After The Walking Dead (especially season two... which I apparently forgot to review. Well, it was great.), I was pretty much sold on the Telltale choose-your-own-adventure game formula. These games are really like watching a TV show in which you're forced to pay close attention to what's going on and have a say in how the characters interact with eachother. So far, the stories and characters have been engaging and satisfying.
An absolutely fantastic collection of themes and incidental music from the sixties cult T.V. show, The Prisoner. I use this music all the time as background to my various home movies and have been dinged several times for copyright violations from YouTube. Laws be damned, this music is essential. It's a mix of mod jazz, easy listening and marching band music. Trust me it rules. This CD is actually a professionally produced bootleg.
There are lots of echoes and percussive bursts that elevate this mostly run-of-the-mill film score. It's the appropriate music for when you are caged like a beast or being netted by soldier apes. The CD also includes the far funkier and melodic suite from Escape from the Planet of the Apes.
Coming off of FarCry 3, I really wasn't sure I wanted to commit myself to another massive open-world game, but San Andreas was there in my bin of unplayed games calling to me. The GTA formula, like war, never changes: huge open world, lots of driving, violent gangster themes and general mayhem. I really wish the stories were more compelling, but they tend to get lost in the huge scope of the game. Personally, I have no nostalgia or interest in Southern California gangsta culture and music. In light of the never-ending murder in Chicago, it's a hard sub-culture to glamorize without feeling icky. I was able to set that aside and just enjoy exploring the map and all it's diversity.
I tried very hard to like the book Naked Lunch. All the cool kids thought it was just the bee's knees. Well, when I read it, I just didn't get it. Then I read it again and it didn't get any better. A few cool vignettes that add up to a big nothing. Not surprisingly, I discovered later on that Burroughs randomly cut up his writing and arranged it into a novel. What did he expect other that complete confusion?
This classic sets itself up as a last man on Earth drama, but within five minutes kills that premise. The baddies are a set of hippy-dippy night people who offer no real threat to the protagonist yet are trying to attack him for no real reason. Of course there are lots of other people who survived Armageddon. More hippies. We must increase our numbers so we can form an organic foods co-op! Heston is always great in these early seventies films, but, man, dumb movie.
A year ago a watched the other half of this double feature film noir DVD. This second movie is much better but is based on a completely ridiculous premise. A man on the run from the mob assumes the identity of another man who looks like him. When I say "assumes" I mean it. Takes his job. Goes on the town with his wife. And nobody catches on?! Despite this, there are some clever twists and turns that keep it exciting even though everything happening is fully implausible.
Ok, my wife wanted the entire family to watch this and I fully expected to be bored by it, but, you know what, it's a really good movie. It does have some creepy undertones in the relationship between Christopher Plummer and Julie Andrews. Also, I am noticing how in the movies, whenever there is an ex-nun, she is always portrayed as simply being an average girl who is good-natured, pure and that's about it. In reality, I would expect ex-nuns to be quoting scripture and being your average annoying evangelical-type most of the time.
It's hard to believe that this soundtrack won the Oscar for original score in 1979. Other than the disco beat of "The Chase," there's not much to this. In fact, a couple of the tracks, "Istanbul Blues" and the vocal version of the "Love Theme," are downright terrible. Maybe people were just impressed with the novelty of an electronic musical score? Or everyone was just on drugs back then.
My Adam Carolla film fest continues with this documentary about Paul Newman's racing career. There are no amazing revelations here except that Newman was a better racer than most of us realized. It's a pretty straightforward character study of a charming man living a charmed life.
Although I haven't written about them here, I have played through much of the first series of Bit.Trip games on the Wii. Most of those games could be classified as rhythm games with an Atari 2600 aesthetic. Beat and Runner were the stand-outs of the original six games. The former is a frantic pong-a-like and the latter is a platformer distilled to its most basic mechanics.
I used to listen to Adam Carolla's podcast pretty regularly but stopped around the time Alison Rosen was unceremoniously let go from the show. Her firing wasn't the main reason for abandoning the show, but it seemed like a good breaking point. An OCD collector's attitude and an hour-and-a-half long daily podcast make for a huge time commitment from which I needed to free myself. In any event, I still wanted to see Adam's crowd-funded movie, Road Hard. If you are familiar with Adam's rants none of the jokes or gags will surprise you.
Although a couple of the pieces on this soundtrack recording sound like they came straight from The Donna Reed Show, the overall vibe is a chill lounge groove. This is best expressed in the CD's showcase track, "Lolita Ya Ya." The album is interspersed with double entendre laced dialogue from the film, which is something I always like on soundtrack releases (i.e. Apocalypse Now).
I read this mostly because I am an admirer of Apocalypse Now. It sorta lost me by the end so I really didn't enjoy this.
The second Star Track reboot film was mindless fun. I was never bored despite the lame retread story, excessive attempts at style, and ill-advised grasps at nostalgia. Someone yells, "Khaaann!" Hardy, har. There's a lot to complain about here, but in the end I liked it despite these flaws.