...Vale James Valentine, beloved Aussie media fixture and sax player for one of Oz's best 80s rock bands (that's him in the leather jacket, looking distinctly less nerdy than was his later habit).
www.youtube.com/watch?v=k5EZ...
I admire how Guns 'n' Roses "You Could Be Mine" indicates firm belief the highest state anyone can hope to reach is to belong to Axl Rose, if only you behave correctly. It's a form of theology.
Just show her the actual video clip for Magic Fly and call it "Robot Monster - The Musical."
It's a great feeling when you're watching a movie you've seen a hundred times and love infinitely, and your attention seems to snap onto a higher level and you start perceiving more deeply how and why it's working.
...Vale Patrick Muldoon. Man, that just feels wrong to write. In memoriam, my essay on Starship Troopers:
filmfreedonia.com/2021/01/14/s...
You monster.
I did write about them once, long, long ago...
filmfreedonia.com/2009/06/09/k...
It did actually hit me for the first time this viewing that Larry Bishop's is the character most deserving horrible death and one left conspicuously alive.
Viewing: Quentin Tarantino's Kill Bill Vol. 2. Goddamn this diptych is perfection. Vale Michael Madsen.
Ha! No, but nice guess. Speaking of that, actually, the only one of the Disney SW shows I've watched is Ahsoka, which I did also apparently like more than anyone else.
Currently working my way through a TV series that was an absolutely savaged whipping boy for the YouTube commentariat around the Covid years, and of course I'm actually rather enjoying it.
I hope you get further with Snow Falling On Cedars than I did. It's been a while, but I remember a spongy, affected feel to it. Which, I admit, is how a lot of recent-ish fiction feels to me.
Rewatch: Quentin Tarantino's Kill Bill Vol. 1 "The name on the marriage certificate is Arlene Machiavelli. That's a fake."
The tactical cunning in choosing JD Vance as Veep has truly become plain. Put a man in the job so smarmily incompetent, intellectually malleable, and blatantly witless that you actually have to think twice about impeaching his boss.
Rewatch:
Viewing: Andrew Adamson and Vicky Jenson's Shrek. Wish this had doubled down on its mischievous satirical streak, instead of settling into a superficially revised but pretty straightforward groove. Very funny in spots, but a little Donkey goes a long, long way.
It perhaps a sad but accurate indicator of the relationship between Aussie writing and the wider public here that I have never heard of this guy.
Your DVD player loves you and wants to save you.
Ooof, man, that was the kind of bad that makes you want to stop watching movies altogether.
Viewing: Christian Duguay's Screamers. Truly, truly terrible film. No wonder Peter Weller quit acting. Supposedly had an O'Bannon script.
Movie pitch: sympathetic villainess origin story for Dion's Runaround Sue.
I listened to both that and Winter's solo album and my big takeaway was his voice was affected and annoying. Still, might grow on me.
Rewatch: Nicholas Ray's 55 Days At Peking. Scene in this when Niven warns Heston against decapitating a regime because it could mean endless war without anyone to negotiate with hits ... different right now.
Bigger? Sure. As big as they always seemed set to be? I would say not.
Viewing: Ivan Reitman's Evolution. A couple of scattered chuckles, but mostly proves boy howdy Ghostbusters really was lightning in a bottle.
Orban going down big time is the first thing that's perked me up in a year.
Cary Elwes, too.
I was just thinking the other day about how Patric was one of those figures the 80s produced a few of, along with the likes of Kevin Bacon and Matt Dillon, who would be in a couple of big movies, not quite really hit, go quiet for 6-8 years, then suddenly seem on the verge again, etc.
Rewatch: Richard Brooks' The Professionals.
"Well I'll be damned."
"Most of us are."
Ragnarok was zesty, throwaway fun, whereas Love & Thunder utterly blew a storyline with immense promise. The MCU's creative rictus was thoroughly confirmed.