appetite4illusions

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About appetite4illusions

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    Orangina, Gary Oldman, anything but greek pizza, The Cult

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  1. Looking forward to seeing them for the first time in Bean-town. I've got to concur that the new single doesn't quite have the edge that most of the debut album did. There's some cool melodies but by and large it sounds like something that was left off the last album. The song they did for the show Vinyl wasn't that memorable either.
  2. I think it's kind of bullshit that David is without his trademark bleach-blonde Peter O'Toole hairdo, in this film. It was a great touch to his character in Prometheus and also evoked a Bowie-esq aesthetic that made David seem artificial. Obviously, there's a good reason the hair is different in this one. Ridley Scott doesn't want us to distinguish between Walter and David. Do you think that's maybe going to play into the plot? Maybe David is going to impersonate Walter at some point? Hmmmm...
  3. The thing is, in just about every King film/TV adaptation there is, regardless if it is better than the book or not, there are ideas which just POP. Things that the screenwriters embellish upon that was never a part of the original King text. Here's a few examples: PET SEMATARY (1989): King wrote this film, so we can't really come down on him for not putting it in the book, but it made the film much better; Victor Pascow's ghost is a running character in the film. He appears in visions to Louis Creed and tries to reason with him on his path to madness. It added a much needed layer of black humor having this bleeding, decaying corpse there like a guardian angel. Not in the King book. THE DEAD ZONE (1981): The ending of the film where Johnny Smith shoots Greg Stillson...and misses...When Christopher Walken is dying and he reaches up and grabs Stillson's hand and he sees that final vision of a disgraced Stillson looking at a Newsweek headline, before Stillson shoots himself. It was like the cherry on top of the cupcake. The vindication of seeing he accomplished his mission...Again, not something that was in the King book and you can't picture the ending without it. I could go on, but you get the point. Very often, when I see King adaptations, even if they don't measure up to the novels, they have these really great touches to them that make me wish Steve was a little more clever, because I can't imagine the novel without those impressions.
  4. Stephen King's achille's heel is the fact that he (seemingly) does not use an editor. He's not an author who favors brevity. He really likes to beat around the bush, play with his characters and put tons of sheen on the text. This can be exhausting to read, but also really rewarding if you surrender to the experience. In books where the story isn't strong enough, yeah, the digressions make it much more painful. In IT, it mostly serves to make it much more epic. The chapter you're referring to is the one about crazed lumberjack Claude Harrow. I agree that that particular incident doesn't feel it really merits the time spent on it, but for the most part, the Derry interludes set up a real pervasive haunted house vibe.
  5. Do you like Sigourney Weaver? Do you like Sigourney Weaver wearing digital makeup? No? Well, too bad.. http://theplaylist.net/ridley-scott-open-digitally-de-aging-sigourney-weaver-future-alien-movies-20170417/ Man, Ridley Scott has an appetite for Alien. He's got all these grand plans for prequels and sequels and five, six years ago, I would have been walking on air to hear that. Maybe I'm just too cynical after Prometheus, a movie I liked but as we saw, a tug-of-war in studio politics. He and 20th century fox really should just give Neil Blomkamp the green light to do his thing and make a true-blue sequel. We don't need Ripley in the series of films that Sir Scott wants to do for the next decade. We need Michael Biehn!
  6. Ah, thanks for that!
  7. Yeah, Zeppelin has kind of lost their standards as far as licensing goes. When the Levee Breaks is another one that can be heard in film trailers at least once a year. By the way, what in the world is a Ragnarok?
  8. Rian Johnson has definitely had my devout attention since Looper. He's no doubt been courted to do all the big sci-fi franchise tent-poles since then. Very smartly, he waited for the biggest fish before he reeled in.
  9. I've got to say, I've watched it a number of times and I don't think that's Luke saying the line "I only know one truth...it's time for the Jedi to end." In fact, I'm pretty sure it's the new character Benicio Del Toro is playing. The intonation of the voice, especially the last line, sounds like Benicio to me.
  10. To me it's almost like the producer is the writer of the solo. They have the guitar melodies and then proceed to just gut them and rearrange them. The fact that Axl said it was note for note though, that's both extremely ambitious and loony toons crazy. If it was comprised of several licks and several runs, I could understand, but my impression is that they took every note and every phrase and had their way with it. I just don't see how you do that to a legend like Brian May. It's disrespectful and undermines the effort he must have put into it. In the end, the solo was marvelous and as far as I'm concerned, it's the only solo that ever fit the song. So I'm not saying it didn't work, but the balls it must take to ask Brian May to collaborate and then eradicate the work that was done...huge.
  11. It still totally blows my mind that Axl and Sean Beavan assembled Brian May's solo note for note in the Catcher demo. I've just never heard of such nonsense. The fact that they took a magnificent artist's improvisation, cut it up i n t o p i e c e s , and then Frankenstein it back together, well, that's madness. You think after going through all that trouble and coming up with something that was totally appropriate, they would be satisfied. But no, they let Bumblefoot just run wild in the end.
  12. It's not that Paul Huge can't play, he can, he's got some licks, but what he doesn't have is any style. You see this all the time with garage band players. They can play in a scale, they've got appropriate chords, but beyond that, there's nothing there. There's no personal feeling. Slash saw this right away and combined with Paul's hostile attitude, it was apparently what offended him the most about the forced collaboration. Slash has a guitar language all his own, it's rooted in the classic rock feel of the seventies, but its instantly identifiable because of its idiosyncrasy. Paul Huge could play guitar all day and you would never be able to distinguish him from any other bland six-stringer. It's not surprising to me that Paul was credited with lots of decent Chinese songs, but I doubt that he was the creative catalyst on any of them. He probably just jammed on them for years until he found a certain flavor that was compenant enough to serve the song. That's what I figure.
  13. I have more than a feeling that David is going to be a full fledged villain in this film. While he should make for a very formidable bad-guy, one of the things that I thought was so genius about the way Damon Lindelof wrote David was that he straddled the line between being heroic and being horrific. He did good things, he did bad things, but he was neither good nor bad. He was curious. You couldn't apply normal motivations to his character because he wasn't human, he didn't process thought the way humans do. He still had a touch of the sentimental in him. Remember how he loved to watch people dream? More than anything else, Damon Lindelof hit it out of the park with David. He took a character that was just a stock-villain android in Jon Spaiht's script and turned him into one of the most fascinatingly ambiguous synthetics in all of sci-fi films. Now that we're into the next movie, they may not be so careful as to keep David in a morally grey area. If he indeed created the Aliens as it seems like its shaping up to be, then he is the devil responsible for everything in the franchise. Like I said, while he will be an extremely formidable bad-guy, it kind of cheapens the great tightrope walking they did in Prometheus by not painting him with such a broad brush.
  14. The funny thing is, when Michael Arndt was "released" from his duties as screenwriter and JJ took over, the popular rumor was that a re-write was underway to bring the central three classic characters to the forefront. The rumor was that Arndt's script leaned heavily on the new characters and Han, Leia and Luke were just background players. They said JJ wanted to give the classic characters "a proper sendoff." From what I can see, JJ's re-write didn't do that. Sure, it beefed up Han's role, but that was to compensate for the fact that Luke wasn't involved in any capacity as far as the plot goes, other than being the flying dutchman. They were at a catch 22. They needed to introduce a new blood of heroes but couldn't allow the old heroes to upstage anyone and therefore, had to make the selling points of the movie more suggestive than explicit. Now, with two out of the three leads vacated from the original trilogy, the pressure is on those filmmakers to give us the big Luke payoff in the next two movies. I have a feeling we're going to continue to be teased by Disney as far as Luke goes.
  15. Ridley Scott is among the modern day greats, but he can't make those CGI Aliens anything but an eye-sore. I'm only seeing half-second flashes of them and even in that instant, they just look so fake. The ironic thing is, in the original, the lack of mobility of the Alien was played up by the actor who compensated by twitching. They sacrificed any ability to given the alien agility in favor of having a guy in a suit that looked absolutely iconic in tight shots with a little bit of smoke and some slime dripping off it. Now that we can program our Aliens on computers, they can jump up and down and climb the walls, but they've sacrificed the terror that the physical thing had. The Alien was never more lethal than when it was still, because that was the moment before it attacked. It was the stillness of the real thing that was so unnerving.