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The genius of this song was always right under my nose in the 90's, and yet I instead chose to turn my nose up at the entire decade. For shame.
Watching Movies Alone with crumbsroom
The genius of this song was always right under my nose in the 90's, and yet I instead chose to turn my nose up at the entire decade. For shame.
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I saw these guys open for Pumpkins once. I only have their first SubPop album, which is pretty good, but I never explored further.
I saw these guys open for Pumpkins once. I only have their first SubPop album, which is pretty good, but I never explored further.
The only thing I knew about them, back in the day, was Smashing Pumpkins and Red Red Meat covered a Vic Chesnutt song on some tribute album for him.
But that was mostly a discovery of some serious Pumpkin sniffin'.
Last edited by crumbsroom; 10-01-21 at 02:47 AM.
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Also, I should probably apologize to Jinnistan, in regards to our talk about Fleetwood Mask's "Tusk". Likely in another thread.
I should not have compared it's greatness directly to the greatness of Tango in the Night.
I can only assume you are at best tolerant towards that particular album. And Tusk is obviously better. I know I know.
But, just for the record, I really like Tango in the Night. No matter how embarassing so much of that album is.
I should not have compared it's greatness directly to the greatness of Tango in the Night.
I can only assume you are at best tolerant towards that particular album. And Tusk is obviously better. I know I know.
But, just for the record, I really like Tango in the Night. No matter how embarassing so much of that album is.
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Also, I should probably apologize to Jinnistan, in regards to our talk about Fleetwood Mask's "Tusk". Likely in another thread.
I should not have compared it's greatness directly to the greatness of Tango in the Night.
I can only assume you are at best tolerant towards that particular album. And Tusk is obviously better. I know I know.
But, just for the record, I really like Tango in the Night. No matter how embarassing so much of that album is.
I should not have compared it's greatness directly to the greatness of Tango in the Night.
I can only assume you are at best tolerant towards that particular album. And Tusk is obviously better. I know I know.
But, just for the record, I really like Tango in the Night. No matter how embarassing so much of that album is.
Also, I should probably apologize to Jinnistan, in regards to our talk about Fleetwood Mask's "Tusk". Likely in another thread.
I should not have compared it's greatness directly to the greatness of Tango in the Night.
I can only assume you are at best tolerant towards that particular album. And Tusk is obviously better. I know I know.
But, just for the record, I really like Tango in the Night. No matter how embarassing so much of that album is.
I should not have compared it's greatness directly to the greatness of Tango in the Night.
I can only assume you are at best tolerant towards that particular album. And Tusk is obviously better. I know I know.
But, just for the record, I really like Tango in the Night. No matter how embarassing so much of that album is.
Clearly well made. In many ways, I maybe even prefer Peele's approach to crafting a horror film than I did with his Get Out. But what Get Out had going for it was a startlingly clear idea of what it was trying to say. Us, on the other hand, while possibly going further in his imagistic skills as a filmmaker, crumbles under its ambitions. Normally I think I'd be fine with a horror film not exactly being able to articulate the exact nature of its horror, but Us is a film that seems like it wants to be understood. But that the director simply overstuffed with underheated ideas.
I can't say I didn't admire its weirdness. And I'm glad Peele kind of goes for broke here. But I began finding it frustrating as it went along as it seems to be trying to generate some kind of dialogue with the audience, and every thought I had about it as it unfolded just felt like it was hitting dead end after dead end.
I can't say I didn't admire its weirdness. And I'm glad Peele kind of goes for broke here. But I began finding it frustrating as it went along as it seems to be trying to generate some kind of dialogue with the audience, and every thought I had about it as it unfolded just felt like it was hitting dead end after dead end.
Everything about this should have annoyed me. Instead, only a good chunk of it did. Which felt like some kind of victory, since I only put this on to fall asleep to with no intentions of ever finishing. But here I am, on the other end of this overlong, fitfully interesting, somewhat stupid but kind of daringly faulted film. And I didn't hate it.
Much of the narrative structure of the film feels like Stephen King on autopilot (a bad thing, since even Stephen King on cocaine pilot is only occassionally any good), but the fact that the film takes chances with some of the most sacred text in all of horror film history, and somehow breathes a little bit of life into the mythology of The Shining, is vaguely impressive. The fact that it does it with some effectively interesting visuals, some interesting new characters and a conclusion that is so unbearably hackneyed, but still feels like returning to some kind of home, makes me unable to not at least hesitantly recommend it.
Also, the fact that it seems to address the divide between the original films universe and that of King's novel, maybe placating both King and Kubrick loyalists, is an interesting little bow.
Not that anyone expecting a Kubrick film here will be anything but disappointed. But I can't imagine anyone would be so foolhardy as to expect that.
If I was just going on atmosphere, this has a lot going for it. I still wouldn't rank it as an overlooked classic of the genre, but its gothic trappings are well studied, and there is an ever present eerieness to the whole thing. Unfortunatley, so much of the film is spent gazingly limpidly at a love triangle between three terribly uninteresting specimens, the film feels like a bit of a slog for a lot of its run time.
Recommended to those like Captain Terror, who can subsist exclusively on spooky interiors, but will likely fall flat for anyone looking for any kind of dramatic tension, or a film that has anything to say beyond a bit of a shrugged off 'boo'. Even as a purely cinematic exercise, while scenes roaming through dimly lit corridors are really good, so much of the rest of the movie just falls painfully flat. Maybe the closest example of this kind of this would be Brownings original Dracula. Except this doesn't have anything resembling a Lugosi.
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First of all, stand up, you're embarrassing me. I don't remember Tango enough, or very much of any of the post-Tusk Mac, to say definitively. In fact, outside of Tusk, I don't think I'd put any of their albums in a top 20 for their respective years. I'm pretty sure that I'm the exception to whatever conventional wisdom is among Mac fans in seeing Tusk as their perfect epitome.
It was basically a response to myself, in real time, as I was listening to Tango right after Tusk. Tango has all of the charms I remember, but feels a little too tacky and simple at times compared to how adventurous and emotionally complex Tusk is.
I still think it is a great album. But I think it is probably definitely a bit of a step below Tusk or Rumors.
Also, Mirage is good too. 80's Fleetwood Mac is definitely not relegating to sidelines.
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When I added Phantom of the Convent to my watchlist a few weeks ago it was streaming somewhere, but it appears to have disappeared since then. Where did you see it?
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When I added Phantom of the Convent to my watchlist a few weeks ago it was streaming somewhere, but it appears to have disappeared since then. Where did you see it?
Criterion channel.
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Criterion channel.
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Clearly well made. In many ways, I maybe even prefer Peele's approach to crafting a horror film than I did with his Get Out. But what Get Out had going for it was a startlingly clear idea of what it was trying to say. Us, on the other hand, while possibly going further in his imagistic skills as a filmmaker, crumbles under its ambitions. Normally I think I'd be fine with a horror film not exactly being able to articulate the exact nature of its horror, but Us is a film that seems like it wants to be understood. But that the director simply overstuffed with underheated ideas.
I can't say I didn't admire its weirdness. And I'm glad Peele kind of goes for broke here. But I began finding it frustrating as it went along as it seems to be trying to generate some kind of dialogue with the audience, and every thought I had about it as it unfolded just felt like it was hitting dead end after dead end.
I can't say I didn't admire its weirdness. And I'm glad Peele kind of goes for broke here. But I began finding it frustrating as it went along as it seems to be trying to generate some kind of dialogue with the audience, and every thought I had about it as it unfolded just felt like it was hitting dead end after dead end.
I'd never heard of this until an hour and a half ago and now I think it's a near masterpiece of mood and unease. How this has slipped by my attention all these years, but apparently also that of the entire universe, is a crime of some serious significance.
If we are talking on purely cinematic terms of editing, sound design, acting and cinematography, it doesn't get much better than this. But it's also a compelling narrative to boot and one of the best films about the occult I've ever seen. It should be on a short list right after Rosemary's Baby, The Wicker Man and Night of the Demon.
Am I being hyperbolic, yeah probably. But that's what happens when a little treasure like this has been completely over looked for so long, and you stumble upon it unexpectedly one night, as just I have. It was clear to me it was special from the moment it begins, to the moment it ends, and so I can hardly be helped being filled with not only this much excitement at having finally come across something so unexpectedly good, but also a profound confusion over why no one else seems to care.
It needs hyperbole in order to survive. It's ****ing great.
If we are talking on purely cinematic terms of editing, sound design, acting and cinematography, it doesn't get much better than this. But it's also a compelling narrative to boot and one of the best films about the occult I've ever seen. It should be on a short list right after Rosemary's Baby, The Wicker Man and Night of the Demon.
Am I being hyperbolic, yeah probably. But that's what happens when a little treasure like this has been completely over looked for so long, and you stumble upon it unexpectedly one night, as just I have. It was clear to me it was special from the moment it begins, to the moment it ends, and so I can hardly be helped being filled with not only this much excitement at having finally come across something so unexpectedly good, but also a profound confusion over why no one else seems to care.
It needs hyperbole in order to survive. It's ****ing great.
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I'd never heard of this until an hour and a half ago
That's what I thought but it's not showing up on Justwatch. I'll check it out when I'm home. That website has often been wrong lately.
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