This Shaw Brothers kung-fu swordsman epic is a bit of an overly long mess. The "heroic" characters are kinda jerks who deserve what's coming to them. The film is most noteworthy for its bloody drawing and quartering scene. Expands finger painting to a whole new level:
I listened to the audiobook version which features many of the original cast members reprising their roles. The book itself is somewhat of a disappointment and cheapens the mystery of the series by dwelling way too much on U.F.O.s and L. Ron Hubbard. If you are looking for answers, this ain't the place.
As much as I like horror, I am woefully unfamiliar with many of the classics of the genre. Amazon was offering this one for free so I finally made time to see it not really knowing what to expect. It's definitely not the gore-fest that the title would imply, but the off-camera suggestion of violence is pretty disturbing; especially in the matter-of-fact in which the killer commits his acts. The movie suffers from some amateurish performances and limited character development, but otherwise holds up incredibly well and provides some genuinely creepy moments.
Fresh off of just seeing the new Blade Runner here's another film dealing with the artificial intelligence. Only, this one is actually smart, suspenseful and creative beyond CGI eye candy. Every little plot point was thought through and the ending sticks with you long after the movie is over.
I've tried to like the original Blade Runner. I've watched it several times, in several different “official” final, FINAL and this time we mean it cuts. It just ends up boring me. Deckard is a dull character. The plot is dull and meandering. But the visuals are cool and Rutger Hauer fights in a pair of boxer-briefs. I get why folks go nuts for it (the film, not the briefs), but it's just doesn't do it for me. This sequel is just as visually stunning and has a slightly more interesting lead character and plot. But, in the end, it's once again overly long and a little dull.
I thought it was Game of Thrones, but this is definitely the weakest Telltale release. I don't mind that this is geared for children, but the thing that makes Telltale games work is difficult choices. I felt all the decisions in this game were pretty obvious and didn't have broad ramifications. Also, when you have Patton Oswald and Pee Wee Herman as your lead voice actors, you'd think there'd be a bit more room for comic hijinx. Alas, this is not the case.
Bonnie McFarlane's documentary sets itself up as an investigative report into the supposed bias against women in comedy. It doesn't really probe that topic too deeply. Instead it becomes more of a reality show about Bonnie and her husband, fellow comedian Rich Voss. This is all for the better, because the interaction between the two is far more interesting (and funny) than delving into sexism and other heady topics.
It took me nearly half a decade to finish this one. Not that it's terribly difficult, I just put it down at some point and forgot to finish it. I suppose that's not really a ringing endorsement. Oh well.
This installment in the series feels much like its predecessor, The Phantom Hourglass. The hook here is that over world travel takes place on trains rather than boats. Also, this time around Zelda is with you as a spirit who can possess the bodies of various armored "phantoms". This leads to some decent puzzles in which you need to control both characters in order to achieve your goals.
This is a double CD set of Mario Bava soundtracks. Cipriani's work is a little corny at times. To my ears, it's often indistinguishable from Scooby Doo background music. However, about two-thirds of this set is pretty good. I especially like the bongos on Bay of Blood and the kinetic harpsichord in Rabid Dogs. Baron Blood is a bit too muzak for my tastes.
Bruno Nicolai is often cited as Ennio Morricone's conductor for many of his soundtracks. I get the feeling that the two, as they both cranked out giallo scores, literally borrowed from each other during the early seventies. Les Cauchemars has the free-form experimentalism of your standard Italian thriller soundtrack. Many of the songs alternate between being based around a disjointed, percussive honky-tonk piano sound and ambient violin notes. Although there's no catchy title song, the CD good for what it is... a party ender.