My Battle of Winterfell Death Picks

WARNING: This post contains spoilers through Season 8 Episode 2 “A Knight of the Seven Kingdoms” of Game of Thrones

The Night King is finally here, and with that means death, death, and more death to be added to the Army of the Dead. Simply put, major characters will die in Season 8 Episode 3 (though it does not have a title yet, my guess is it will be called “The Long Night.” I mean, it works very well on a literal and mythological level, and it’s a pun, so….Dave & Dan please do us right with this!) I’m not going to presume to guess which side will “win” or what the further developments regarding Bran and the Night King (and the White Walkers as a whole) will be, but I will make my predictions for the character deaths that will inevitably occur:

Deaths I Am 99.99% Sure Will Happen: Theon Greyjoy and *Ser* Brienne of Tarth. Both Theon’s and Brienne’s arcs came to a close last episode, with Theon’s full-circle return to Winterfell after rescuing Yara, and Brienne finally being knighted by Jaime. The last thing they can give is their lives in defense of the living, something that is certain to come Sunday night.

Safe Bets for the Many-Faced God: Grey Worm, Tormund, Edd, and Beric Dondarrion. All four of these gents had their arcs peak quite a long time ago, and are probably the best to go if the show wants to lose some extra character weight.

Dark Horse Candidates:

Lyanna Mormont–an audience favorite, so a gut-punch has been recognized and could very well be delivered.

Sansa Stark–I don’t think all the Starks will survive the night, but I believe Bran is too important to the future of the show to die next episode, and Arya may have a bigger role to play (perhaps something to do with the Faceless Men?). Sansa’s death would absolutely crush fans, and it has been a long time since a Stark death was truly impactful (I’m not going to count Rickon’s death as emotionally sizable for fans. I mean, he was barely in the show.). All that talk of “the crypts are safe, the crypts are safe!” will most likely turn on its head, and who better than to solidify an emotional reaction from the audience?

 

75% Sure They Won’t Die but You Never Know:

Jaime and Tyrion Lannister: The valonqar prophecy is still in play folks. I don’t think either of the brothers will meet their demise so soon.

Sandor Clegane: Fans want Cleganebowl. Gregor is not at Winterfell. Ergo, Sandor will survive and enter Cleganebowl before the end.

Bran Stark: This one’s kind of tricky, and I think the episode will come down to a confrontation between the Night King and Bran in the godswood. Whether or not that means Bran will die after some sort of revelation or sacrifice is hard to say, but his “greenseeing” skill is probably too powerful to throw away now.

99.99% Sure Will Not Die:

Jon Snow/Aegon Targaryen and Daenerys Targaryen: Ice and Fire themselves. They ain’t gonna die tomorrow folks.

 

There you have it. I could be 100% correct, I could be 100% wrong. Here’s to Dave, Dan, and Miguel delivering a stellar 82 minutes at 8 pm tomorrow!

 

 

Boogie Nights Review

Nowadays, audiences new to the work of Paul Thomas Anderson will find drawn-out, ripping character dramas that make modest success at the box office, and find massive critical success. However, with the never ending cacophony of CGI-fests and superhero flicks, it is important to remember the films that matter, starting perhaps with the domineering force of Anderson, one of the best American filmmakers around today.

It took Scorsese almost twenty years making movies to find the shining, brutal, and quick tone of a lifestyle study with his fifteenth film Goodfellas in 1990.

It took Anderson a tenth of that time with his second film.

Boogie Nights explores the seductive and frenetic world of the pornography industry of the late 1970s and early 1980s. The narrative follows Eddie Adams (later Dirk Diggler), played by Mark Wahlberg, as he searches for how he can become the star he was meant to be. If anything, Boogie Nights starts as a necessary study of the American masculine ideology, to be the best–exceedingly and without fault that is–in everything he does. That is what Diggler wants to do, and it corrodes him to a hardened shell of the man he would have become otherwise. Wahlberg’s transformation from a wide-eyed, naive busboy at a nightclub to a demanding and violent “star” is handled uniquely and deftly.

Wahlberg’s performance is just the tip of the iceberg in what proves to be a beyond stellar ensemble cast. Burt Reynolds, Julianne Moore, John C. Reilly, William H. Macy, Heather Graham, Philip Seymour Hoffman, and Don Cheadle are examples of the acting power that exists in this film. Their control on a wild spirit of a subject never lets the viewer go.

Beyond the phenomenal casting, Anderson’s direction is where the film truly shines. In his other films that I have seen (There Will Be Blood (2007), and Phantom Thread (2017)) his level of “control” is something that was a constant. Scenes would be set up, and executed, with a necessary level of beautiful simplicity. That is a far cry from what is exemplified with this film in his early career. With wonderful tracking shots (the opening scene at the nightclub, the party at Jack’s house, and the tour of Dirk’s house a la Goodfellas), he is able to tame a beast of storytelling while still allowing for some of it to break through.

Through montage, and eccentrically edited scenes, the fast paced and warring aspect of the pornography industry is made plain. It is marvel to witness this stark ability of direction and film making, especially when considering how young (27), and relatively inexperienced Anderson was at the time of making this film. Unbridled passion clearly works to create the absolute genius on display in Boogie Nights.

Another key point of praise that must be made is the soundtrack. Film soundtracks only go one of two ways: hit (Jackie Brown), or miss (Suicide Squad). From the jovial attitude of rock orchestra Apollo 100, to the disco kings (and queens) of Boney M., the soundtrack ebbs and flows with the greatest collection of hits that I have ever heard in a film. In going back to soundtracks that are a miss, execution with the song is absolutely key to create a lasting effect, and response, from the audience. A film like Suicide Squad forces feeds the audience overused and frankly boring tracks in order to jazz up an already thin story-line. Fortunately, this is not the case with Boogie Nights. The soundtrack quite literally never ceases, but each track is affixed in perfection to the images accompanying it on screen. The odyssey of Dirk Diggler and his compatriots are aided in full by this brilliantly picked soundtrack. When you see it, you’ll know what I mean. It is with no stretch of the imagination or use of hyperbole when I say this is the greatest film soundtrack (with exceptions of purely original orchestral ones) that I have ever heard.

A point of criticism that I’ve seen written about Boogie Nights is the lack of a cemented moral awakening or meaning to the narrative. But the point of the film is of the warped perception of value in the characters. They find themselves in a fixed path towards a shining light at the end of the tunnel that no matter what they try, they’ll never reach it, hammering a sense of brutal reality into the film.

If you only see one P.T. Anderson film in your life, make it Boogie Nights. Besides, it’s on Netflix.

A confident…

5/5

Westworld Season 2 Episode 2: “Reunion” Review

The following contains spoilers for Season 2 Episode 2 of Westworld. If you aren’t caught up, don’t go further.

Far and away, this second installment of the second season was a major improvement over the first episode. Now, the first episode was good, but “Reunion” expanded on hints left in the premiere, and took them to new heights.

To start, the cold open.

Seeing Dolores in modern dress in the real world gave me chills! Plus, her conversations with Arnold were on point as usual. Moreover, Dolores’ development in both her mind and character is becoming certainly stunning to witness. The flashbacks to the “real world” will become absolutely necessary in the coming weeks. I am sure of it.

Oh yeah, that soundtrack. Djawadi used Kanye West’s “Runaway” from the Super Bowl trailer, and worked it oh-so-well into Logan’s reintroduction. The whole of Delos’ interest in Westworld was a plot point that I have been looking forward too, and thus far, I haven’t been disappointed by.

Logan’s face when all the hosts froze was priceless.

The major questions moving forward have to be: What is the Man in Black moving towards? What was his mistake? Was it Shogun World, or another park? And, what is the weapon that Dolores will use? Is it Bernard?

The Man in Black clearly knows what he is heading for, and I’m sure we shall be provided answers before too long. In regards to his story-line, I loved the reintroduction of Lawrence, and, perhaps most importantly, the introduction of GIANCARLO ESPOSITO AS EL LAZO!!!! (Alas, even if it was just a brief cameo, I was enthralled by his presence through the whole scene).

It seems that Ford is messing with the Man in Black, and yet I’m confident that he wants him to succeed. I understand that the Man in Black wants to “burn the whole thing to the ground,” but what else? Unfortunately, we are only two episodes into a ten part season. If anything we should expect the payoff to be around Episode 7 or so.

I’m excited to see what else these flashback scenes will bring, even if they are stretched farther throughout the course of the season. Whatever role William, Logan, (and Logan’s father), will play I’m still intrigued to see that culmination.

On a final note of speculation, in the first episode, Bernard made a comment to Charlotte about logging guest DNA. I think that may be the “supreme business strategy of Delos.” One that caters to the guests’ base desires, while using their DNA to mold the park to those desires even more.

I’m probably wrong, but I feel my assessment follows what we’ve been given thus far.

All in all, a fantastic episode! Looking forward to next week!

4.75/5

 

Westworld Season 2 Episode 1: “Journey Into Night” Review

Oh yeah, baby. We’re back online!

If there is one thing in particular that this episode showed, it’s that we are in for a wild ride.

From the beginning, it is clear that this entire season will most likely focus on Bernard and his character progress. While we started with a Arnold/Dolores flashback, Bernard shifts into weird flashbacks/flashforwards (?) of many major events. In those major events we see him with Peter Abernathy, the construction of a new host(s), and probably many more things that I’m forgetting off the top of my head.

Plus we have now got our first indication as to where the park is at! From what is exchanged between the new Skarsgard boss and a soldier, Westworld and the other Delos parks are on an island somewhere off the cost of Asia.

And to think I thought the park was in the western United States.

I’ve got one more comment on something that begins in the opening scene: I love the Ramin Djawadi score for this episode, especially the tracks playing during the first beach scene, and the wonderful montage of “The Entertainer.” Just brilliant, and slightly hilarious.

I am also deeply enthralled and intrigued by the journey the Man in Black will go on this season. Through his conversation with the Young Ford host, we see that the Door is the next step in Ford’s new narrative. What that Door may be, I still have no idea.

And, my suspicions about the new hosts have been answered. These new “drone” hosts will be interesting to watch over the course of the season, especially within their conduct of Bernard.

Based on conversations with characters in the “present” I’m going to venture that Bernard had about 2-3 weeks of activity before being picked up by the rescue squad.

I’m not sure how long it will take for all of the events during Bernard’s absence to come light, but based on the final scene, they are sure to be most deliciously wonderful. How Bernard managed to kill all of those hosts in the sea, I have yet to fully comprehend.

Maeve’s journey to find her daughter looks promising, but there isn’t much to have a complete opinion.

My main gripe with the episode was the characterization of Dolores. I fully understand what her character has become, but something about her dialogue and mannerisms just irks me a little. Hopefully that will all be smoothed over or justified in the coming weeks.

There was also some unnecessary nudity on the part of Sizemore, but hey, it’s HBO.

Overall, a very promising start to what should be another fantastic season!

4.25/5

Westworld Season Two: My Thoughts, Hopes, and Plans

Before tonight’s Season Two premiere of the phenomenal HBO series Westworld, I’d like to share my thoughts, hopes, and plans for the upcoming season.

Thoughts:

I loved loved loved loved loved Season One of Westworld. While it was a bit slow-burning at first, it built up to a tremendous climax with the last four episodes. That major cliffhanger that ended Ford’s Gala leaves the floodgates for Season Two wide open. I love that!

Thing is, this was my #1 most anticipated release of 2018, so Jonathan Nolan and Lisa Joy better not mess this up (though I don’t think that they will).

Though this season looks to chronicle the war between the hosts and just about every human (minus Man in Black?), I’m expecting it to go further beyond that.

 

Hopes:

My main hope for Season Two is that it delves much deeper into the backstory of Westworld, and the mythology and creation of the hosts. Primarily, I am looking forward to the Logan and William flashbacks. In the Super Bowl trailer, Logan is in an apartment, and everyone around him freezes. Why did they freeze? Does Delos have hosts in the real world? I don’t no, but that intrigued the hell out of me. William is also seen again with Dolores, so it will be most interesting to see how his character fully develops into the Man in Black we have all come to know and love.

Plus, we’ve seen a lot of glimpses of Dolores in modern clothing, and in what looks like to be the “real world.” Was this a long time ago, or in the present? I’m not sure.

Another key point of interest is the new hosts (at least that’s what I think they are) that are going to be introduced this season.

Here’s a picture:

My main theory is that Delos creates them to fight against the rebelling hosts. A machine to destroy the machine, if you will. Also, I’m curious to see how they react to Bernard, and vice versa.

Finally, Shogun World.

While I’m not geeking out about it as others have been, I’m intrigued to see just how it relates to Delos and the wider world. Based on the trailers, Maeve will go to Shogun World in order to search for her (fake) daughter. But I have some pressing questions. Why did everyone in Westworld not speak at all about Shogun World last season? All we got was Felix saying “it’s complicated.” How does this fit into Ford’s master plan? No matter how many questions I have, I don’t even think we’ll see Shogun World until mid-season, around Episode 5: “Akane No Mai.”

 

Side Note: This season is subtitled The Door. (Last season was The Maze) What is “The Door?” Is it the door in Ford’s cottage? Is it the door to the park? The door to the outside world? Most likely this “Door” is both metaphorical and literal (to some degree).

 

And what’s with the host that Ford was constructing in the cottage basement?

Plans:

Following each of the ten episodes this season, I plan on doing a spoiler review which will feature a verbatim review along with theories and speculation that I may have with each said episode. My “Journey Into Night” review for the first episode should be coming within the next few days. I think due to my personal schedule towards the end of the season in June I may miss a few episodes. When that occurs, I’ll still try to watch the episodes and get up a review as soon as I can.

 

 

Here’s to a great upcoming season!

The Sound and the Fury Review

Hereweareitismyfirstletiterature–

wait is that a bird you know my dogs and i like to play which distracts from this writing this review but what are reviews really i mean ive got stuff goin on today that i should be more concerned with then writing a silly review but

Then my dog scratched his head. He was a good 

dog.  I says “Hey, George!” He doesn’t look up. He lays back down but

erry nightiwouldliedownand goto sleep.

“Hush,” George says.

The above blip is an entirely accurate representation of what it is like to read The Sound and the Fury by William Faulkner. But perhaps it is better for an audio representation. Listen to the System of a Down song “This Cocaine Makes Me Feel Like I’m On This Song.”  

Don’t worry. It’s only two minutes long.

Listened to it? Good, now I feel that you are ready to proceed through the rest of my review.

Now, The Sound and the Fury is inherently difficult to follow, and difficult to fully appreciate with just one reading. The reason behind that is the stream-of-consciousness narrative style that Faulkner uses. Along with James Joyce, and Virginia Woolf, Faulkner stands among the dominant forces and pioneers of this style. However, this style is not beneficial for the reader at all. On top of the stream-of-consciousness style, you have jumping back and forth of events spread over the course of thirty years, within one section alone. In other words, not fun.

The Sound and the Fury tells the story of the Compson family in Jefferson, Mississippi through events that take place in between 1898 and 1928. As is characteristic with Faulkner, there is no marker or clear indication that a time-jump is occurring other than italics. Moreover, Faulkner splits the book into four sections:

A. April 7th, 1928

B. June 2nd, 1910

C. April 6th, 1928

D. April 8th, 1928

Newcomers are, I’m certain, all naive when it comes to this novel, even if we may find ourselves partially familiar with Faulkner’s novels (his short stories are completely different). Before reading this novel, I had read his seminal work As I Lay Dying. While it was strange, and wholly different than anything I had ever read before, I appreciated it, and remained in awe of the power that Faulkner was able conjure up. As I Lay Dying is a cake-walk compared to Fury.

While each section is titled with one specific day, the narrative is not constrained to that day. The first three sections are narrated by three Compson sons: Benjy, the mentally disabled thirty-three old; Quentin, a Harvard student; Jason, a thirty-something man who must now assume the role of the family patriarch. As Faulkner does, each narration style is different. Benjy’s is very contemplative, Quentin’s is fever-pitched and frantic, and Jason’s is bitterly angry.

Faulkner annoys the reader more than provides them with enjoyable material. Nevertheless, I could still appreciate (I think) what Faulkner was trying to do with this novel. I’ve seen critical analysis that praises Faulkner for accurately bringing to writing the thought process of the human mind. I don’t know how I feel about that. Literature should be something that reveals a deeper truth of humanity and human nature while remaining wholly engaging and entertaining. There are probably many who would disagree with that statement, (Harold Bloom I’m looking at you), but literature serves no distinct mark if all it does is sate the minds of literary critics.

With that in mind, I cannot give a proper “out of 5” rating to The Sound and the Fury. One day soon, I’ll revisit and reread the novel, (and take meticulous notes, sigh), but until that day comes I have to leave the rating for this novel somewhere out in the black void of critical limbo.

No rating yet.

 

Kill Bill Review

Tarantino has always been among my all-time favorite directors. His visceral, humorous, and sometimes quaint look at dialogue, relationships, and violence is a wonder to behold. I still count both Pulp Fiction, and Django Unchained as two “desert island” films of mine. I had been left disappointed by Inglorious Basterds, remained indifferent towards Reservoir Dogs and The Hateful Eight, and had been craving something great out of his three other films that I hadn’t seen. Well, I had seen part of one. Years ago, I watched Kill Bill Vol. 1, and didn’t really care for it. Vol. 1, in my eyes back then, didn’t contain enough true character, life, or quality to stand as a great film, let alone on the same level as Fiction, or Django.

Boy, was I mistaken.

Recently, Netflix put Vol. 1 and Vol. 2 back on streaming, and I was determined to watch both parts this time, and do a combined review. (Tarantino after all had intended for it to be one four-hour-long film, but was persuaded to cut it into two parts). And, here we are.

So, this review may have some minor spoilers for both parts, so proceed with caution.

Kill Bill tells the story of The Bride (Uma Thurman), and her quest to kill all her former colleagues who attempted to kill her unborn child and herself on her wedding day four years prior. The Bride used to be one among them, one of the best assassins in the world. Then, she assumed an alias, and wanted to settle down and get married. Everyone else at the wedding is killed, and she remains in a coma for four years.

The Bride’s kill list of the is as follows:

• O-Ren Ishii (Lucy Liu)
• Vernita Green (Vivica A. Fox)
• Budd (Michael Madsen)
• Elle Driver (Daryl Hannah)
• Bill (David Carradine)

Vol. 1 opens with The Bride traveling to Vernita Green’s house to kill her. In the midst of their fighting, Green’s four-year-old daughter comes home from school. Through that initial dark humor, Tarantino sets the stage for how the rest of the story will play out.

Kill Bill is, in equal parts, a Western, a revenge, (an anime at one point), and a samurai film. But it is, perhaps most importantly, an empowering film. It isn’t necessarily a feminist film, but it works on those levels to perfection. With many films that are more feminist in nature, a male audience may feel alienated in approaching that film. Fortunately, with Kill Bill, all audiences, regardless of race, gender, or ethnicity, can enjoy this film to the maximum. The Bride’s displayed bad-assery that comes with fighting the entire Crazy 88s gang, or training with Pai Mei, is wholly engaging and a sight to behold.

More importantly, this film hearkens deeper into a protagonist’s character than any of his other films. The Bride’s earlier days are seen through flashback (mainly in Vol. 2), and, supplanted with her present actions, furthers the audience’s love for her character. She is the strongest Tarantino protagonist, and the audience is lucky enough to go on this crazy two volume ride. Uma Thurman’s prowess as an actress becomes abundantly clear, and she should’ve been nominated for an Oscar for Vol. 2.

The other actors also shine in their respective supporting places. Liu and Hannah are dark, imposing, and all around bad-asses in their roles as O-Ren and Elle. O-Ren’s backstory is told with complete anime-style animation, a point that makes this film a true melting pot of genres. Madsen is cool, and collected though perhaps a tad disappointing as Bud, the “chill” assassin. All supporting acting credit, however, goes to David Carradine as the eponymous antagonist “Bill.” Though not seen as much in Vol. 1 than Vol. 2, Carradine is entirely charming and devious as Bill, whether that be in flashbacks, or in present day scenes. A brilliant monologue of his is seen in a flashback in Vol. 2, at the beginning of Chapter Eight: The Cruel Tutelage of Pai Mei, where he tells of the legend of Pai Mei. There is another great monologue about Superman and Clark Kent, though that scene is spoiler-laden. He is an altogether fitting antagonist to Thurman’s shining protagonist.

Another absolute point of praise is the soundtrack. Tarantino is a director who consistently produces massive, and fantastic soundtracks. Only The Hateful Eight has an actual score, and his other soundtracks are a combination of songs and pieces of dialogue from the films. With Kill Bill, it features Nancy Sinatra’s “Bang Bang (My Baby Shot Me Down),” “The Grand Duel (from the 1972 film The Grand Duel),” “Battle Without Honor or Humanity (from Another Battle),” “Ironside (also known as the “Kill Bill Sound” from Ironside),” and “The Lonely Shepard.” Tarantino takes these similar tracks from a wide variety of films, and alters and combines them to form a cohesive and brilliant music structure to the film.

This next element is evident more in Vol. 1, than in Vol. 2, but the fight choreography displayed is breathtaking. Specifically, the fight sequence in Chapter Five: Showdown at House of Blue Leaves (Vol. 1). While in part color, and part black and white, a cacophony of violence, humor, and art erupts all at once. It is fierce, but it is a ferocity that is controlled for the most part by a steady hand displayed by Tarantino. While it is hard to describe exactly how the fighting is shown, and how it pans out, it is an essential, and brilliant element that is at play in the film.

Kill Bill is a great film for the ages, one that combines fantastic genres from the mid-twentieth century into a modern story that is on one side empowering (and even relatable), and on the other side a majestic action film spectacle.

Please, please, please. If you have Netflix, or just love watching great films, watch Volumes 1 and 2 of Kill Bill. It is a journey you will not forget for quite some time.

While I won’t go so far as to declare this the greatest Tarantino film, it is a fantastic film nonetheless. And so, I will award it the coveted…

5/5

For all who have seen the film, my favorite scene is the graveyard sequence in Vol. 2. For all who haven’t seen the film, watch it, and you’ll see what I mean.

 

Top 5 Live Concert Albums

Here we go! First music review, as well as a list very close to my heart: My Top 5 Live Concert Albums. There have been many, but few have truly stood the test of time. These five are concerts that dared, concerts that entertained, and concerts that struck a chord with millions. This list is highly subjective, but ultimately truthful.

5. Live: Right Here, Right Now–Van Halen (1992)

No matter what anybody says, there is only one fantastic Van Halen lineup: Sammy Hagar–Lead Vocals, Eddie Van Halen–Lead Guitar, Michael Anthony–Bass, and Alex Van Halen–Drums. David Lee Roth eat your heart out, ’cause you can never come close to the brilliance this concert produced. Beginning and ending with a roar, Live produces the best of both worlds when it comes to Van Halen history in terms of playing classics from the Roth and Hagar eras. Hagar never wavers, if anything the audience livens him up. He grabs posters from the audience and proudly displays them to the delight of fans throughout the concert, bemoans staying in his hotel room the previous night while his bandmates had a raging party and complaining about his promiscuous girlfriend during the middle of “Panama,” and “You Really Got Me/Cabo Wabo,” and gives a heartfelt ballad with “Give to Live.” Of course none of these antics would’ve worked had it not included Eddie Van Halen wailing with a power-tool on his guitar during “Poundcake,” Michael Anthony savaging his Jack Daniels bass during the solo “Ultra Bass,” or Alex Van Halen giving it everything he’s got during “Pleasure Dome.”  Van Halen performs like it’s their last time together. In a way, it is. And all us fans are forever grateful.

Essential Tracks:

Poundcake

Ultra Bass

Panama

4. S&M–Metallica (1999)

“Symphony & Metallica” is a genuinely captivating concept and performance. Metallica, teaming up with the San Francisco Symphony Orchestra, delivers an initial cacophony, but it slowly reaches a level of symbiosis. Beginning with their traditional opening “The Ecstasy of Gold,” and continuing “The Call of Ktulu,” this concert gets underway without a single word spoken. Then the masterpiece “Master of Puppets” takes over, and the full energy breaks through. That energy never cascades throughout the performance. It ebbs and flows through other classics like “One,” “Enter Sandman,” and “Nothing Else Matters,” along with new pieces like “No Leaf Clover,” and “Minus Human.” This quite possibly could feature the best Metallica lineup, as bassist Jason Newsted left a few years after. All through the perfect array of their own greatest hits, Metallica’s S&M is a sight to behold.

Essential Tracks:

No Leaf Clover

Master of Puppets

One

3. At Folsom Prison–Johnny Cash (1968)

The record companies were hesitant. The Man in Black was not. Johnny Cash’s At Folsom Prison introduced a revolutionary concept to concerts, and the music industry: a concert in a room filled with unpredictable inmates. Opening with his iconic “Hello, I’m Johnny Cash,” the concert fills with brusque and humorous rails against the prison system (“Folsom Prison Blues,” “The Wall,” “Cocaine Blues,” and “25 Minutes to Go”) and the life within striking distance outside Folsom. Cash isn’t the only performer here. He is preceded by the Statler Brothers and Carl Perkins, and is joined by (then friend future wife) June Carter. Cash is pleased throughout it all, and contemplative in selective areas. He feels at home here, whether that be a commentary on his personality or something else, I’m not sure, but I know that he produced a meaningful capture of America in this concert.

Essential Tracks:

Folsom Prison Blues

Cocaine Blues

Jackson

2. Stop Making Sense–Talking Heads (1983)

David Byrne walked on stage with just a stereo, guitar, and a “Hi, I’ve got a tape I want to play.” Solo, he does an acoustic “Psycho Killer.” It isn’t subdued, lackluster, or drained. It is summarily powerful, meaningful, and layered. Critics compare his stumbling around to the final scene of Godard’s Breathless. He is joined after that by bassist Tina Weymouth for “Heaven.” In the following songs, new members gradually join them on stage, culminating in a wild “Burning Down the House.” This concert is wholly seamless in its approach to entertainment. Byrne’s theatrics are very hard to understate. He runs around the stage, jogs in place with guitar players, has a suit that grows to preposterous size as the show progresses, and has an all-consuming charismatic presence. That goes for all the other musicians. They love what they’re doing, reaffirming that this concert is entertainment at its absolute finest. The group moves between fun, and seriousness at the blink of an eye, creating a wonderful ride.

Essential Tracks:

Psycho Killer

Burning Down the House

Take Me to the River

1. Hot August Night–Neil Diamond (1972)

There is no doubt in my mind that this is the single greatest concert album of all time. Recorded at the Greek Theater in Los Angeles on August 24, 1972, this is an experience like no other. Without warning, the orchestra starts with “Prologue,” building tension to an eclectic following of “Crunchy Granola Suite,” “Done Too Soon,” and “Solitary Man.” This album is of two parts. The first half, featuring the above songs along with other classics like “Cherry, Cherry,” “Sweet Caroline,” “Shilo,” “Walk on Water,” and “Kentucky Woman,” is one of light fun, budding happiness, with only a few moments of introspection. Diamond relishes in the absurd that the first half produces: laughing at himself, awkwardly approaching the audience, the jokes on the “Tree People.” He merely warms up the audience for a much more solemn second half. Featuring “Play Me,” “Canta Libre,” and “Morningside,” this tonal shift is met. It isn’t until a brief break with “Cracklin’ Rosie,” that the power really hits. Diamond’s performances with “Holly Holy,” “I Am…I Said,” and “Soolaimon/Brother Love’s Traveling Salvation Show,” solidify this as the greatest. Diamond leaves the audience energized, yet weary, alive, yet sobered. I’m not sure I can say more on this album. I’ve loved it since I was very little, and my appreciation for it has only grown throughout the years. This is one you must listen through in order to obtain the experience. Listen to this. Trust me, you’ll be better off.

Essential Tracks:

The Entire Album

Waltz with Bashir Review

Wow.

Now that is you make movies.

Waltz with Bashir is radically different from any kind of film people typically go to see, and yet, it is one of the most necessary, and most deeply personal of any of them out there. I truly mean it when I say it is unlike any film I have ever experienced. For one, it is an animated documentary. Think for a second. How many animated documentaries can you name? Few, I’m sure, if any.  But this is how Waltz with Bashir works so gorgeously and seamlessly.

I’ll try to break it down in some select areas where this film really shines.

1. Plot: This film follows Ari Folman (the director) and his attempts to try to regain his memory from the 1982 Lebanon War, as well as coming to terms with the potentially monstrous role he had to play in it. Through various interviews with friends and strangers who were there, his memory returns, but there is one key aspect he is still trying to piece together: his involvement in the Shabra and Shatila Massacre, where up to 3,500 innocent Palestinian refugees were executed. Already, this film changes and molds itself into the fabric of the viewer’s mind. We’ve seen similar struggles and stories before, but we always want closure, and an epiphany to come at the end of the long journey. We get that closure in a devastating way.
2. The Animation: If this film were live-action, it simply would not have the impact that animation is able to give. Towards the beginning, after Ari bids farewell to his friend Boaz at a bar, Ari drives to the sea where he has a vision: Two other men and himself are lying in the sea, asleep. Gradually, they wake up, and walk to shore, only to find themselves surrounded by weeping mothers and widows. This scene, and the many returns to it, are all awash in a dull yellow from flares. Live-action can’t give that same breathtaking impact. Like the title implies, this film is one extravagant waltz and dance with Folman, and the animators’ skills. They are able to conjure up simple scenes and breathe deep amounts of life into them. I just can’t describe it well enough. This is a have to see it to believe it.
3. The Soundtrack: Bravo, Max Richter, bravo! The score for this film is simply haunting. From the dream sequence at the beginning, to the vision of the ocean, all the way to the “Love Boat” before the invasion, Richter, and the score as a whole, conjures intense, and jaw-dropping accompaniment. The tracks “Boaz And The Dogs,” “Iconography,” and “Shadow Journal,” are all wonderful, but none holds up as well as that of “The Haunted Ocean.” Coupled with the “sea vision” from before, the haunting orchestra will bring tears to your eyes. Another worthy music selection to note is the excellect use of 80s pop tracks, like PiL’s “This Is Not A Love Song,” or OMD’s “Enola Gay.” All are wonderful, all are necessary.

There is so much more I feel that I must say, but I just can’t find the words to sum up the experience I had watching this now for the second time. Though I’ve watched it two times, I feel like I could watch it a hundred more soon, and a hundred more on top of that!

Please, please, please, rent and watch this film. It is a journey that stays with you long after the credits have rolled.

An absolute, unremitting,

5/5

And a Top 10 of All Time as well!

 

My Top 10 Anticipated Releases of 2018

As it’s January 5th, nothing much has been released this year quite yet. We’ve still got a lot of 2018 to get through. Therefore, the time is ripe for me to think of what I am looking forward to watch/read this new year. This list is ranked from 10 to 1 (1 being most anticipated). Hopefully all these books/TV shows/films and more can deliver this year.

10. The Post

Directed by Steven Spielberg

Release Date: January 12

For a long time Steven Spielberg has consistently turned out great films. The Post looks to be no exception. Following the controversy resulting from the leak of the Pentagon Papers, The Post seems like the right political film we need in our current country and world, and, based on reviews, it should be a great experience.

 

9. Phantom Thread

Directed by Paul Thomas Anderson

Release Date: January 19

Daniel Day-Lewis has been a favorite of mine of years. If you want an example of the finest acting from the 21st century, you need look no further than Paul Thomas Anderson’s 2007 film There Will Be Blood, in which Day-Lewis plays the frantic and violent Daniel Plainview. Other favorite characters of mine include his Abraham Lincoln in Lincoln, and Bill the Butcher in Gangs of New York. Phantom Thread seems to have the best of both Anderson and DDL. I can’t wait to fall in awe of this writer/actor duo.

 

8. The New Mutants

Directed by Josh Boone

Release Date: April 13

Deadpool and Logan proved that R-rated X-Men movies are absolutely necessary in this current climate of meh superhero films. I had no idea until the trailer came out that they were making The New Mutants, but based on the trailer, and Fox’s great production of recent superhero film, this upcoming release should be sublimely awesome.

 

7. Solo: A Star Wars Story

Directed by Phil Lord, Christopher Miller, & Ron Howard

Release Date: May 25

Yeah, I am aware of the troubled production of the upcoming installment in the Star Wars universe. Regardless of the lead actor’s apparent inability to act, and firing of the original directors, I trust that Ron Howard was able to steer the ship in the right direction. Besides, Donald Glover as Lando, Emilia Clarke as the female lead, and Woody Harrelson as Han’s mentor? Count me in!

 

6. Sicario 2: Soldado

Directed by Stefano Sollima

Release Date: June 29

It’s been a while since I watched Denis Villenueve’s Sicario, but I remember being quite impressed by the film. Based on the first trailer, Soldado will continue the dark, and brooding nature of the first film, while uping the ante with the harrowing expedition into the United States’ war on the Mexican drug cartels. It should be fiery, pounding, and leave a solid impact.

 

5. Deadpool 2

Directed by David Leitch

Release Date: June 1

Deadpool is, quite frankly, one of the funniest films I have ever seen. 99.99% of that is due to Ryan Reynolds’ wonderful performance. To put it simply, Reynolds was born to play Deadpool. The first didn’t disappoint in any way, and I am confident that Deadpool 2 can repeat the hilarious and vulgar nature of the first one. And who knows, maybe Reynolds will actually get the Golden Globe for this one.

 

4. Isle of Dogs

Directed by Wes Anderson

Release Date: March 23

Wes Anderson’s penchant for quirky characters alive in funny scenarios seems to know no bounds. The Grand Budapest Hotel was both humorous and insightful at the same time, and Isle of Dogs looks to take it to a whole new level. Especially with the stop-motion animation this film will have, I’m prepared for an adventure I will never forget.

 

3. Incredibles 2

Directed by Brad Bird

Release Date: June 15

It’ll probably be true that a majority of the audience for Incredibles 2 will be in their late-teens and early 20s. We were all little kids when this came out, and have loved it ever since. The Incredibles is one of the best Pixar films of all time, but it did leave off on The Underminer cliffhanger. This is the Pixar sequel everyone has begged for. Now, after 14 years, we will finally see The Incredibles vs. The Underminer, and I cannot wait.

 

2. The Winds of Winter (A Song of Ice and Fire Book 6)

Written by George R.R. Martin

Release Date: ???????

Alright, alright, I’m cheating with this one. Nobody knows when this book (if ever) will come out, but hey, 2018 is a new year. Hopefully Martin is in the home stretch of writing this. However, it has been 6 1/2 years since the last book, so the future likelihood looks dismal, but I believe every fan should remain optimistic. After the shaky seventh season of the little-known HBO series, TWoW may be our saving grace.

 

1. Westworld Season 2

Network: HBO

Release Date: Spring 2018

It is hard to put into words the raw and awesome impact that watching Westworld has on someone, but Season 1, in all its shock and glory, gave us merely a taste of lies ahead. The wait has been long for Season 2, but it looks to be well worth the wait. The showrunners, husband and wife Johnathan Nolan and Lisa Joy, have expressed how hard they have worked to exceed expectations of fans, plotting new twists, and keeping the events of the second season secret. I desperately hope that this next season will exceed every single one of my wildest expectations for the future of the greatest show currently on television.