Sam Raimi relentlessly fashions the film’s first half as a creepy-crawly sweat chamber with evil seemingly taking the form of an omniscient, roaming camera, gleefully poking fun at his five protagonists along the way. It’s no accident that some of the greatest cinematic adaptations of sci-fi novels bear only a passing resemblance to their source material. Criterion got involved at first through our producer [Martin Rosen]. But you’re right, ultimately, there’s always going to be for me a conversation between the two. Ever since audiences ran screaming from the premiere of Auguste and Louis Lumière’s 1895 short black-and-white silent documentary Arrival of a Train at La Ciotat, the histories of filmgoing and horror have been inextricably intertwined. "Hot in Herre" was Nelly's first No. Joel’s memories go backward in time from the last gasp of their love to their initial spark, but there are sideways detours along the way that take him to infancy and memories of his first childhood humiliation. Now we’, Taylor Swift can’t just be defined by the men she written songs about over the years. A new restoration of Smooth Talk debuted at this year’s New York Film Festival on its way to virtual cinema engagements and, presumptively, a Criterion Collection physical release. Massive Attack 'Unfinished Sympathy' [Virgin], 1991, 36. But I hope most people don’t feel that way. "Tequila" was a chart-topping party tune when initially released. Former Motown producer and songwriter Norman Whitfield was commissioned to write the title song for the movie "Car Wash." Reportedly, inspiration came suddenly, and his ideas were handwritten on a wrapper for fried chicken. Everything about the song feels grand and triumphal—right down to the lyrics, in which Corgan sings, “I’m gonna fly forever/We’re gonna ride the rainbow,” as if he’s approaching the gates of rock n’ roll Valhalla. Even as Cam gives new meaning to “ghosting” when Alice watches “herself” online, the film’s strengths come from an intimate familiarity with the anxieties that accompany a life predicated on thriving in a gig economy still owned and operated by impenetrable customer service mechanisms and corporate channels of older, sweaty white men. They showed it at a virtual festival where you could rent it, but they also showed it at a drive-in cinema in Brooklyn. It also includes a distinctive double-speed guitar solo, creating the run that opens the song. Though Jane’s dramatization of rage is haunting and shrewdly comical in its overt and ultimately moving über-manliness.
Horror films remain perennially popular, despite periodic (and always exaggerated) rumors of their demise, even in the face of steadily declining ticket sales and desperately shifting models of distribution. He's done so much but perhaps still Richie Hawtin's greatest achievement, 'Spastik' is imperious, terrifying, the sound of a spitting, Touretting drum machine having a break down, a murderous, metallic jazz take on techno. Today it is ubiquitous at weddings and anniversary celebrations. As a drunk says to Alex (Malcolm McDowell) right before taking a vicious beating: “I don’t want to live anyway! 1 country hit and the first from his 17-times platinum album "No Fences." Chase & Status 'Blind Faith' [Ram], 2011, 45. My work always starts with a series of questions, and the answers come out of conversations that are happening with people in my community are what inform a lot of the aesthetic choices. If in Midnight Special is, at its heart, a work of science fiction, it rolls out like a chase film. Easton gives her all like she’s trying to steal Pat Benatar’s career, and the hook is catchy, even when the bland come-hither lyrics sound like they’re more appropriate for a Palm Springs timeshare brochure than a major feature film about a guy who kills people for a living. From 1977’s thoroughly dull The Spy Who Loved Me, Carly Simon’s “Nobody Does It Better” slots firmly into the latter category, as the low-key singer shows no interest in delivering the jolts or theatrics of the franchise, and a perfunctory mention of a spy in the lyrics comes off as a contractual obligation. And The Beat Goes On –•– The Whispers That’s a great question. "Dancing With Myself" was originally recorded by Billy Idol with his group Generation X. There are few things in the world as fun as totally letting go and dancing. New jack swing, hip-hop, and house are more prominently featured, though none particularly successfully. 1 smash from Vanilla Ice, is easily derided, but it remains a key record for breaking hip-hop into the U.S. pop charts. The song went clear to No. I can’t honestly tell you more than that about it.
Because no marriage can sustain this type of sexual momentum forever, the song even comes with its own contraceptive device: those irritating chipmunk voices (be they sperm or the resultant rugrats) that interrupt every break with “You don’t really wanna stop? 79. Did you feel a need to rescue or shelter Time from the tropes of social realism or the journalistic point of view that normally pervades stories about mass incarceration or the prison-industrial complex? When Oskar (Kåre Hedebrant), a 12-year-old outcast perpetually bullied at school, meets Eli (Lina Leandersson), the mysterious new girl at his apartment complex, one child’s painful coming of age is conflated with another’s insatiable bloodlust. It’s not for nothing that Henry is made to have no voice, as Hardcore Henry’s unbelievably precise choreography of action seeks to tap into a universal feeling of powerlessness. 3. There are other projects that I’m working on or thinking about where I’m coming at it actually from a larger scale first. Like Benton’s craving for smack, the beats are frantic, dizzying, ravenous, even pained, rippling outward like ginormous waves or cascading ribbons made of steel, grasping for the sort of ecstasy that seems to only come with absolute annihilation. But the warning doesn’t take. Sasha 'Xpander' [deconstruction/BMG], 1999Progressive house was all but dead by 1999. It takes courage to try to best Björk, but in this case it paid off big time. It’s Gus Van Sant through a Southern-gothic haze, thrumming with an urgency bestowed by Tangerine Dream’s score and thematic heft alike. Boogie Oogie Oogie –•– Taste of Honey 84. While that formula would meet with mixed success on the subsequent Adore, “Eye” remains a sublime slice of electro-goth, pairing Corgan’s understated performance with a litany of chilling instrumentation—not to mention the wonderful angularity of that crisp drumline.
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