Friday, February 16, 2018

And Then this Happened... In the Name of the King

So I'm giving you fair warning here, you don't want to confuse In the Name of the King with Lord of the Rings: Return of the King. Both are fantasy adventures, but one is a triumphant conclusion to one of the best film trilogies. The other is awkwardly hilarious start to one of the less notable fantasy trilogies out there. But hey, they can't all be winners right?

Now when you think of casting a king, who pops to mind? I bet the name Burt Reynolds didn't pop into your brain. I bet the Stay Puff marshmallow man would pop in there before Burt Reynolds. But hey, that never stopped director Uwe Boll from making all kinds of strange casting decisions. This may be one of his most unintentionally hilarious. But I figure it would make for some great captioning. So here you go.

And then this happened...


Monday, February 12, 2018

Top Ten - Film Score Experiences of 2017

So each year the community over at Filmtracks.com votes on their favorite scores for the year. It is great to read all the top ten nominations from everyone (and the spirited defense of certain scores). At the end of January one brave member of the community tabulates all the nominations and declares the top ten scores of the year. I have to say that every year those folks pick some excellent music. I wouldn't have discovered some of the scores I enjoy today without those competitions.

I don't usually participate in the voting, since I focus on older scores and collecting work from Jerry Goldsmith or golden age film music. But this year a few of the scoreboarders from the forum asked me to post a top ten list of my favorite film score related experiences of the year. Another scoreboarder had done something similar and it was a great read, so I figured I'd try my hand at it this year.

So better late then never, here are my top ten Film Score Experiences of 2017.

10. Valerian and the City of a Thousand Planets – Alexandre Desplat (2017)


So Desplat finally did it. He gave me a score that I really enjoyed. I’ve always appreciated his stuff but I had a hard time connecting to it. But with Valarian he just hit all the sweet spots of action, adventure and themes. The score feels fun, and there is a lot of energy to it. Once you put it in film order it gets even better, and is one I’ve come back to quite a few times over the year.



9. The Neon Demon – Cliff Martinez (2016)

This one uses 80s style synths, but has this darker and moodier overtone to it. It gets dreamy sometimes, but in an uncanny nightmare kind of way. It is less active than Nerve but I still listened to this one almost as many times. I love the way it twists and turns into the dark edges. And yeah it provided further 80s cyberpunk feeling and was perfect listening while I was reading some William Gibson earlier this year. I’m not the biggest Martinez fan, but this one just clicked with me.


8. Once Upon a Time in the West – Ennio Moricone (1968)

This one always came up when people talked about Morricone’s work in the Western genre. So I finally decided to give it a try and wow it really is top notch. I might even like it a little more than The Good, The Bad and the Ugly which held my top spot for his Western scores. Love all the themes in this score and they get some really great renditions. I try to pick up at least one Morricone score a year and I’m glad this was the one I grabbed.


7. Star Trek TNG – The Ron Jones Project Vol 1 – Ron Jones (1987/2010)

I got into a full-blown Star Trek mode midway through the year. I picked up the first disc of Ron Jones music from The Next Generation. And it was really entertaining stuff. The Naked Now feels like an interpretation of the TOS style of music and is a lot of fun. But the highlight of the disc is the music for Where No One Has Gone Before. Jones uses a lot of Goldsmith’s style in this one and it really works. Listened to this one a lot over the year and enjoyed it a little more each time.

6. Priest – Christopher Young (2011)

Man Christopher Young… the guy is just plain amazing. Each time I pick up one of his scores I’m impressed all over again. I had listened to it quite a few times on YouTube when I was writing some horror/adventure fiction and loved it. But hearing it on my headphones and then on the full surround system was such a treat. Young balances the horror with the adventure vibe and does it in a modern style – but still manages to keep it from getting droning or boring. This score just clicks everything I love about Young’s work. After listening to this score in full I easily put him as one of my favorite composers.

5. War for the Planet of the Apes – Michael Giacchino (2017)

Yeah I love me some Giacchino. Of the six scores of his I purchased in 2017 I have to say that this one was my favorite (still need to pick up Coco). The way it works in the film is just about perfect. As a solo listening experience I love the way it starts off as an atonal atmospheric mood of building tension. Then it evolves into a true journey that matches Caesar’s. The Morricone nods, the finale cues, just about everything is a truly fitting conclusion to the trilogy. You can tell Giacchino was inspired by this story, and I really can’t wait for further collaborations with Reeves. I wrote a whole blog on the scores to the films here.

4. Superman – John Williams (1978/2000)

This was a huge hole in my John Williams collection. I broke down and picked up the Rhino version of the score. Holy CRAP was this something else. It hits all the nostalgia buttons for me, but there is also this sweeping grandeur that Williams just nails. Of course the main march is excellent. But I also love his Krypton theme and the music used for the Smallville sequences. The love theme is a classic. The only weak part is the music for the comical villains. As a whole Superman is a powerhouse and I’m so happy to have it in my collection. It confirms my love for the late 70s and early 80s of Williams work.

3. Nerve – Rob Simonsen (2016)

I’m a child of the 1980s so it goes without saying that I love 80s style synth scores. When I heard samples from Simonsen’s score on Erik’s radio show Cinematic Sound Radio I put this on my “to buy” list. Picking Nerve up was well worth it. I listened to this score many times over the year. It put me deep into cyberpunk 80s mode and inspired some short fiction writing too. I even like the song that uses the main theme as its tune. It is easy to recommend this score to fans of this eclectic style of music.

2. Thriller (rerecording) – Jerry Goldsmith (1960/2017)

I discovered this television series about six or seven years ago. It is a fun bit of classic television with some creepy stories, some entertaining performances (I’m looking at you Shatner) and of course great music by Morton Stevens and Jerry Goldsmith. These guys did so much with such a limited budget for this show. And Goldsmith really cut his teeth developing his thriller and horror styling. You can hear so many little hints that would lead to The Omen, Poltergeist and Gremlins in here. Tadlow’s impressive rerecording really brings out the best out of these excellent selections from the series. The final composite end titles suite is almost worth the price of purchase alone. For a Goldsmith fan is an easy purchase.

1. Ben Hur (rerecording) – Miklos Rozsa (1959/2017)

This is one of my favorite scores of all time. When I returned to film score collecting in 2005 (and found Filmtracks at the same time) this was one of the first scores I added to my collection. I picked up the Rhino edition that extended over two CDs and still didn’t include all the music from Miklos Rozsa’s score. I listened to Ben Hur a lot back in those days and got very familiar with it. I fell in love with Rozsa’s epic style because of it. When Tadlow announced a full rerecording of Ben Hur I was ecstatic. Each time I've picked up one of their rerecording it has been a wonder to explore. To hear this full score in wonderful sound quality is really an amazing treat. Listening to this on my full surround set up was just sublime (and I’m sure the neighbors appreciated it too).

Honorable Mentions:

This year I picked up more then a few jazz based scores. I enjoyed all of them and they all got multiple listens. For the 1960s style of spy flavored jazz I enjoyed the duo of Our Man Fint and In Like Flint by Goldsmith. Followed by the wonferfully fun The Man Who Knew too Little by Young which has more than a share of Mancini in it. I also picked up The Russia House which is a much darker take on the jazz sound, a bit noire and bit more thriller. Excellent score by Goldsmith. Then you have Sneakers which is a Horner score I’ve had on my list for years. It is an excellent example of his 90s thriller style and includes some jazzy elements to it, as well as some excellent darker material.

A couple of recent scores really impressed me. Doctor Strange by Giacchino was a blast and would have probably made my top ten if War for the Planet of the Apes hadn’t been so darn good. It is an excellent superhero score and those last two tracks are gold. I also enjoyed The Last Jedi quite a bit. I think I need to give it some more time, maybe hear it in context of the film again. But it just wasn’t quite good enough to crack the top ten of my list. Superman and E.T. eclipsed it easily.

Another rerecording that I picked up was Distant Worlds: The Music of Final Fantasy Vol 1. Wow was this a lot of fun. I’m familiar with the music from some of the games, but to hear it presented with a full orchestra and with such enthusiasm was a treat. I’ve got the next volumes on my list to pick up at some point.

Picked up a few older scores that I’ve had my eye on for some time. The Last Valley by Barry was one I was waiting for a reissue on. I finally was able to pick it up and really loved it. Feels like an extension of The Lion in Winter but with a bit more melodic sorrow in it. Picked up Capricorn One by Goldsmith as well. This has to be his prototypical thriller score. So many great elements in it and it makes for an exciting and tense listening experience. When E.T. got its expanded treatment I had to grab it. Not only did it have the wonderful 1980s album presentation, but the sound quality was amazing. Finally I did a little tour through my collection at the start of the year picking a single score from each letter of alphabet. When I got to Q I realized I didn’t have anything! I remedied that with Quigley Down Under, and wow was that a treat and a half. Poledouris gives us a wonderful rollicking main theme for this Western and as a whole the score it just a lot of fun.

And just to prove that I’m not all scores and no songs, I did pick up the album to Streets of Fire a wonderfully cheesy 1980s noire/action/musical movie type thing that has some really fun songs in it. I mean if you love rockin’ early 80s style with lyrics by Jim Steinman. I also got Songs in the Key of MST which is a collection of many of the host segment songs from my favorite television show Mystery Science Theater 3000. I was worth it for Let’s Have a Patrick Swayze Christmas and Toobular Boobular Joy alone.

Well that was my best of the year. Hope you enjoyed the read and looking forward the new experiences in film scores for 2018.

Tuesday, January 30, 2018

The Monkey King (2014)

Introduction:

When I wrote my review of Jack Frost for this blog I came to the realization that movies about folklore and myth don’t always translate well to other countries. In the case of Jack Frost much of that film feels goofy, chaotic and over the top. So when I heard the reception of North American film fans to the movie based off the Chinese legend called Journey to the West, I figured it was the same deal. But then I saw some screen captures of Donnie Yen in his makeup and I was disturbed but intrigued. I had to find out if The Monkey King was as scary looking as those pics hinted.

Summary:

Ok folks, strap in, because a lot of stuff happens in this movie and it is hard to condense down. The movie kicks off with a battle between the forces of heaven and hell! The Jade Emperor (Chow Yun-Fat) leads the heavenly host against the Bull Demon King (Aaron Kwok). Much of heaven is bashed up and destroyed in the process, but the Jade Emperor is able to overcome the forces of darkness and he banishes them to a fiery hell mountain. The Goddess Nuwa (Zhang Zilin) transforms her body into crystals that magically restore heaven, but she ceases to exist.

One of the magical crystals crashes into Mount Huaguo. From the crystal emerges a monkey imbued with all the power of an immortal. He is trained in martial arts and magic and soon declares himself The Monkey King. But Sun Wukong is a monkey with a lot of attitude and soon he begins messing up earth and heaven in his efforts to make himself more powerful. Wukong does all these things to help his fellow monkeys and the pretty silver fox, Ruxue (Xia Zitong). But the Bull Demon King figures out that he can use Wukong’s power to breach the gates of heaven and take another stab at destroying the Jade Emperor. So he uses flattery and deceit to corrupt Wukong. This leads to another epic battle between heaven and hell. But does the Jade Emperor have any hope against the power of The Monkey King?

Good Points:
  • Donnie Yen captures the mercurial character of Sun Wukong
  • Aaron Kwok gives the Bull Demon King a bit of gravitas
  • Christopher Young’s score is one of his best

Bad Points:
  • The visuals do not mesh and are very distracting
  • So much going on in this story that the characters suffer
  • Missing some transitions so those not familiar with the story may find it confusing

Overall:

When you have source material this colorful and exciting it can be hard to know where and how to approach it. This movie doesn’t pull it off very well. Visually it clashes with itself and you end up focusing on the oddness of the whole thing and ignoring the story and characters. Sadly the characters are thin archetypes and not given too much time to be fleshed out. Some solid performances and a wonderful fantasy score by Christopher Young help carry the movie along. In the end it overstays its welcome, but remains entertaining – if the makeup for Sun Wukong doesn’t give you nightmares.

Scores (out of 5)
Visuals: 2
Sound: 3
Acting: 4
Script: 3
Music: 5
Direction: 3
Entertainment: 3
Total:  3

In Depth Review

Surprised and delighted by his antics?
This movie is not the train wreck I expecting. But it isn’t all that great either. If you approach it with the right expectations you will probably have a good time with it. While watching The Monkey King I wondered why the hell this wasn’t turned into an animated series with a big budget. All the issues I have with the film could be solved with dropping the live action and giving the characters more room to breathe. Journey to the West is a wonderful mythical story and you can do so much with it. I know a lot of time and money was spent on this movie, I can see why people were expecting more.

The thing is Journey to the West has been adapted many, many times over the years. There have been direct adaptations for television, animation and video games. Some are from China, but I’ve seen just as many from Japan. Heck one of the most popular anime series of the 1990s, Dragonball Z takes inspiration from Journey to the West. Sun Wukong is a character that resonates through much of Asian culture in one form or the other.

This is why I think that all hype I saw comparing The Monkey King to Lord of the Rings actually did more harm than good. The Lord of the Rings films grounded themselves in a reality. They had dirt and grime in them. They felt tied to our reality in a way that The Monkey King is not interested in tackling. If you go in expecting to see something like Lord of the Rings or god forbid Game of Thrones you are going to be deeply disappointed in The Monkey King.

I hope this goes better than it did with The Bride.
Actually this film reminds me of the Star Wars prequels. I know, I know, that doesn’t inspire much confidence either. But both stories had huge scope to them, and required massive amounts of green screen and CG effects to bring the tales to life. Both films focused on a main character who isn’t terribly likable, but rises and falls as the story progresses. We see this character being twisted by his enemies using his love against him. In the end, both tales hint at redemption and hope in some way. So really The Monkey King is the prequel to the true tale of Journey to the West where Sun Wukong travels on a journey of enlightenment.

I don't care who you are, I'm not listening to anyone
wearing that hat.
But to be enlightened, you have to start off as an unenlightened jerk, and so we have the main story told in this film. Looking at it that way, you understand why Donnie Yen plays Wukong the way he does. You have to have a way for the character to progress and since this is a planned trilogy of films, it makes sense that we see Wukong at his most childish and self-centered in The Monkey King. Yen gives an animated performance, mixing in monkey-like gestures, movement and expressions with a childlike exuberance. I can see how some folks are going to find his performance to be too over the top, but I think it actually fit this character. Wukong is governed by his emotions, and to have them so bombastic allows us to see how powerful they really are. It is because he loves so deeply that he turns so harshly against the Jade Emperor. Yes, the makeup does come across as creepy at times especially combined with the enthusiastic performance, and it is something that ends up distracting the viewer.

Putting the KONG back in Sun Wukong
But if we only had the performance to worry about than I wouldn’t have scored this all that low. Unfortunately we also have to deal with the scenes involving 90% green screen work. The story about wars in heaven is going to demand a massive amount of visual effects. Sadly the sheer volume of effects required obviously impacted the final look. Much of what you end up seeing lacks detail. Accurate shadows and light are missing, and it gives everything a very video gamey look. But I’m not talking about modern video games. There are scenes that look like cutscenes from Playstation 2 era of graphics. If the whole film had this visual look, it might have been acceptable.

Unfortunately there are some really solid sets used in the film, like Mount Huaguo. You also have the detailed costumes that nearly every character is wearing. Suddenly these purely CG backgrounds and effects look even more dated and less convincing. There are also plenty of scenes where characters are performing impossible feats, and everything on the screen is animated. Once again you feel like you are playing a video game of The Monkey King and not watching a film featuring some of China’s finest actors.

Yes, I am very fabulous.
That is another gripe I see leveled at the film, and it is a legitimate one. You have some cast members, including Donnie Yen, who are excellent martial artists. And you pack the movie full of impossible over the top combat moments. This means you end up with battles of CG versions of Donnie Yen and Chow Yun Fat, when you know these guys could actually be doing real full-blown action scenes. It is really disappointing. Yen does get a couple of scenes to show his skills, but there is still plenty of CG involved and it really reduces the impact.

Is she about to run into the Big Bad Bull?
But let’s be honest here, the goal of The Monkey King isn’t martial arts action. It is to tell a fun adventure story pulled from a familiar mythic text. Here too the film doesn’t really succeed. The most developed character is Sun Wukong, which makes sense. But even he feels a bit flat. The movie spends a lot of time on his antics and silliness, but doesn’t really flesh him out too much. We get a sense that he wants to care for his monkey people, but the movie doesn’t take enough time to sell it. We end up getting a flashback to a silly scene that is heartwarming, but feels slapped in there. A little better is his relationship to Silver Fox. The cute scene they share watching the sunrise is nice, and we feel bad that she is basically duped by the Bull Demon King. She is more sympathetic than Wukong ever is.

At home with the Bull Demon family.
The movie also moves at breakneck speed, attempting to cram in all these moments and plot points. As a result there are some missing transitions. Suddenly characters are in different places, or a character appears and we weren’t even sure where they came from. I’m familiar with the story already, so I didn’t get too confused. But it did feel choppy and just unpolished in places. The movie is long, and you feel it because of all the plot crammed in there. That is the main reason I think The Monkey King should have gone with animated television series with big name Chinese voice actors instead. This movie could have easily been a single season.

I did like a few things about the film. Visually it is bright colorful and unashamed of just going for full-blown spectacle time and again. I admire that (even if it never really pulls it off). It is nice to see a fantasy film delving into a full fantasy look and eschewing the gritty dirty look that Lord of the Rings initiated and has plagued fantasy films, games and television series in Hollywood ever since. This movie looks like it could be a visual adaptation of an anime at times. It isn’t as effective as Speed Racer, but it gets points for committing to the look.

Looming alarmingly.
I also thought that Aaron Kwok did a really good job with the antagonist. Instead of making him a simple mustache twirling over the top villain he keeps the Bull Demon King cool. Seriously, this guy is calm, methodical and burning with hatred for the Jade Emperor, but it simmers down deep in the eyes. It is a nice contrast to Yen’s energy, and when the Bull turns into the calm advisor for Wukong Kwok’s performance makes it all work. The movie also gives him a little bit more to care about, in the form of his lover Princess Iron Fan (Joe Chen). In the end I was actually cheering for the Bull Demon King to kick some ass by the end, and that is mostly based on Kwok’s charisma in the role.

Just as entertaining is the score by Christopher Young. Young is best known for his wonderful work in horror film scoring. But let me tell you, this man is versatile and can compose powerful music for dramas, jazzy snazzy music for spy parodies, and hard hitting action music. For years I’d hoped that Young would get the chance to score an epic fantasy or science fiction adventure. Finally he gets the chance with The Monkey King. Not only was this a full-blown fantasy film, but the creators wanted the music to be big and powerful. With Hollywood trending for lower key and moody music of late, Young jumped at the opportunity to craft his own multi-thematic fantasy adventure score.

Don't tell them that foxes and monkeys can't fly.
If there is any element you could compare to Lord of the Rings it would be Young’s score to The Monkey King. It has all the emotion and power and thrills you want. Young not only takes the fantasy playbook from Hollywood, but he combines it with Chinese instrumentation and style. The result is an amazing hybrid score that is clearly from Christopher Young, but also doesn’t sound like anything else he’s ever attempted. In the film, Young’s music ends up carrying some of the power, because the visuals end up falling so flat. Most of the time it is perfect combination, and you can tell Young had a blast with this score. A few times Yen’s enthusiastic performance combines with the big music and makes it a little bit too much. But I can forgive this a little bit since the music is so good. In the end Christopher Young ended up composing one of his best scores for The Monkey King, and that is saying something, because I have yet to come across a Young score I don’t like.

The Monkey King’s production didn’t go smoothly, and there were some casting changes and other issues along the way. I get the feeling that this impacted the final product (just like it did in Rogue One). The film is plot heavy and rushes along so fast that you never connect with the characters. I’m sure someone familiar with the story can fill in the blanks, but for viewers new to the saga it can feel disjointed and messy.

I'm in charge dammit. Look at this hat!
It does remind me quite a bit of Sadko (also known as The Magic Voyage of Sinbad in the west), where the attempt to bring a well known mythic tale from one culture to the next turns it into a kaleidoscope of bizarre imagery, random story elements and overall bafflement from the audience. But really only from an audience that wasn’t the target of the original. Sadko may feel like jaw dropping insanity in its heavily edited and poorly dubbed form, but it was an award winning film in Europe and Russia. The Monkey King didn’t suffer the indignity of a chopped up and dubbed North American release, so that is a good thing. And to be honest while the film a mega-hit in China, there was still disappointment about the final result.

I enjoyed watching The Monkey King. Yeah it has some bizarre and sometimes disturbing visuals because of the makeup and enthusiasm of Donnie Yen’s acting. Yeah some of the large scale moments clash with their CG and live action elements, and create some unintentionally funny visuals. But I like the tale being told. I liked the character of Sun Wukong and his journey is one worth watching. I loved the enthusiasm of the whole endeavor. The move is going for big flashy fun, and it succeeds quite often. I’m glad I watched it and got to experience Christopher Young’s score in context (because being a film score nerd, that was the main reason I had this in my Netflix cue).

That said, The Monkey King is only the set up for the true Journey to the West. In 2016 that journey started with The Monkey King 2 and word is that film makes some needed improvements that give it quite a boost. I’m looking forward to watching that one next.


Peering into the future of The Monkey King 2?

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Friday, January 26, 2018

Score Sample: The Monkey King (2014)

Time for another score sample from Christopher Young. I know this wasn't posted in October, when I usually post Mr. Young's excellent horror scores. But I wanted to demonstrate just how versatile Christopher Young is when it comes to film music.

For a long time film score fans have lamented that Young has never really had a chance to score a big budget science fiction or fantasy epic. The guy has all the skills required, but lately he's been sticking to horror, dramas and thrillers. His music remains excellent, but those of us who love colorful bombast just wanted a bit more.

In 2014 Young got the chance when he was approached by Chinese studios to score their three part epic mythic films around The Monkey King. Young jumped at the chance and crafted what may be his best film score yet. When the album was release Young personally crafted suites for all the main characters in the film, creating an excellent listening experience. It is really hard to just pick one, but here is the suite for the main character Sun Wukong also known as The Monkey King.


Wednesday, January 17, 2018

Anime Juke Box - Truth - Revolutionary Girl Utena

Ready for some more J-pop? This time I dig back into the 1990s with one of the most creative and unique anime series I'd seen: Revolutionary Girl Utena. I really need to write up a review or three for this series and its bizarre film.

One of the most striking things about the series is the music, which combines wonderful orchestral moments with full blown 70s style rock opera. I sampled one of the rock opera bits before, but today I'm taking a look at the end title piece from the first season. It's still got the wailing guitars, the full throated female singer and a disco backbeat - all things that Utena has in spades. One of my favorite end credits pieces from 1990s anime here is Truth performed by Luca Yumi. And yes she is saying "Kissing love and true your heart." Because why the hell not.


Friday, January 5, 2018

Nostalgia Nugget: Looking Back at 2017

Peering into the future of 2018?
It is time to take a look back at 2017 and a glimpse into 2018. I feel I did a pretty good job providing weekly fresh content on the site. I ended up focusing a bit more on certain themes over the months, and had a lot of fun. I also ran a few series through 2017 and helped shake up the mix a bit.

I started my Goldsmith Award series of Movie Music Musings. These focused on poorly reviewed or received films with great scores. I kicked this off in January with 2016 and ran it to July with 2011. I might pick it up this year, as it was fun to see what films bombed those years and how great some of the music really was.

February I focused on Robotech. It was a lot of fun revisiting and really digging into that series. It was probably the most anime heavy month of the year. I went pretty light with animation in general. I didn’t even get in a MIyzakii movie review in this year, and I had Kiki’s Delivery Service all lined up to watch, but just never got around to it.

Getting Season 11 started.
Instead I ended up focusing a lot of writing on Season 11 of Mystery Science Theater 3000. It is a great time to be a fan of the movie riffing puppet show. We got a new season, we got a live show and people were excited about both. I was doing pretty good reviewing a new episode from season 11 each month… until October when everything went nutty. Still have Season 12 to look forward to in the not too distant future, so I better get my reviews for Season 11 wrapped.

I turned May into a Star Wars focused month again. That was mostly focusing on musings and nostalgia. I delivered a full review of RogueOne out in December. I did see The Last Jedi, but I want another viewing at home before I write that review. It will appear on the blog in 2018 for sure.

Facing the uncertain future.
A big surprise to me was actually writing about current movies in the month of their theatrical release. War for the Planet of the Apes and Blade Runner 2049 both got reviews shortly after I watched them in theaters. Both were excellent science fiction films, and the Apes film in particular felt like a wonderful triumph of a series. I spent three posts gushing about it in many aspects and don’t regret a single word.

While I did miss out on writing about Miyazaki I did manage to write a new 007 review. It had been a while since I revisted the series for the blog, but I finally wrapped up the 1960s films with You Only Live Twice. I also finally got around to writing about one of my favorite directors David Lynch, as I took an in depth look at Twin Peaks: Fire Walk with Me, one if his darkest and most disturbing films. I hope to continue looking at delving a bit deeper into these waters in 2018.

Is it time to move beyond these reboots?
I had to give Star Trek some blog time as well and September was pretty Trek heavy with a deep dive into Insurrection and looking at music and the films from a wider angle. I’m creeping my way through the Star Trek films and need to give Beyond another view before I write about it. I’m not sure how I feel about that film after my first viewing.

I stuck with the horror film focus in October and once again had a lot of fun with the short reviews and some dives into different aspects of the genre. I had a blast writing about Subspecies II in which I delved far deeper into the film than it perhaps deserved.

November is usually reserved for all MST3K all the time, but this year I shook things up a bit by focusing on cheesy 1980s fantasy films. This was so much fun to write and watch, I might do it again next year. I finally got a review of Hawk The Slayer up, something I’ve wanted to do for years.

Game on!
About that time something happened that changed the course for this blog. While doing all this research on Dungeons and Dragons for the Barbarian Age blog post, I discovered that the Role Playing Game was alive and thriving online. The more research I did the more I realized that I missed writing and storytelling from this perspective.

Long story short, I’m actually playing D&D again. The game has changed quite a bit since when I last played in the early 1990s. It focuses a lot more on storytelling and characters – which means you end up writing all this material for the character you are playing. To be honest all that writing is going to eat up the writing time I can spend on the movie blog.

Soon... soon.
So 2018 is probably going to be a lighter year for this blog. I’ll keep posting things each month, but I’m not sure I’ll be able to keep up the weekly schedule. I’m thinking there will be fewer deep dive reviews. Instead I’ll focus on the shorter reviews and more editorial blog posts that don’t require quite as many screen captures and editing.

That said, I’m going to be writing some new material for my other blog Storytelling in All Its Forms, focusing more on my D&D experience and how that works out. I can say I’m currently playing two different campaigns and I’m really enjoying the experience.

Thank you so much for reading my work in 2017 and commenting. I really appreciate it and all the encouragement you’ve provided this year. If you have any suggestions or films you’d like to have me review, don’t hesitate to reach out to me. I’ll be happy to give it a try.


Hope you had a great year, and that 2018 is even better.

Monday, December 25, 2017

Let's Have a Patrick Swayze Christmas!

I saw this posted by the folks at Satellite News last year, and I just had to share it. Remember the little ditty that Joel and the Bots sing during the Santa Claus Conquers the Martians episode? Well someone decided to take that, arrange it for a choir and then record it. Check out the serious faces as they sing these wonderful festive lyrics. And keep an eye peeled for a nod to Pod People as well.

Just figured I'd spread some MST3K inspired holiday cheer! Hope you all have a great end of the year. I'll catch you in 2015!