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I've been watching a few things this week, most notably the first two discs of Battlestar Galactica: Season 2.0. I was so disappointed when I missed the mailman on Saturday, because I could have sent back disc 1 to Netflix by now and have disc 3 in my hands all the more quickly. I watched discs 1 and 2 straight through, and then watched their commentaries straight through. Btw, I noticed the following usage in the Amazon review:
...As all of these plot threads are expertly interwoven, the high-stakes conflict of BG 2.0 culminates in a suspenseful mid-season cliffhanger that pits Adama against Admiral Cain (played by Star Trek: Next Generation alumnus Michelle Forbes), who turns a happy reunion with Battlestar Pegasus into a massive military showdown...
I think they meant to say alumna rather than alumnus (at least according to the American Heritage Dictionary).
I watched a couple of movies on VHS from my going-out-of business stack this week; 1988's Flesh Eating Mothers (crying out for hyphenation, I know) (recently released on DVD) and Fear No Evil (no hyphenation needed, but also recently released on DVD.)
Flesh-Eating Mothers (couldn't resist -- otherwise it would imply a situation where somehow flesh consumed mothers) dealt with a suburban community sticken by a mutant STD that turned only women who have borne children into cannibals with super strength. If that brief description intrigues you, then check it out. If not, you might as well skip it.
Fear No Evil (1981) latched on to the Exorcist/Omen devil-or-demons-incarnated-in-human-form horror trend of the 70s. Worth watching for afficianados for the imagery, and also because it didn't really make a lot of sense internally. But the most notable thing about this film was its soundtrack, which gives an interesting insight into how things were before music-rights clearance went ballistic. (I wonder how the recent DVD release fares in terms of which of these tracks actually made it on to the DVD's soundtrack.) The VHS tape I have here is copyrighted 1983, and I was astounded at how many great bands were featured in the soundtrack, particularly The B-52's, The Boom Town Rats, The Ramones, The Sex Pistols, Richard Hell, Patti Smith, and Talking Heads. As the teenage incarnation of the devil stood on a balcony overlooking the parking lot full of high schoolers, the Pistols' famous three-descending-chords intro played, and we heard "I am an AntiChrist. I am an AnarKiste." etc. etc. I can't imagine that in a similarly budgeted movie of any sort today. You know what hearing those songs made me want to do? Go out and buy a couple of albums to fill in my collection of those artists' works, and then tell my friends about it. It is absolutely beyond me why the owners of music today are so aggressive in squashing free advertising of their product. God forbid anyone else should ever make a nickel from their material, even though movie/TV soundtracks promote the very same back catalogs from which they are ostensibly being prevented from "pillaging." Awkward grammar in that last sentence, but you know what I mean.
LBNL, I watched (for the third time? Fourth?) one of my favorite dialogue movies of all time, My Dinner With Andre. One thing I noticed in the credits, which had escaped me until just this morning, is that Lloyd Kaufmann (yes, that Lloyd Kaufman! -- Even though it seems he had grown an extra "n" for MDWA) is listed as production manager, and Troma, Inc. is given as the facility used for "additional production services." In the photo caption of this NOTM post from October, I was going for humor through juxtaposition. Maybe if Louis Malle had called in sick one day and Kaufman had seen his opportunity, that very scenario might have come to be!
...As all of these plot threads are expertly interwoven, the high-stakes conflict of BG 2.0 culminates in a suspenseful mid-season cliffhanger that pits Adama against Admiral Cain (played by Star Trek: Next Generation alumnus Michelle Forbes), who turns a happy reunion with Battlestar Pegasus into a massive military showdown...
I think they meant to say alumna rather than alumnus (at least according to the American Heritage Dictionary).
I watched a couple of movies on VHS from my going-out-of business stack this week; 1988's Flesh Eating Mothers (crying out for hyphenation, I know) (recently released on DVD) and Fear No Evil (no hyphenation needed, but also recently released on DVD.)
Flesh-Eating Mothers (couldn't resist -- otherwise it would imply a situation where somehow flesh consumed mothers) dealt with a suburban community sticken by a mutant STD that turned only women who have borne children into cannibals with super strength. If that brief description intrigues you, then check it out. If not, you might as well skip it.
Fear No Evil (1981) latched on to the Exorcist/Omen devil-or-demons-incarnated-in-human-form horror trend of the 70s. Worth watching for afficianados for the imagery, and also because it didn't really make a lot of sense internally. But the most notable thing about this film was its soundtrack, which gives an interesting insight into how things were before music-rights clearance went ballistic. (I wonder how the recent DVD release fares in terms of which of these tracks actually made it on to the DVD's soundtrack.) The VHS tape I have here is copyrighted 1983, and I was astounded at how many great bands were featured in the soundtrack, particularly The B-52's, The Boom Town Rats, The Ramones, The Sex Pistols, Richard Hell, Patti Smith, and Talking Heads. As the teenage incarnation of the devil stood on a balcony overlooking the parking lot full of high schoolers, the Pistols' famous three-descending-chords intro played, and we heard "I am an AntiChrist. I am an AnarKiste." etc. etc. I can't imagine that in a similarly budgeted movie of any sort today. You know what hearing those songs made me want to do? Go out and buy a couple of albums to fill in my collection of those artists' works, and then tell my friends about it. It is absolutely beyond me why the owners of music today are so aggressive in squashing free advertising of their product. God forbid anyone else should ever make a nickel from their material, even though movie/TV soundtracks promote the very same back catalogs from which they are ostensibly being prevented from "pillaging." Awkward grammar in that last sentence, but you know what I mean.
LBNL, I watched (for the third time? Fourth?) one of my favorite dialogue movies of all time, My Dinner With Andre. One thing I noticed in the credits, which had escaped me until just this morning, is that Lloyd Kaufmann (yes, that Lloyd Kaufman! -- Even though it seems he had grown an extra "n" for MDWA) is listed as production manager, and Troma, Inc. is given as the facility used for "additional production services." In the photo caption of this NOTM post from October, I was going for humor through juxtaposition. Maybe if Louis Malle had called in sick one day and Kaufman had seen his opportunity, that very scenario might have come to be!
posted by KaneCitizen at 9:30 AM
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