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unicornery · 4 years

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For my own amusement, I started tracking how the songs from the Billboard Hot 100 from this week in 1974 have been used in movie soundtracks. Feature Films only people! As you read, you will see the “gimmes” that made me think of the idea, but I’m putting this behind a cut because there ended up being so many which had a soundtrack match. As a reminder, you can follow along as I do the Hot 100 each week corresponding to which classic AT40 and VJ Big 40 get played on SiriusXM ‘70s on 7 and ‘80s on 8 respectively with my ever-changing Spotify playlist.

100. “Beyond the Blue Horizon” - Lou Christie. This one is a cheat because when I looked it up on Spotify it showed up on the Rain Man soundtrack. The only song I could have told you off the top of my head was in Rain Main is the Belle Stars’ version of “Iko Iko.” Rain Man marked the first soundtrack appearance for Christie’s version.

98. “The Air That I Breathe” - The Hollies. Very memorable appearance in The Virgin Suicides, which had the score done by, wait for it, French electronica duo Air. The song would go on to be heard in other movies.

90. “Billy Don’t Be a Hero” - Bo Donaldson and the Heywoods. The Paper Lace version appears in The Adventures of Priscilla, Queen of the Desert. Both acts topped the charts with the song on opposite sides of the pond: Paper Lace in the UK and Bo Donaldson and the Heywoods in the US. [Update: the BD&H version may be in "To Gillian on Her 37th Birthday"]

87. “Hollywood Swinging” - Kool & the Gang. This oft-sampled track first appeared in a feature film in the 2005 Get Shorty sequel Be Cool.

84. “La Grange” - ZZ Top. Armageddon first, followed by others.

68. “Band on the Run” - Paul McCartney and Wings. I didn’t search for this at first because I didn’t think there would be anything, but then Jet was on the chart at #27, so I did a twofer search on imdb. Jet has not been in any films (save “One Hand Clapping, a rockumentary on Paul, which I don’t count for purposes of this discussion) but “Band on the Run” appears in The Killing Fields, in a shocking scene that contrasts the light tone of the pop song with the horrors of the Khmer Rouge’s executions of Cambodian citizens.

66. “For the Love of Money” - The O’Jays. Has been used many times, according to IMDb the first feature film use was the Richard Pryor roman a clef (if I’m using that right, I only know it from Musings of a Cigarette Smoking Man) Jo Jo Dancer, Your Life Is Calling.

59. “Rock Around the Clock” - Bill Haley and his Comets. Notably used in Blackboard Jungle, the song is on this 1974 chart for its appearance in American Graffiti.

55. “Rock and Roll, Hoochie Koo” - Rick Derringer. First one that comes to mind is Dazed and Confused bc I had that soundtrack, but it has been in others.

49. “Love’s Theme” - the Love Unlimited Orchestra. The swirling strings of this song indicate that someone is indeed falling in love. That’s my way of saying, if you think you haven’t heard this, you have. Imdb has it in Mean Girls, among others.

47. “The Way We Were” - Barbra Streisand. The titular song of the 1973 film The Way We Were, starring Barbra and Robert Redford. A little long, but worth a watch bc Barbra is amazing in it. At the 1974 Academy Awards, Marvin Hamslich won Best Original Song honors for this tune, and was awarded Best Original Dramatic Score for his other musical work on the film. I always think of Lisa Loopner’s big crush on him.

44. “Don’t You Worry ‘Bout a Thing” - Stevie Wonder. First feature film usage was the 1998 Eddie Murphy flop Holy Man, which surprised me as it’s such a good song, you’d think it would have been in something earlier. Notable given Eddie’s impression of Stevie Wonder he performed on SNL!

42. “Rock On” - David Essex. Michael Damian’s cover (or remix as described by Patton Oswalt) was recorded for the 1989 2 Coreys classic Dream a Little Dream, and per imdb, David Essex’s original appears in the alternate-history comedy Dick, from 1999.

37. “Oh Very Young” - Cat Stevens/Yusef Islam. Surprisingly, this sweet song appears in the gross-out bowling comedy Kingpin.

36. “Jungle Boogie” - Kool & the Gang. This song may have been used in the most films and tv shows of any I’ve researched so far, but its first appearance was in Pulp Fiction.

34. “The Payback - Part 1” - James Brown. First feature film appearance was in 1995′s Dead Presidents. A different James Brown track appears on the soundtrack for racist-ass Melly Gibson’s Payback from 1999.

33. “Help Me” - Joni Mitchell. Another why’d-it-take-ya-so-long shocker, this mellow tune first appeared in the 2018 sci-fi movie Kin, narrowly beating Welcome to Marwen from 2019.

31. “The Entertainer” - Marvin Hamlisch. The title theme from the Redford/Newman team-up The Sting. Hamlisch won a record-tying third Academy Award in 1974 for Best Original Score for The Sting. It seems at this time Best Original Score and Best Original Dramatic Score were separate categories. Hamlisch would win Grammys for both this and “The Way We Were,” eventually becoming an EGOT winner in 1995.

30. “Eres Tú” - Mocedades. This Spanish Eurovision entry notably appears in the buddy comedy Tommy Boy when Chris Farley and David Spade’s characters sing along with the radio.

28. “Midnight at the Oasis” - Maria Muldaur. Catherine O’Hara and Fred Willard perform their own rendition in the Christopher Guest film Waiting for Guffman. That should be all you need, but imdb has the first film appearance for the song as 1995′s Falcon and the Snowman.

24. “Let it Ride” - Bachman-Turner Overdrive. This lesser-known but not less great BTO jam has appeared in a handful of films, the first being Ash Wednesday, starring Elijah Wood and directed by Edward Burns and not Garry Marshall. Note: it does not seem to be in the Richard Dreyfuss gambling movie Let It Ride, a classic VHS cover of my youth.

18. “Mockingbird” - James Taylor and Carly Simon. Memorably performed by Harry and Lloyd in the dog van in Dumb and Dumber, later joined by a Latinx family on guitar and vocals. Before that, Beverly D’Angelo and Chevy Chase’s characters also sang it on their road trip in National Lampoon’s Vacation. I couldn’t find an instance where James and Carly’s version played in a movie but I am sayin’ there’s a chance. That it could be someday.

16. “Tubular Bells” - Mike Oldfield. This instrumental is best known for being the theme to The Exorcist, but I was surprised to learn from the Wiki entry that it was not written for the film. Tubular Bells or something that’s meant to sound like it has been in a ton of other things, generally uncredited. Of note: Mike Oldfield would go on to do the score for The Killing Fields.

14. “Seasons in the Sun” - Terry Jacks. Now here is the type of song that ‘70s haters point to as an example of the whiny wuss rock that they feel over-dominated the era. It’s not one of my favorites but I appreciate it for how weird it is. I suppose being translated into English from a French/Belgian poem will do that to ya. Before I did my search, I imagined I would find it in a Farrelly Brothers movie or two, possibly the Anchorman sequel. However, the only feature film match I found was the 2002 indie flick Cherish, a movie I have never seen despite being confronted by the cover many times at rental places over the years. Before today, when I watched the trailer, I would have told you it starred Jennifer Love Hewitt and was about “a band trying to make it.” It turns out I am thinking of the 1999 film The Suburbans. Anyway Cherish seems aggressively indie and very of-its-time in a way that makes me want to watch it.

13. “Dancing Machine” - The Jackson 5. The song appears in the Blaxploitation spoof I’m Gonna Git You Sucka, as well as the movie of Starsky & Hutch.

11. “Lookin’ For A Love” - Bobby Womack. This was in the movie of The Ladies Man starring Tim Meadows as his SNL character Leon Phelps. I almost skipped this one but I’m glad I didn’t because Tim Meadows rules.

8. “The Loco-Motion” - Grand Funk Railroad (the single and album it was on are credited to Grand Funk). We have our second song from the Kirsten Dunst/Michelle Williams movie Dick. Since that was satirizing Nixon and Watergate, well done to the filmmakers for including these 1974 hits! It appeared in one earlier film, My Girl 2.

5. “Come and Get Your Love” - Redbone. Known to modern listeners for appearing in Guardians of the Galaxy. [Sidebar: if you can find a way to listen to the With Special Guest Lauren Lapkus episode T.G.I.G.O.T.G.OST (Thank God It’s the Guardians of the Galaxy Original Soundtrack) with Sean Clements and Hayes Davenport, do it!] The song first appeared in Dance Me Outside, a Canadian film about First Nations youth, which is a cool parallel with Redbone being composed of Native American musicians. “Come and Get Your Love” is also in Dick!

4. “Best Thing That Ever Happened To Me” - Gladys Knight & the Pips. Another SNL feature pops up on our list, 1994′s It’s Pat: The Movie.

3. “Hooked on a Feeling” - Blue Swede. ALSO known to modern listeners as being from the GOTG, but possibly only in the trailer? I’m fuzzy. The song ALSO also appears in Dick, and its first feature film appearance was Reservoir Dogs.

2. “Bennie and the Jets” - Elton John. You know it, you love it, you cackle at the gag in Mystery Team. IMDb has this song down as first appearing in the low budget feature Aloha, Bobby and Rose, from 1975. It is ALSO in My Girl 2, with proper credit for Sir Elton.

1. “TSOP (The Sound of Philadelphia)” - MFSB featuring The Three Degrees. IMDb says this appeared in the Al Pacino film Carlito’s Way, and I have no reason to doubt them because it means we are done! Thanks for readin’ and rockin’ along.

#AT40 #1970s music #movie soundtrack #Billboard hot 100

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weekendwarriorblog · 5 years

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WHAT TO WATCH THIS WEEKEND January 25, 2019 - The Kid Who Would Be King, Serenity

(Yes, I realize the weekend just ended for most, but hey, might as well get an early crack at NEXT weekend, huh? January is winding down with what’s going to be seem like a fairly boring weekend after last week’s M. Night Shyamalan sequel disappointing when compared to the sensation of Dragon Ball Super: Brolly, a movie that few movie writers knew about before Wednesday but grossed $21 million in six days. But hey, variety is the spice of life, and the two movies opening wide this week certainly add some spice with a duo of films from reputable British writer/directors.

THE KID WHO WOULD BE KING (20thCentury Fox)

Written and directed by Joe Cornish (Attack the Block) Cast: Louis Ashbourne Serkis, Dean Chaumoo, Angus Imrie, Tom Taylor, Rebecca Ferguson, Patrick Stewart, Rhianna Doris, Denise Gough MPAA Rating: PG

On the one hand, this action-adventure film is an exciting one, because it’s the second feature from Joe Cornish following his astonishing 2011 debut Attack the Block, but also, because it’s Cornish’s first studio feature for a mainstream audience, geared towards family audiences in particular.

It’s a fairly standard take on the King Arthur mythos with a young British lad (played by Andy Serkis’ son) finding Excalibur, the legendary sword in the stone and having to team with his best friend (and a couple school bullies) to take on the return of Morgana le Fey (Rebecca Ferguson).

It seems like a good idea to get kids, especially young boys, interested in the tales of King Arthur even though the last few movies have bombed as neither Guy Ritchie’s 2017 film King Arthur: Legend of the Sword or the Jerry Bruckheimer-produced 2004 movie King Arthur found much of an audience. In fact, trying to bring any British legend to the screen and get American moviegoers interested might be a fool’s errand, as seen by last year’s Robin Hood bomb.

The thing is that other than Patrick Stewart – star of Fox’s ongoing X-Men franchise, which seems to be in limbo these days -- and Rebecca Ferguson from the last couple Mission: Impossible movies, there are no stars in the movie that could entice those on the fence about whether to see this movie. On the other hand, reviews have generally been good which could help boost interest a little more going into the weekend.

At first, I thought maybe this would end up with around $10 million, but it’s basically going to be a family movie coming into a market where most other family films have been in theaters for three weeks or more. (Dragon Ball is an exception.) Fox was also able to get it into more than 3,4000 nationwide, because wisely, it waited until after Glass opened for this. Because of this, I’m going to goose up my number to somewhere between $11 and 13 million with most of the family movies geared towards boys falling away and Joe Cornish’s older fans maybe giving this a look. Sadly, the movie is not being marketed as “from the director of Attack the Block” as it clearly should be.

Mini-Review: Granted that Attack the Block was always going to be a hard act to follow for Joe Cornish, and yet he has written and directed a follow-up that might appeal to younger moviegoers though maybe not so much Cornish’s older teen fans from his directorial debut.

Louis Ashbourne Serkis, who is indeed the son of Andy Serkis, plays Alex Elliot, a fairly normal 10-year-old, who stands up to a couple school bullies and while being chased by them finds a sword embedded in rock on a construction site. It is indeed the fabled “Sword in the Stone” Excalibur as used by King Arthur. Along with his best friend Bedders (Dean Chaumoo) and their two relentless bullies (Tom Taylor, Rhianna Doris), they all go on a quest to fight Arthur’s evil sister Morgana (Rebecca Ferguson) and save Britain.

The first major hurdle this otherwise fine kids’ action-adventure faces is the fairly weak cast, because without liking Alex or his colleagues, it’s hard to root for them even with the stakes never feeling too great. The one exception is Angus Imrie as the young Merlin who somehow manages to get more laughs than the older Merlin, played by Sir Patrick Stewart. Alex’s mother is played by Claire Foy lookalike Denise Gough, and she also doesn’t bring much to what should have been touching scenes with Serkis. Ferguson is decent as Morgana, although the role doesn’t give her much to do.

Using many of the same creative team used by buddy and sometime producer Edgar Wright on Baby Driver, including DP Tim Pope and editors Jonathan Amos and Paul Machliss, as well as production designer Marcus Rowland, it’s a safe bet that Cornish has made another movie that looks damn good. As with Attack, Cornish’s FX team perfectly integrate the many CG beasties with the human characters.

The thing is that Cornish does a fine job with this material, so that the movie is better than the Percy Jackson movies or other similar family films, and he should be commended for making such a smooth transition to studio family films. Even so, by the third act, I was just getting very bored, especially when I thought it was ending, and it went on for another 15 minutes.

The Kid Who Would Be King is perfectly fine -- it has its moments -- but there’s something about it that left me wanting, because it seems like it should have been a lot better overall.

Rating: 6.5/10

SERENITY (Aviron)

Written and directed by Steven Knight (Locke, Redemption, “Peaky Blinders,” “Taboo”) Cast: Matthew McConaughey, Anne Hathaway, Diane Lane, Jason Clarke, Djimon Hounsou MPAA Rating: R

The other new release of the weekend is something that possibly could have done very well in the ‘90s or early ‘00s as an erotic thriller, a genre that has had its ups and downs but has mostly done decently at the box office. This is the third movie from Steven Knight, the director of Lockeand writer of Eastern Promises, “Peaky Blinders” and “Taboo,” though I’m not sure his previous hits will convince many to see this in theaters.

Matthew McConaughey plays fishing boat captain Baker Dill, who has been living in hiding on Plymouth Island after his divorce. His ex-wife Karen, played by Anne Hathaway, shows wanting her to kill her violent and abusive husband (Jason Clarke) in order to save her and Baker’s teen son.

McConaughey’s career has been all over the place in recent years, but his recent crime-thriller White Boy Rick didn’t do very well, and it feels like Serenity is heading towards a similar fate. In fact, McConaughey has been in quite a string of bombs since winning an Oscar for 2013’s Dallas Buyers Club with his biggest hit being the animated Sing. His most high-profile movie The Dark Tower made $120 million worldwide based on $60 million budget which made it barely profitable but especially disappointing due to its studio’s franchise plans.

Having Anne Hathaway could help as she’s been a lot more careful about her choices since winning her own Oscar a year earlier with last year’s Ocean’s 8, in which she played herself,being a relative hit with almost $300 million worldwide. Her last movie with McConaughey was Christopher Nolan’s Interstellar in 2014, which grossed $188 million domestically, so that’s somewhat of a bonus. The cast is rounded out by the ever-present Jason Clarke, who has yet to really break-out despite being involved in many Oscar-caliber films, as well as Djimon Hounsou, who is becoming a superhero film regular, having just appeared in Aquaman and having roles in Captain Marveland Shazam. (Some might remember that he also had a great scene with Chris Pratt early in the first Guardians of the Galaxy movie.)

While erotic thrillers have done well in the past, this movie was originally supposed to come out last September, and there was advertising trailers all summer – I know that because I saw the trailer for this in front of a ton of movies – but then it was moved to January, which is never a good sign of faith. This is a rare release from fledgling distributor Aviron Pictures, who released just two movies in 2018. Aviron is releasing this one into just 2,500 theaters, which might already be too many screens considering how little marketing the film has

Reviews are still embargoed until Thursday (never a good sign), but I’m probably not going to review the movie, since I saw it quite some time ago, though I do have to say that that the big twist in this movie angered me more than anything in M. Night Shyamalan’s Glass.

This movie looks like the epitome of a late January bomb, one that probably won’t come close to $10 million for the weekend and might even end up closer to $5 million or a little more. Either way, it won’t have to make that much to end up in the top 5 this weekend since it’s going up against many movies that have been playing since before Christmas.

This week’s Top 10 should look something like this…

1. Glass (Universal) - $19 million -53%

2. The Kid Who Would Be King (20thCentury Fox) - $11.6 million N/A

3. The Upside (STX) – $10 million -33%

4. Serenity (Aviron) - $6.5 million N/A

5. Aquaman (Warner Bros.) - $5.5 million -47%

6. Dragon Ball Super: Brolly (Funimation) – $5 million -49%

7. Spider-Man: Into the Spider-verse (Sony) - $4.8 million -37%

8. A Dog’s Way Home (Sony) – $4.2 million -42%

9. Mary Poppins Returns (Disney) - $3.1 million -45%

10. Escape Room (Sony) - $2.8 million -46%

LIMITED RELEASES

Many of my colleagues will be heading to the Sundance Film Festival this week, but I’m not going, so I don’t have much to say about it. Sorry!

On a more local level , we get FIAF ANIMATION FIRST FEST over the weekend, focused on the booming French animation film industry with a 20thanniversary screening of Michel Ocelot’s Kirikou and the Sorceress and 17 US and New York premieres, including the New York premiere of Funanand a number of shorts programs. Studio Ghibli’s Isao Takahata, who died last year, will be honored. You can read the full program and schedule of events Here. I personally have never attended, but if I wasn’t busy I might check out some of the programs.

As far as the limited releases…

Following its November qualifying run as Germany’s Oscar entry and with two Oscar nominations under its belt, Oscar-winning filmmaker Florian Henckel von Donnersmarck’s (The Lives of Others) new movie NEVER LOOK AWAY (Sony Pictures Classics). The historic drama is loosely based on the life of visual artist Gerhard Richter with Tom Schilling (Woman in Gold) playing a young artist who has watched East Berlin go from Nazi occupation, watching his older sister be sentenced to death due to her mental illness by a ruthless Nazi doctor (Sebastian Koch), to falling in love with a young woman (Paula Beer) who happens to be that doctor’s daughter and escaping to West Berlin during the country’s contemporary art movement. I found the movie to be overly long and a little confusing, because I wasn’t sure what the movie was supposed to be about until about 30 minutes into it.

Just a few months after his last film The Mercy barely got a glance, The Theory of Everything director James Marsh’s new heist film KING OF THIEVES (Saban Films) will open in theaters (including New York’s Cinema Village) and on VOD and Digital HD on Friday. The true crime tale about a group of retired crooks trying to stage an elaborate jewelry heist stars an ensemble of legendary British actors in Michael Caine, Jim Broadbent, Michael Gambon, Ray Winstone, Tom Courtenay along with Charlie Cox aka Daredevil. I had high hopes for this movie being better than the likes of Zach Braff’s Going in Style, something classier like last year’s The Old Man and the Gun, but sadly, it’s an obvious money grab for older British men and women reminiscing about all the better crime movies made by the cast.

Claus Räfle’s docudrama THE INVISIBLES (Greenwich) follows four German-Jewish youth who decide to stay behind in Berlin as World War II is beginning, living vicariously while dodging Nazi officials before eventually joining the resistance. This story of survival opens at New York’s Quad Cinema and Landmark 57, as well as in L.A. at the Laemmle Royal on Friday.

The Brazilian animated film TITO AND THE BIRDS (Shout! Studios) from filmmakers Gustavo Steinberg, Gabriel Bitar and André Catoto tells the story of a boy and his father who are looking for the cure for an illness inflicted on someone after being scared. After playing a number of film festivals, it also opens at the Quad Cinema in New York

It’s hard to believe that 88-year-old French New Wave filmmaker Jean Luc Goddard is still with us and making movies, but all the recent repertory series in New York and L.A. have been leading up to his latest film THE IMAGE BOOK (Kino Lorber). Don’t know much about this film which received a special Palme d’or at Cannes last year, but apparently it’s a “collage film essay,” which means that it probably doesn’t have a plot or narrative that’s easy to explain. It opens at the IFC Center and Lincoln Center in New York.

Tom Arnold and Sean Astin star in Ron Carlson’s Dead Ant (Cinedigm) as the members of an ‘80s hair metal band called Sonic Grave who had a power ballad hit 30 years earlier, and while they’re on a road trip to Coachella, they find themselves trying to be relevant again…. Until they’re attacked by giant killer ants. Okay, I think I need to see this movie, as it seems like my kind of movie.

Playing for one night only nationwide on Thursday as a Fathom Event is Timothy Woodward Jr.’s horror film The Final Wish (Cinedigm), starring the wonderful Lin Shaye (Insidious), Michael Welsh, Melissa Bolona and Tony Todd, and produced by Jeffrey Reddic (writer/producer of Final Destination). Welsh plays Aaron Hammond who returns to his hometown after the death of his father to help his bereaved mother (Shaye) and deal with the demons from his past, finding a mysterious item while going through his father’s belongings.

Opening at New York’s Cinema Village on Friday and at L.A.’s Laemmle Music Hall on Feb. 1 is Francois Margolin’s controversial French drama Jihadists (Cinema Libre), co-directed by by Lemine Ould Salem, which was banned in France. It follows two filmmakers who were given access to fundamentalist clerics of Sunni Islam to show what it’s like to live your life under jihadi rule.

From Bollywood comes Vikas Bahl ‘s drama Super 30 (Reliance Entertainment), starring Hrithik Roshan as Patna-based mathematician Anand Kumar, who runs the famed and prestigious Super 30 program in Patna. Not sure of the theater count but it’s probably opening in a dozen or so theaters.

Opening on Wednesday following its premiere at Doc-NYC is Robert Townsend’s doc The 5 Browns: Digging through the Darkness, which looks at the 5 Browns, a group of Julliard-trained sibling pianists who rose to stardom only to be devastated when it’s revealed that the three sisters were sexually abused by their manager father Keith Brown. It opens at the IFC Center for a single-week run.

Also opening at the Cinema Village and in select cities is John Kauffman’s Heartlock (Dark Star Pictures), a love story about a female prison guard, played by Lesley-Ann Brandt, who becomes the subject of affection from a charming male convict (Alexander Dreymo) who wants to use their relationship to help him escape.

STREAMING

The main film streaming on Netflix on Friday is Jonas Akerlund’s POLAR, his follow-up to Lords of Chaos, which premiered at Sundance last year and comes out a few weeks later. Based on the Dark Horse graphic novel, it stars Mads Mikkelson as assassin Duncan Vizla, known as the Black Kaiser, who is getting ready for retirement in a suburban town when he’s dragged back into one last job, but when it goes wrong, Duncan’s new love interest (Vanessa Hudgens) is dragged into it. I’ve never read the graphic novel, and I’ve generally been mixed on Akerlund’s films, but this one is definitely in the same absolute insanity realm of his earlier film Spun with a lot of crazy over-the-top performance from the likes of Matt Lucas (Little Britain) and Johnny Knoxville (Jackass), but in this case, it’s not a good thing. Mikkelson gives another stellar performance, and Hudgens is also quite good (didn’t even recognize her) but the craziness surrounding them from Lucas and the other assassins sent after Duncan made it hard to enjoy the film, especially compared to Mikkelson’s other upcoming film Arctic, but hey, it’s on Netflix so I’m sure people will watch it anyway.

Speaking of which, I also want to note that last week, I didn’t notice that a science fiction film called IO: Last on Earth, starring Margaret Qualley (Novitiate),was also streaming on Netflix. I haven’t watched it yet, but one of the writers also co-wrote Claire Carée’s Embers, which is one of my favorite festival discoveries from the past few years.

REPERTORY

METROGRAPH (NYC):

The Metrograph has a couple new series starting Friday, including Hou Hsiao-Hsien in the 21st Century, featuring 35mm prints of four of the Chinese filmmaker’s recent films: Millenium Mambo, Three Times, Flight of the Red Balloon and Café Lumieré. Then on Saturday, the Metrograph will show the classic Gone with the Windto kick off its Produced by David O. Selznick series, and there’s some great stuff to come, including Alfred Hitchcock’s Spellboundand Rebecca. The theater will also be screening a 35mm of Ken Loach’s 1991 film Riff Raff, starring Robert Carlyle, who would breakout in Danny Boyle’s Trainspotting. On top of that, Kay Francis: Queen of Pleasure continues with William Dieterle’s Jewel Robbery (1932) and 1929’s The Cocoanuts this weekend, while this weekend’s Late Nites at Metrograph option is Chantal Akerman’s News from Home (1977) and Playtime: Family Matinees shows the 2015 animated film Shaun the Sheep.

THE NEW BEVERLY (L.A.):

Weds. and Thurs. see double features of the 1977 film The Late Show and ‘78’s The Big Fix, starring Richard Dreyfuss. Friday sees a double feature of American Graffiti (1973) and The Lords of Flatbush (1974) with More American Graffiti (1979) added on Saturday… for just 10 bucks!The weekend family matinee is 1947’s The Secret Life of Walter Mitty, starring Danny Kaye. The Sunday/Monday Franco Zeffirelli double feature is Romeo & Juliet (1968) with Brother Sun, Sister Moon (1972). Tarantion’s Jackie Brownonce again plays at midnight Friday and the Tuesday Grindhouse triple feature is Katt Shea’s Poison Ivy (1992), Streets (1990) and Stripped to Kill (1987), which is already sold out online but may have more tickets at the door.

FILM FORUM (NYC):

Far Out in the 70s: A New Wave of Comedy, 1969 - 1979 continues with La Cage Aux Folles and The Seduction of Mimi on Wednesday, double features of Who is Killing the Great Chefs of Europe? and Theater of Blood on Thursday, Woody Allen’s Sleeper and Bananas on Friday, then Blazing Saddles, Young Frankenstein, Rock ‘n’ Roll High School, Monty Python and the Holy Grail on Saturday, and Papermoon, What’s Up, Doc? starring Barbara Streisand and Woody Allen’s Play It Again Sam on Sunday. As part of the series focusing on the great filmmaker and actor Elaine May, Film Forum will show A New Leaf (1971) and Mickey and Nicky (1976) next Tuesday. The weekend’s Film Forum Jr. is Gordon Parks’ 1969 film The Learning Tree.

EGYPTIAN THEATRE (LA):

Beginning another fun series of double features this weekend with Argento/De Palma with a double feature of Suspiria and Carrie on Thursday, Blow Out and Inferno on Friday, and Dressed to Kill and Tenebrae on Saturday. Saturday sees a special presentation of Craig Owen’s The Silent Film Era at the Alexandria Hotel, while the 1916 Douglas Fairbanks film His Picture in the Papers will also screen on Saturday with live music accompaniment.

AERO (LA):

The AERO is offering an eclectic mixed bag of films this weekend including the 4k restoration of Wim Wenders’ Wings of Desire (1987; Janus Films) on Friday night, David Fincher’s Fight Club on Saturday, and the WC Fields comedy My Little Chickadee (1940) on Sunday night.

QUAD CINEMA (NYC):

Continuing the theater’s attempt to keep up with ‘90s Cinemax with its X-rated fare, Just Jaekin’s erotic drama Emmanuelle (Kino Lorber; 1974) will screen in a special engagement, leading up to next week’s Beyond Emmanuelle Just Jaeckin retrospective and Erotic Journeys: The Many Faces of Em(m)anuelle.

IFC CENTER (NYC):

On Friday and Saturday at midnight, the IFC Center will show the 4k restoration of Dario Argento’s Suspiria as part of its Late Night Favorites series. While The Image Book opens here on Friday, Weekend Classics: Early Godard continues with a 35mm print of A Woman is a Woman (1961) and Waverly Midnights: The Feds screens Michael Mann’s Manhunter(with Silence of the Lambs and Hannibal coming in the next two weekends!)

LANDMARK THEATRES NUART (LA):

Friday night’s midnight screening is the Rocky Horror Picture Show follow-up Shock Treatment (1981).

MOMA (NYC):

This week’s Modern Matinees: Sir Sidney Poitier offerings are A Patch of Blue (1965) on Weds, They Call Me Mr. Tibbs! (1970) Thurs, and No Way Out (1950) on Friday. MOMA is also screening Ida Lupino’s Never Fear (The Young Lovers) (1950) to end its 16th annual To Save and Project series, although there’s a couple second screenings for those (like me) who only just found out about it now.

That’s it for this week… next week, it’s February! Already?? While many movie writers are still at Sundance and others are preparing for Super Bowl Sunday, Sony releases the crime-thriller remake Miss Bala.

#WhatToWatchThisWeekend WeekendWarrior TheKidWhoWouldBeKing Serenity Movies Reviews BoxOffice

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aquosevolved · 7 years

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The Apocalyptically Long Ask Meme

Tagged by @tfloosh

“Rules: answer these 92 questions and tag 20 people” Tagging people? How about no? Alright, let’s get this going

THE LAST: 1. Drink: Water 2. Phone call: My dad 3. Text message: My mom 4. Song you listened to: The Scientist, Coldplay 5. Time you cried: I teared up pretty bad writing that Morgan and Lucina drabble a few days ago but other than that, it’s probably been months.

HAVE YOU: 6. Dated someone twice: How about once? 7. Kissed someone and regretted it: You kind of have to kiss someone to regret doing so, no? 8. Been cheated on: Never been in a situation where that could happen 9. Lost someone special: If we’re just talking in general, yes, if we’re talking death, then no. 10. Been depressed: Oh, you have no idea. It was pretty bad but all is well now...at least in comparison 11. Gotten drunk and thrown up: Bah, alcohol schmalcohol, never gonna touch the stuff.

LIST 3 FAVORITE COLORS: 12-14: Verdant green, royal blue, brown IN THE LAST YEAR HAVE YOU: 15. Made new friends: Hell yeah. My bois Payton, Jason, and Silent Mike.

16. Fallen out of love: I wish...Would make a whole lot of things a lot less painful

17. Laughed until you cried: I don’t think I’ve done that...ever

18. Found out someone was talking about you: Yeah, unfortunately

19. Met someone who changed you: No

20. Found out who your friends are: Yes. if that’s what you think of me then you won’t be missed

21. Kissed someone on your Facebook list: As if I’ve ever actually used facebook

GENERAL: 22. How many of your Facebook friends do you know in real life: see #21

23. Do you have any pets: Yeah, I got a cat that still has no name back in 7th grade and he’s one of my best buddies

24. Do you want to change your name: Once upon a time, I did, long back in the days of 2004, but now? Nah.

25. What did you do for your last Birthday: Uhh...Shit, I don’t actually remember because that’s how uneventful it was.

26. What time did you wake up: Yesterday

27. What were you doing at midnight last night: Editing and swearing internally

28. Name something you can’t wait for: METROID. PRIME. 4.

29. When was the last time you saw your mom: A couple weeks ago

30. What is one thing you wish you could change in your life: This worthless, feeble body.

31. What are you listening to right now: Dead silence

32. Have you ever talked to a person named Tom: I have an uncle on my mom’s side named Tom. Pretty cool guy.

33. Something that is getting on your nerves: Sleep deprivation has me wired and on edge

34. Most visited website: YouTube, tumblr being a close second

35. Mole/s: None

36. Mark/s: Quite a few. Most of them are surgery scars; one on my chin, one right next to my left eye, and one on the left side of my abdomen

37. Childhood dream: Published author

39. Long or short hair: Aside from one 6-month stint in 7th grade, I’ve been rocking a fairly short hairstyle for as long as I can remember. I’ve decided to grow it out recently, just to experiment with new looks. So, I guess long hair for now? Not even down to my shoulders yet but given where I started when I made this decision it’s not surprising

40. Do you have a crush on someone: I don’t think it can really be called a “crush” at this point anymore, more like head-over-heels in love.

41. What do you like about yourself: My tenacity; only reason I’m still here

42. Piercings: None to speak of.

43. Blood type: I don’t even know.

44. Nickname: Topher (or General Topher) and recently I have been bestowed the title of Kapparoth

45. Relationship status: Single but hopelessly in love

46. Zodiac: Cancer

47. Pronouns: He/Him

48. Favorite TV Show(s): Adventure Time with Finn and Jake, Rick & Morty, Teen Titans (the original, not this talentless hack reboot)

49. Tattoos: I’ve been juggling the idea of getting the Hyrulean Royal Crest tattooed on the back of my neck for a few years, not entirely sure if I’m going to go through with it.

50. Right or left hand: Righty

51. Surgery: I’m not even going to bother to list all these because sitting here until I remember everything is going to take forever

52. Hair dyed in different color: I considered getting a royal blue streak in my hair a couple years ago but ultimately decided that was a terrible idea.

53. Sport: Like I have the energy for that. 55. Vacation: Farthest I’ve ever been from home longitude-wise was Niagra Falls, farthest I’ve been from home latitude-wise was San Diego 56. Pair of trainers: Been rocking the same pair of sneakers for the past 3 years but they’re starting to get a bit tight.

MORE GENERAL: 57. Eating: Nada. 58. Drinking: Again, nada. 59. I’m about to: Hell if I know 61. Waiting for: More information on Metroid Prime 4 62. Want: A Switch so I can play BotW and MP4 (when it comes out) 63. Get married: Maybe someday 64. Career: Currently looking into majoring in some field of IT, possibly cybersecurity if that has its own major

WHICH IS BETTER 65. Hugs or kisses: Never had a true kiss so I can’t really make an informed decision. 66. Lips or eyes: You can see so much more about someone in their eyes rather than in their lips 67. Shorter or taller: T-taller 68. Older or younger: As long as the age difference isn’t anything substantial, I don’t really care. 70. Nice arms or nice stomach: Why not both? I like my women a bit toned. 71. Sensitive or loud: Sensitive because I’m horribly prone to auditory overstimulation. 72. Hook up or relationship: A relationship is much better if you ask me 73. Troublemaker or hesitant: Hesitant, I guess. Gotta have someone to balance out my boldness almost to the point of recklessness HAVE YOU EVER: 74. Kissed a Stranger: Nope 75. Drank hard liquor: No, nor do I ever intend to. 76. Lost glasses/contact lenses: Nope. 77. Turned someone down: Not directly, but I think I might have without realizing 78. Sex on the first date: Let me adjust that for you: “HAVE YOU EVER: Sex” No. No, I have not. 79. Broken someone’s heart: See #77 - I’m really unsure about this 80. Had your heart broken: Still trying to fix it... 81. Been arrested: Unlike my brothers when they were my age, I am quite well-behaved. 82. Cried when someone died: The only person I can think of off the top of my head that I’m close to that died was my Grandfather Dwight but he died before I turned 2 so I’m going to venture a guess and say “no” 83. Fallen for a friend: Yes, I have, and I fell hard. DO YOU BELIEVE IN: 84. Yourself: Most of the time, yeah 85. Miracles: Despite the fact that most people would call the fact that I’m still alive a “modern day miracle” I absolutely do not. 86. Love at first sight: In some sense, I feel like you can feel an intense attraction to someone at first sight without it being sexual attraction, but I wouldn’t go as far as to call that “love” 87. Santa Claus: No, I do not. 88. Kiss on the first date: Depends entirely on the situation.

OTHER: 90. Current best friend name: Nick 91. Eye color: It varies between really dark brown and a dark amber-ish color depending on the light 92. Favorite movie: Finding Nemo

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andimallouttabubblegum · 7 years

Text

It was 20 years ago today…

Album: Be Here Now Band: Oasis Release Date: 21st August 1997 Produced by: Owen Morris and Noel Gallagher Label: Creation

Track Listing: 1. D’You Know What I Mean? (7:42) 2. My Big Mouth (5:02) 3. Magic Pie (7:19) 4. Stand By Me (5:56) 5. I Hope, I Think, I Know (4:22) 6. The Girl In The Dirty Shirt (5:49) 7. Fade In-Out (6:52) 8. Don’t Go Away (4:48) 9. Be Here Now (5:13) 10. All Around The World (9:21) 11. It’s Gettin’ Better Man(!!) (7:00) 12. All Around The World (Reprise) (2:08)

What’s the most hyped you’ve ever been for something? Did you binge watch 6 seasons of Game of Thrones for the new episodes? Perhaps you watched The Avengers a dozen times in the cinema because your favourite Marvel heroes were actually on the big screen together? Or maybe you queued up for the midnight release of one of the latter Harry Potters or Call of Dutys. Well, add all of that together and you get some idea of how much a young James was looking forward to Be Here Now in 1997. So, on the twentieth anniversary of its release, I’ve decided to give it another listen, and to give you my thoughts.

First, just a little bit of background first for those who didn’t experience Britpop in the flesh. I’m not going to do the full history of Oasis or 90s British music, but the release of Definitely Maybe in 1994 had marked out Oasis as something very special, becoming the biggest selling debut album in the UK. Anthemic songs like “Supersonic”, “Cigarettes and Alcohol” and “Live Forever” crossed over to capture a bunch of fans who connected with the Gallagher brothers and the motley crew of Mancunians – if that isn’t too patronising to say! Then, a “feud” with Blur caught the imagination of parts of the media, and the release of (What’s The Story) Morning Glory? moved them into the mainstream, going to number 1 in the album charts for 10 full weeks. Although the music press didn’t particularly like it, as Paolo Hewitt said in the sleeve notes “In this town the jury is always rigged but the people know. They always know the truth. Believe. Belief. Beyond. Their morning glory.” This was an album of the people.

The Gallagher boys’ rock star antics (Noel quiting the band and Liam missing the start of an American to buy a house with Patsy Kensit) just built Oasis’ popularity, and a couple of concerts at Knebworth saw them play to 250,000 fans over 2 days in August 1996. So when it came to the release of Oasis’ third album, Be Here Now, anticipation was at fever pitch. Songs like “Don’t Look Back In Anger” and “Wonderwall” had become instant classics (still being played by annoying guys at parties to this day), but what could Noel Gallagher produce this time?

The first single from Be Here Now was “D’You Know What I Mean?”, released on 7th July 1997, was a huge number 1, selling 370,000 copies in its first week, one of which was to me. That’s right, this was the first single I ever bought.

“D’You Know What I Mean” is a very good song… that is about three and a half minutes long. It sounds very different from anything that Oasis had done before, yet still had the familiar hallmarks of a big chorus and Beatles references. But mainly, it had an ambition which further fueled my excitement for the upcoming album, which arrived on Thursday 21st August 1997 and was bought by yours truly at about 10am on that day, which for me, in the middle of the school holidays, was a huge achievement.

Obviously, 14 year old me loved the album. I didn’t listen to anything else for weeks. I taped it on cassette to listen to it on my Walkman (look it up in a museum). I learned all words, tried work out which bit of guitar was Johnny Depp (I didn’t know what “slide guitar” was), and bought the follow up singles. I read every review I could find – which were mostly incredibly positive – and couldn’t comprehend why anyone didn’t think it was the best album ever. But…

Over the coming months, I realised there was other music outside Oasis. Actually listening to Blur’s album Blur (released earlier that year) showed that they were never really competing with Oasis, they were on totally different musical levels. I’d originally ignored the Manic Street Preacher’s Everything Must Go even when it won best album at the ’97 Brits, but when I did, it was a revelation. And although I can’t remember for sure, I think it was Urban Hymns, Richard Ashcroft’s masterpiece return with The Verve, that was the first album I listened to after Be Here Now. And although I would argue that each of these contemporary albums are better, the thing that I learned most from listening to them is that an album, even an ambitious one, shouldn’t be 71 minutes long.

It was a strange thing to learn at fourteen that sometimes less is more. Take the second single “Stand By Me”:

Again, it is a very good song. But it is nearly 6 minutes long. And when you are listening to it on the album, you are TWENTY MINUTES into Be Here Now despite it being only the fourth song. There was simply no-one to rein-in the band’s, and specifically Noel Gallagher’s, excesses. There are just loads and loads of guitar laid on top of simple acoustic songs, with no-one in the Oasis camp able (or willing) to tell Noel to ease off. The lyrical content is more meaningless than ever, but that was never really an issue for Oasis, it’s just that the songs collapse with the layers of guitar tracks piled on them. Liam Gallagher does his best on vocals, but it is buried in the mix – although the 2016 remastered version does treat him a bit better. Allegedly “My Big Mouth” has 30 guitar tracks on it. No song should have 30 tracks of anything unless you are making something cosmically groundbreaking. “My Big Mouth” is just a very average rock song.

For a band who had been so Mancunian, so Northern, so British, all of a sudden the tracks are from a different era. While in the past he nicked riffs from bands in the past, it was still in an Oasis style. Now Noel Gallagher’s output sounded like bland, middle of the road soft rock. “Don’t Go Away” is a ballad that owes more to the dreaded American “AoR” radio than their first two, vital-sounding albums. Listening to it now feels very strange, especially when Noel Gallagher’s solo output sounds so different to what he produced on Be Here Now.

And there was just no, for want of a better word, editing. Song after song repeat their choruses and bridges over and over, leading into noodlely guitar outros. “Be Here Now” should be a 2 and half minute punky blast… instead it is over twice that. “The Girl in the Dirty Shirt” should be a brief love song like “Married With Children” from Definitely Maybe or “She Is Love” on Heathen Chemistry. “I Hope, I Think, I Know” is the closest to a normal length song, yet it comes in at 4:22. That first single, “D’You Know What I Mean?” – Noel himself thought that someone would tell him to take two minutes off it. No-one did, so there’s a long intro then a needless backwards bit at the end. It was the first song on the album! It doesn’t need that much of an outro!

And take the second last (proper) song on the album is “All Around The World”, which was the third and final single, is over 9 minutes long. It’s a song that makes “Champagne Supernova” sound restrained and focused.

And then it has a two minute reprise as the last track. For me, “All Around The World” proved that Oasis weren’t The Beatles, they were just a band that sometimes wanted to sound like The Beatles. There’s nothing wrong with that, but there’s a quote from Noel: “imagine how much better “Hey Jude” would have been with three key changes towards the end.” Oasis genuinely thought they were making an album to put them in with the all-time greats. Instead we got a very long, overblown, overloaded mess of an album. Buried somewhere in there is a 45 minute classic – I think the songs are better than the hungover Standing on the Shoulder of Giants – and if you pick single songs out of it, there are enjoyable to listen to.

But in 2017, as a whole, listening to Be Here Now is a tiring, head battering affair. It’s a testament to excess and… there’s just too much guitar. And coming from me – that is saying something.

(In case anyone thinks for whatever reason I am lying about my love for Oasis and this album on its release, here are my well-worn copies of the album and singles. I genuinely did love it, but it really doesn’t stand up now. It will always have a special meaning for me – like any first love – but the memory is better than reality, like most teenage obsessions!)

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Oasis: Be Here Now Review It was 20 years ago today...

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