At first I thought that this would be a bit of a gimmick, but it has legit grown on me and is now in my regular playlist.
I am addicted to running around the world of Raccoon City in Resident Evil 2 and the recently-released Resident Evil 3 Remake.
I’m looking forward to any music that the same creator can bring from RE3’s world in the coming weeks / months.
Some people get by
Lyrics by Jim Steinman
With a little understanding
Some people get by
With a whole lot more
My first time hearing this song was in fact as a cover by Meat Loaf on his album Braver Than We Are. The song was actually written by Jim Steinman whose most well-known collaborator is Meat Loaf. And he has been known to reuse his songs for different artists over the years
My favourite song from his new album, ‘Ordinary Man’.
Under the Graveyard
We’re all rotten bones
Under the Graveyard — Ozzy Osbourne
The Lighthouse is a slow-burn descent into madness expertly portrayed by Robert Pattinson and Willem Dafoe.
They play lighthouse keepers with the task of manning the lighthouse on a rock out at sea for four weeks. But their isolation and growing annoyances of the other, soon guide them down the path of madness.
Directed by Robert Eggers, the man behind another favourite film of mine from recent years — The Witch.
I found myself completely transfixed to these two people throughout the entirety of this film. From their initial landing on the island — passing their predecessors on the walk to their new, month-long home — up to the crazy final scenes that played out like some kind of demonic version of Alfred Hitchcock.
While I’m not going to spoil anything here, what I will say is roughly what the film is about — very roughly.
Pattinson and Defoe play two lighthouse keepers. Pattinson is new to the job and quiet initially, whilst Defoe plays an almost-caricature of a typical old sea-dog with many old tales and superstitions to impart.
Their relationship is pretty intense throughout, as would be expected between boss and worker that also live together — especially in such a close and isolated proximity.
I’ve lived and worked with a boss-like figure in the past and I can tell you for one that it can get pretty tense pretty fast if you’re not careful.
They often argue and disagree, usually with Defoe coming out on top, but at times they let off steam by getting completely drunk and sing songs of old times in their drunken stupor.
The film’s climax is one that I will be thinking about for days to come, I think. It has no hard explanation, at least not that I could tell. What it does have is a heart-pumping ending that leaves itself open to interpretation — complete with metaphor and Greek mythological imagery.
I’d not seen Robert Pattinson in anything before, so didn’t know what to expect. Willem Dafoe, on the other hand, I had seen a few times and so was aware of him and his idiosyncrasies as an actor.
What I found was that both of their performances were absolutely incredible. As I heard in a review after watching the film, this film displays the whole gamut of human emotions. We see both characters at their most powerful and their most vulnerable too, I would say. From the heights of joy in alcohol-fuelled excitement, to some moments of personal fantasy and depravity.
Willem Dafoe’s Shakespearean, powerful monologues were absolutely hypnotic to watch — as were his eyes whilst he delivered said speeches. Lit up like someone would be at a campfire telling ghost stories — a piercing light shining from below and up against his intense expression. He became almost scary to see but I found myself unable to look away.
I’d only heard about Robert Pattinson through knowing about his starring roles in the Twilight films, so that had coloured my perception of him if I’m honest (despite having never seen them). But all I can say is “wow”, based on his role in The Lighthouse. His descent into madness and the odd visions that he witnesses in the desolate, rocky surroundings, are pieces of cinema I wont forget in a hurry.
The was a heavy air of suspense throughout the entire film, which for me didn’t really end until the very final shot. At times I felt like I was watching the love child film of both Alfred Hitchcock and David Lynch.
The film was presented in an old-style square frame as opposed to the typical widescreen format that we are used to nowadays. It was also shot completely in black and white. These two factors, along with the fucking incredible score by Mark Korven gave the story the added claustrophobia that the characters on screen were no-doubt facing themselves.
And as for that score, it was intense, atmospheric and downright terrifying at times. That, coupled with the films overall great sound design, made for what I can’t help but feel will be one of the greatest auditory experiences I will experience in the cinema this year.
It was just a shame that some dick in the row in front of me kept piping up to his mate with short sentences after some of the film’s big moments.
What can I say other than this is a film that will treat all of your cinema-viewing senses to a real treat. The performances are incredible; the story itself is left up to you to interpret; and the atmosphere is one of constant isolation and sustained dread.
I loved it from beginning to end and found myself enjoying the emotional journey that these two men were going on. The more I sit and think about it now afterwards, the more my mind is starting to think about the possible symbolism throughout the film. And the more I am starting to form my own interpretations of what I have seen tonight.
Maybe I’ll write these interpretations into a separate post once I have some kind of coherent way of putting those thoughts together.
If you enjoyed The Witch, to which this is a sort of spiritual companion, or are simply open to something very different from your regular cinema experience, then I can’t recommend The Lighthouse enough. If you can watch it for the first time at a cinema then you definitely should.
Here are some things I’ve been enjoying in February 2020.
I have been replaying this game through for about the fifth time. This time, however, I’ve attempted the hardest difficulty — Grounded.
Love come quick
First lyrics from Thieves in the Template by Prince
Love come in a hurry
There are thieves in the temple tonight
They don’t care where they kick
Just as long as they hurt you
There are thieves in the temple tonight
A sister killed her baby ’cause she couldn’t afford to feed it
Lyrics from Sign of the Times
And yet we’re sending people to the moon
In September, my cousin tried reefer for the very first time
Now he’s doing horse, it’s June, unh
Possibly one of my favourite covers of any song I’ve heard. This is how covers should be done.
I remember hearing this for the first time in my first web development job. I was working for a small local company, whose office was the upstairs level of a converted barn.
Usually the radio — permanently fixed on Radio One — soon became tiresome for me as the same songs seemed to be played at the same time every damn day.
But one magical day I happened to hear the Live Lounge wear I heard Matt Belamy’s signature guitar sound riffing to a tune I recognised but could not name.
When I finally worked it out it hit me like a freight train.
This song is fucking incredible.
So it turns out that The Last of Us Grounded mode is actually pretty tough. Loving it! It’s put the scares and danger back into a game I’ve gotten used to completing.
–is it just me, or is it getting crazier out there?
Arthur Fleck speaking with his Social Worker
Joker is a phenomenal film, released in 2019, that explores a possible origin story for Batman’s famous arch-nemesis.
I can’t believe that I was sat right where I am now as I write this, considering not going to see Joker for my second time at the cinema. This film is absolutely stunning for so many reasons — some of wish I will try and put over to you here.
Please note however, that this isn’t a typical “comic book film” — it’s so much more than that.
I should also say that there are some spoilers ahead.
Joaquin Phoenix is probably my favourite representative of the character of Joker that I’ve seen on screen. He isn’t playing a huge comic book, larger-than-life character. Instead he is playing a grounded human being, living in almost-poverty, dealing with a whole manner of uphill battles.
At front and centre of his performance was the mental health issues that Arthur Fleck (later to become Joker) is dealing with throughout the film and his life. Joaquin’s portrayal of Fleck with these issues was incredible – I couldn’t help but imagine the amount of energy that this role must have taken day to day to get to what we see on screen. Nothing seems to be held back – even the look of his malnourished body from his weight loss for the role stands as a testament to his dedication here.
What I found the most profound though, was the way that Joaquin managed to blend comedy and tragedy into the same performance, so naturally. I remember a key scene where his boss at the clown hire company calls him to see him, essentially blaming him for getting beat up by a gang of kids. Fleck forces himself to ‘put on a happy face’, which for a second is passable as such. But as the camera moves in closer, I could see and feel the anguish and anger building up in him. That one moment made him worthy of his 2020 oscar win for best actor, in my opinion.
I discovered a new instrument when hearing the soundtrack to Joker: the Halldorophone. The instrument is similar to a cello, I think. It is so haunting, so intense and so desolate-sounding, that it perfectly represented the mental isolation that Fleck experiences on the busy streets of Gotham City. The film’s composer, Hildur Guðnadóttir, has created a sound that managed to cut down to Fleck’s core and expose it to the audience.
When I think about the score, I go straight to a bathroom scene where Fleck slow dances by himself having just killed the three suits on the subway. The way that the instrument filled the cinema as Fleck seemed to be slipping into something a lot more comfortable, mentally speaking, created a single moment in cinema that I will never forget.
Along with Hildur Guðnadóttir’s incredible score, are the use of some classic songs at key moments in Fleck’s transformation. Frank Sinatra’s “That’s life” seemed to perfectly capture an acceptance that life can beat you down at times. But it’s done with it’s calm, almost relaxing, accompaniment that it fit so well into the Joker’s embracing and enjoyment of using his experiences to fuel what he is to become.
I said, that’s life (that’s life), and as funny as it may seem
That’s Life – Frank Sinatra
Some people get their kicks
Stompin’ on a dream
But I don’t let it, let it get me down
‘Cause this fine old world it keeps spinnin’ around
I loved the use of Rock ‘N’ Roll (Part 2) too. After living with Arthur and experiencing his hardships first hand up to this point, this song was almost like a release of some of the tension. In fact that seemed to be exactly what Arthur was experiencing too as he danced along to it down them well-trodden steps in one of the film’s most iconic scenes. But even from that up-beat foot-tapping song, Hildur’s excellent score blends back in and takes over to remind us that despite this ‘happy face’, at his core is still that desolate and broken man.
Joker is probably one of the most unlikely heroes of all of the villains I’ve come across in films. Up until now that is. But of course, that is completely dependant on your perspective. In all of the Batman films, Thomas Wayne was this beacon of hope for the city who, after his death, became a catalyst for his son Bruce to pursue his own destiny as the Batman. But when you come at the story from the side of the “villain” (quotes intended), it makes things not quite so black and white.
Arthur Fleck comes from the impoverished side of gotham, where the people are pretty much forgotten about and frowned upon by the rich society. There is a moment when Thomas Wayne appears on television, to the excitement of Fleck’s mother, to be interviewed about the three killings on the subway.
From what we saw on that train car, we know that those three men were complete scumbags – harassing an innocent woman and then beating on Arthur. Yes, Arthur’s reaction was extreme. But after a life of being beaten on by his peers and society around him, and with the only means of self-defence to hand, is it really that surprising that he reacted how he did?
But then to have Thomas Wayne, the poster child for success and wealth in the city, give the following statement, it puts him in a completely opposing light to how I’d seen him previously: “And until that jealousy ends, those of us who’ve made a good life for ourselves will always look at those who haven’t as nothing but clowns.”.
And until that jealousy ends, those of us who’ve made a good life for ourselves will always look at those who haven’t as nothing but clowns.
Thomas Wayne, interviewed on TV
I think it was inevitable that there was going to be some civil unrest on the city streets. But it just so happened that Arthur was at the right place at the right time to kick start the revolution and lead it into a new era for Gotham.
There was a moment at the end that caused my mouth to drop with excitement and awe. It was just at the height of all of the rioting, as Fleck (almost fully Joker) is being broken out of the police car following his television appearance. We see Thomas and Martha Wayne leaving the theatre with their son Bruce in tow. I thought – hang on, this seems familiar.
As they run down a side alley to escape the escalating violence they are approached by one of the extreme protesters in a clown mask. This immediately sent me back to being about ten years old again seeing Tim Burton’s batman – “You ever dance with the Devil in the pale moonlight?”. The attacker in Joker didn’t say this, as it wasn’t the same character as in Batman (In Batman it is a criminal called Jack Napier who becomes the Joker). But it was no less powerful for me to see this scene play out at this film’s climax.
But the most powerful moment for me was the awakening of Joker on the bonnet of the police car — after having been broken out, and the deaths of both of Bruce Wayne’s parents. Although the metaphor is pretty obvious I just wanted to note it down: It is the perfect representation of the births of both Joker and Batman happening at the same point in time.
Joker is raised up and revered as the leader of a crusade for the beaten and down-trodden in society. At the same time the seeds of what Bruce is to become are planted at the very moment that his parents are taken away from him.
I have only seen a couple of different versions of the Joker, from the New 52 DC comics to the classic Jack Nicholson perforce in Tim Burton’s Batman. And from Heath Ledger’s iconic performance back to Batman: The Animated Series. But I have to say that so far, I think that Joaquin Phoenix’s portrayal has easily become my favourite — of the ones I’ve seen on screen, anyway.
His version is so grounded in reality, so much so that this didn’t even feel like a typical ‘Comic Book Film’ for one second as I watched it. This is a psychological thriller through and through – and a damn excellent one too.
Joker does have it’s funny moments, but they are sometimes hard to spot — depending on your sense of humour. But if you are inclined towards darker comedy, there are some pretty funny moments in here.
Composer Hildur Guðnadóttir’s website.
‘Joker’ Originally Had A Very Different Bathroom Scene – from SlashFIlm
Every Song On Joker’s Soundtrack. – from Screen Rant
What have you done to it?! What have you done to its eyes?!
Rosemary Woodhouse
Rosemary’s Baby is one of those classic horror films that I have known about for years, yet never got round to watching it. But I decided it was time to sit down and finally watch it — and I was so glad I did.
I can’t offer any in-depth analysis or deeply philosophical film essays on this, or any other films I watch to be honest. What I will do though, is give my thoughts and feelings about it.
From it’s opening shot across Manhattan, this film felt very much like a Hitchcock film to me. Which was an instant hit for me. However, this isn’t a Hitchcock film – it was in fact made by Roman Polanski. In fact, it was the first film of Polanski’s that I have seen, that I remember.
I absolutely loved the feeling of sustained terror throughout most of the piece. It has been referred to as a “horror film that contains no horror”, although I would argue that the scenes depicted in Rosemary’s “nightmare” on baby night got pretty bloody scary. The images in that nightmare brought up the thought of witches in my mind. And there’s something about witches in older cinema that just creeps me out — even the film version of Roald Dahl’s “The Witches” still haunts me to this day.
But for most of the film, the kind of horror that it uses is that of paranoia. The paranoia that builds up in Rosemary as the baby gets closer and closer to it’s due date, and the paranoia I felt towards the excellent cast that surround the actress playing Rosemary, Mia Farrow.
Even in their very first scenes, I could tell that certain characters were dodgy. But I’m not sure whether that is because I am watching it 52 years after it’s release – with, no doubt, many known films I had seen having being inspired by it.
Ruth Gordon and Sidney Blackmer were great as Minnie and Roman Castevet. They have a certain friendliness and over-familiarity that I couldn’t help get the heeby jeebies from.
Something else occurred to me whilst writing this post too. I don’t remember there being any dark, particularly scary moments, except for the nightmare I mentioned above. The film takes place mostly in the day time with well-lit rooms and colourful surroundings — I absolutely loved the colours and the choice of camera used here.
The people that are around Rosemary seem to be always brightly coloured too. It’s almost like the film is trying to put you at ease with it’s colourful, welcoming surroundings whilst the possibility of a dark, sinister underbelly becomes more and more likely as it moves forwards.
On looking back, it really did feel that the film was easing me into a false sense of security.
As so many people have said before me, this really is a horror classic. It stands the test of time for me as both a psychological horror and at times a dark comedy — especially with those scenes involving those over-familiar neighbours of theirs.
I’d urge you, if you haven’t already, to give this film a watch. Don’t leave it as long as I have. It has scenes that I’m still thinking about now — days after I actually saw it. And I don’t doubt that I’ll be thinking about them again in the future.
Kate Middleton Accidentally Wore a Dress from Rosemary’s Baby for Prince Louis’ Debut
Is Mother! a Rosemary’s Baby Remake? Is This Poster a Red Herring? Why Do I Suddenly Care?
Finally got my site to use the roots wordpress structure. Composer dependency management and deployment with laravel forge. 🤓
A detective interrogates a monkey who is suspected of murder
What did Jack do?
No one but David Lynch. Love it – and I haven’t even watched it yet.
Then came another rush of sea-fog, greater than any hitherto — a mass of dank mist, which seemed to close on all things like a grey pall, and left available to men only the organ of hearing, for the roar of the tempest, and the crash of thunder, and the booming of the mighty billows came through the damp oblivion even louder than before.
from Chapter 7 — cutting from the dailygraph
This collection is currently not finished – still picking out my favourite quotes. 🙂 — 14th January 2020
It was the critic Alexander who put me on my guard against unnecessary fault-finding. People should not be sharply corrected for bad grammar, provincialisms, or mispronunciation; it is better to suggest the proper expression by tactfully introducing it oneself in, say, one’s reply to a question or one’s acquiescence in their sentiments, or into a friendly discussion of the topic itself (not of the diction), or by some other suitable form of reminder.
Meditations, Book 1 — Paragraph 10
Wrong, wrong thou art doing to thyself, O my soul; and all too soon thou shalt have no more time to do thyself right. Man has but one life; already thine is nearing its close, yet still hast thou no eye to thine own honour, but art stalking thy happiness on the souls of other men.
Meditations. Book 2 — Paragraph 6
Never value the advantages derived from anything involving breach of faith, loss of self-respect, hatred, suspicion, or execration of others, insincerity, or the desire for something which has to be veiled and curtained.
Meditations, Book 3 — Paragraph 7
If the inward power that rules us be true to Nature, it will always adjust itself readily to the possibilities and opportunities offered by circumstance. It asks for no predeterminate material; in the pursuance of its aims it is willing to compromise; hindrances to its progress are merely converted into matter for its own use. It is like a bonfire mastering a heap of rubbish, which would have quenched a feeble glow; but its fiery blaze quickly assimilates the load, consumes it, and flames the higher for it.
Meditations, Book 4 — Paragraph 1
Explore
If you want to search, or just get an overview of my stuff, the explore page is a good place to start.
Any interesting websites and/or people I have found online, I link them on my blogroll page.
I keep a record of things i use on my… well… my “uses” page.
Album on repeat
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All of my collected posts, grouped by year.
