After having read the comic a few months back I thought it would be a good time to finally watch this old TBS staple (along with The Beastmaster). Visually, this film is stunning in its art direction and fashion. That alone is reason enough to watch it. But, aside from the look of the film, there isn't much else going for it. The plot is stupid and exists only to get us from one sexy spacey situation to the next. I guess the film is trying to be comedic but the only genuinely funny part was David Hemmings and his bumbling revolutionary character.
So, I've spent the last couple of weeks working my way through F.E.A.R. and its two expansion packs: Extraction Point and Perseus Mandate. I think this was Monolith's immediate follow-up to their near-perfect No One Lives Forever games. Just about everything that was so great about NOLF is missing here. There's no humor, no variety in game play and the storyline is blah.
Woah! Joey Lawrence fights a sentient electricity monster. This is a lame made-for-TV quality film that takes forever to get rolling and isn't quite bad enough to be laughable, but not good enough to keep you awake. Is there an example of a movie in which household technology attacks humans that is actually frightening? Maximum Overdrive? The only thing frightening about that movie was Stephen King's crossed eyes on the "I'm gonna scare the hell out of you!" trailer.
A lot of nerds were really excited by the prospect of a Tron sequel. What they all seemed to fail to take in to account was that the original Tron was a horrible bore. The sequel is, of course, a much more "exciting" film (one could argue that the T.V. Guide channel is more exciting than the original Tron). It also has all the CGI improvements you would expect from a modern film . Every frame of the digital world is a beautifully composed neon painting. However, the story is flatter than something that's really flat and the characters are equally dimensionless.
This is a drawing from my sketchbook that I did when I probably should have been working. John "Cougar" Mellencamp as a vigalante hero. We went hunting for The Coug when we visited Bloomington, Indiana several years ago and spotted him zooming by in a convertable Porsche. A rare Coug sighting indeed.
After many months of playing I have finally finished all three of the games included in this excellent limited edition box-set. The game(s) come in a nice metal tin with a clear plastic outer sleeve. Normally, I don't care too much about this sort of thing, but it was a nice surprise when I first opened the package to find that they put a little thought into the design. Apparently, this is out-of-print and now fetches prices near $100 on Amazon (when I got it, it was $25, new).
Twelve Winds is much like their As Above, So Below EP but with more songs! (They must have learned from the tragic mistakes of Five Flags Amusement Park: more flags = more fun) Actually, the songs here tend to be a tad bit more mellow than the ones on the EP so I tend to gravitate towards the EP rather than this CD, but I really like the title track and there are a couple of others that are almost as good.
The capitalization challenged tHE POLES are one of the few bands that Nonagon has played with that I actually really like. This six-song EP features more-or-less standard underground rock songs, but what I think what differentiates them for me is the gruff vocals, varied dynamics within the songs and a driving low-end. Or perhaps maybe I am just responding positively to an early 90s post-punk vibe that I am detecting.
The Hero of Ages picks up a year or so after the events of The Well of Ascension. This final volume of the Mistborn series is very similar to its predecessor in that much of the book deals with a city under siege (only seen from the other side). Also, like the previous books, chapters begin with a bit of text from an unnamed document. However, in this case, the blurbs refer directly to the event you are reading about in a way that sort of deflated my anticipation of the series' climax.