com/films/Funny_Games/288707/default.aspx Title: Funny Games
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]]>Mon, 31 Aug 2009 12:47:00 GMTFunny Games2007Michael Haneke27Tag Target (>10)241483http://www.spout.com/ProductImages/s288707.jpghttp://www.spout.com/films/Funny_Games/288707/default.aspxFilm Film:The Dark Knight http://www.spout.com/films/The_Dark_Knight/288704/default.aspx Title: The Dark Knight
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]]>Sun, 30 Aug 2009 23:13:34 GMTThe Dark Knight2008Christopher Nolan149Tag Target (>10)98156554http://www.spout.com/ProductImages/s288704.jpghttp://www.spout.com/films/The_Dark_Knight/288704/default.aspxFilm Film:H2 http://www.spout.com/films/H2/397884/default.aspx Title: H2
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]]>Sun, 30 Aug 2009 08:45:58 GMTH22009Rob Zombie111http://www.spout.com/ProductImages/s397884.jpghttp://www.spout.com/films/H2/397884/default.aspxFilm Film:Eleanor: First Lady of the World http://www.spout.com/films/Eleanor_First_Lady_of_the_World/10331/default.aspx Title: Eleanor: First Lady of the World
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]]>Sun, 30 Aug 2009 02:47:51 GMTEleanor: First Lady of the World1982John Erman1http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/Eleanor_First_Lady_of_the_World/10331/default.aspxFilm Film:Black Test Car http://www.spout.com/films/Black_Test_Car/328181/default.aspx Title: Black Test Car
Year: 1962
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]]>Sat, 29 Aug 2009 23:01:54 GMTBlack Test Car196224http://www.spout.com/ProductImages/u37747stl5z.jpghttp://www.spout.com/films/Black_Test_Car/328181/default.aspxFilm Film:Dumpster Baby http://www.spout.com/films/Dumpster_Baby/273527/default.aspx Title: Dumpster Baby
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Year: 2008
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]]>Sat, 29 Aug 2009 14:21:45 GMTSpeed Racer2008Andy Wachowski, Larry Wachowski90Tag Target (>10)1641163http://www.spout.com/ProductImages/s297765.jpghttp://www.spout.com/films/Speed_Racer/297765/default.aspxFilm Film:Speed Racer [Anime Series] http://www.spout.com/films/Speed_Racer_Anime_Series/32330/default.aspx Title: Speed Racer [Anime Series]
Year: 1967
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]]>Sat, 29 Aug 2009 14:20:43 GMTSpeed Racer [Anime Series]19671113http://www.spout.com/images/no_image.jpghttp://www.spout.com/films/Speed_Racer_Anime_Series/32330/default.aspxFilm Film:The Raven http://www.spout.com/films/The_Raven/317289/default.aspx Title: The Raven
Year: 2007
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]]>Sat, 29 Aug 2009 04:13:53 GMTThe Raven2007Ulli Lommel21http://www.spout.com/ProductImages/u08974fjkcg.jpghttp://www.spout.com/films/The_Raven/317289/default.aspxFilm Film:The Ballad of the Sad Cafe http://www.spout.com/films/The_Ballad_of_the_Sad_Cafe/2239/default.aspx Title: The Ballad of the Sad Cafe
Year: 1991
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]]>Fri, 28 Aug 2009 19:25:24 GMTThe Ballad of the Sad Cafe1991Simon Callow22http://www.spout.com/ProductImages/t54643em1b1.jpghttp://www.spout.com/films/The_Ballad_of_the_Sad_Cafe/2239/default.aspxFilm Film:New York, New York http://www.spout.com/films/New_York_New_York/24524/default.aspx Title: New York, New York
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]]>Fri, 28 Aug 2009 19:22:40 GMTNew York, New York1977Martin Scorsese23Tag Target (>10)125722http://www.spout.com/ProductImages/u47828gvtpe.jpghttp://www.spout.com/films/New_York_New_York/24524/default.aspxFilm Film:St. Nick http://www.spout.com/films/St_Nick/402616/default.aspx Title: St. Nick
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]]>Fri, 28 Aug 2009 15:01:06 GMTSt. Nick2009David Lowery3Slightly Tagged (1-5)255http://www.spout.com/ProductImages/s402616.jpghttp://www.spout.com/films/St_Nick/402616/default.aspxFilm Film:We Are the Strange http://www.spout.com/films/We_Are_the_Strange/314016/default.aspx Title: We Are the Strange
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]]>Fri, 28 Aug 2009 14:25:52 GMTWe Are the Strange2007M dot Strange334http://www.spout.com/ProductImages/s314016.jpghttp://www.spout.com/films/We_Are_the_Strange/314016/default.aspxFilm Film:The Sadist http://www.spout.com/films/The_Sadist/29811/default.aspx Title: The Sadist
Year: 1963
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]]>Fri, 28 Aug 2009 14:08:29 GMTThe Sadist1963James Landis43http://www.spout.com/ProductImages/t27402rl1sl.jpghttp://www.spout.com/films/The_Sadist/29811/default.aspxFilm Film:The Alligator People http://www.spout.com/films/The_Alligator_People/50507/default.aspx Title: The Alligator People
Year: 1959
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]]>Fri, 28 Aug 2009 14:04:19 GMTThe Alligator People1959Roy Del Ruth212http://www.spout.com/ProductImages/t46806zj8ua.jpghttp://www.spout.com/films/The_Alligator_People/50507/default.aspxFilm