Friday, November 16, 2007
Tuesday, November 6, 2007
Monday, November 5, 2007
"There Will Be Blood" Theatrical Trailer
This and "No Country For Old Men" are my most anticipated movies of the year. Seeing as I already saw "No Country For Old Men" I am just waiting on this new film by PT Anderson one of my Top 5 favorite directors and based on the book Oil! by Upton Sinclair. I am sure it will be a masterpiece.
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Now playing: Smashing Pumpkins - That's the Way (My Love Is)
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Now playing: Smashing Pumpkins - That's the Way (My Love Is)
"Blade Runner - The Final Cut" Review and Trailer
The night I saw "Blade Runner - The Final Cut" was, incidentally, also the night I ran into Neil Young (see archived post: "Star Sighting: The Godfather of Grunge"). Because of this I was somewhat distracted for most of the movie, not so distracted that it detracted from my movie-going experience, but distracting enough that I did not place 100% of my focus on the film.
I saw a trailer for "Blade Runner - The Final Cut" back in September when I was seeing a midnight screening of Peter Jackson's campy horror flick, "Dead Alive." I had never seen the original "Blade Runner" if you can believe it. Nor had I seen any clips or trailers anywhere, ever. So when the trailer for "Blade Runner - The Final Cut" came on I started thinking, 'What film is this? This looks awesome! Who is in it? How have I not seen a trailer for this yet?' And then I saw an extraordinarily young Harrison Ford, and I immediately understood. It was a breathtaking trailer. I could not believe that this was a film from 1982. I had heard it was digitally remastered, but I had no idea to what degree! Generally speaking, when a film is being marketed as digitally remastered, it is nothing more than a commercial ploy designed to lure avid fans of cult movies back to the theaters (the notable exception being the re-release of the original Star Wars trilogy). But this looked magnificent! I never, ever would have thought this was a film from 1982. The trailer was well-edited and did not seem dated in the slightest bit. So I knew that when "Blade Runner - The Final Cut" hit theaters I had to go!
The film opens with pertinent information concerning the plot, and what ensues is an incredibly thrilling and beautifully shot ride through an apocalyptic view of the future. Throughout the film I sat, mouth agape, marveling at the spectacular special effects and dazzling art direction. The film showcases Ridley Scott's completely original vision and his ability to operate outside the conventions of Hollywood cinema. For such a bleak depiction of the future this film has gloriously beautiful moments.
"Deckard (Harrison Ford) is a 'Blade Runner', a specially trained police officer whose duty it is to seek and 'retire' genetically engineered humans called Replicants (including actors Rutger Hauer and Daryl Hannah). Formerly retired, he is called back into service due to 6 Replicants who escaped from an off-world colony," (Niko Ovenden, http://www.eufs.org.uk/films/blade_runner.html).
Much of the film takes place in the nearly unrecognizable Chinatown district of Los Angeles. The purpose of which I assume is to further alienate the audience, or confound the viewer. Scott obviously wants his audience to engage in the experience, but by setting the film in Chinatown he makes this futuristic world infinitely more foreign and makes it the actors' responsibilities to connect with the audience. With a setting that the audience is familiar with and comfortable with, it is easier to identify and connect with the characters, but in Chinatown the audience is always on edge because of the district's inherent strangeness and unfamiliarity. The Chinatown setting also emphasizes the isolation and emotional detachment Deckard seems to be experiencing. Of course this is all theoretical, perhaps setting the film (which is based on a novel) in Chinatown just seemed interesting to Scott (or Phillip K. Dick, the author).
The film is terrifying in its depiction of the future. It is not such a far fetched illustration of the world in the years to come. Rarely can a director create an atmosphere that transports his audience to the world he has created. This world seems so incredibly real that one need not suspend his belief like in other science fiction films. The perpetual precipitation and the morose metropolis set the tone for this film. From the first frame up until the final shot the audience is confronted with the frightful apparitions of intense pollution and dangerously advanced technology.
The acting is terrific, except for Harrison Ford. His performance is not necessarily bad, it is just largely uninspired. It's nothing particularly special. His acting is solid but it has little dimension. Fortunately, his character is very well-written and he is supported by an outstanding ensemble of lesser-knowns. Rutger Hauer does an exceptional job portraying a malignant replicant desperate for more life than that which was allotted to him by his creators. Joe Turkel plays the eccentric genius who designed the replicants. Turkel convinces us that his character is either ethically ignorant, or completely devoid of scientific ethics and unfamiliar or unconcerned with the consequences of challenging said ethics.
The story is terribly interesting and engaging. The film is perfectly paced, emphasizing uninhibited violence and depravity, while simultaneously showcasing sequences of simple tranquility and beauty. The film is mind-blowing. Seeing it on a big screen with digital projection is an outstanding adventure! It is phenomenal how well this film has stood the test of time. Even contemporary films struggle with creating such realistic renderings of the future. I really cannot say enough good things about this film. I cannot wait to purchase the 5-disc Collector's Set in December and I anticipate this will be one of these films that will continue to improve upon each additional viewing. "Blade Runner - The Final Cut" is a towering achievement, a science fiction masterpiece of epic proportions.
----------------
Now playing: The Black Angels - Young Men Dead
I saw a trailer for "Blade Runner - The Final Cut" back in September when I was seeing a midnight screening of Peter Jackson's campy horror flick, "Dead Alive." I had never seen the original "Blade Runner" if you can believe it. Nor had I seen any clips or trailers anywhere, ever. So when the trailer for "Blade Runner - The Final Cut" came on I started thinking, 'What film is this? This looks awesome! Who is in it? How have I not seen a trailer for this yet?' And then I saw an extraordinarily young Harrison Ford, and I immediately understood. It was a breathtaking trailer. I could not believe that this was a film from 1982. I had heard it was digitally remastered, but I had no idea to what degree! Generally speaking, when a film is being marketed as digitally remastered, it is nothing more than a commercial ploy designed to lure avid fans of cult movies back to the theaters (the notable exception being the re-release of the original Star Wars trilogy). But this looked magnificent! I never, ever would have thought this was a film from 1982. The trailer was well-edited and did not seem dated in the slightest bit. So I knew that when "Blade Runner - The Final Cut" hit theaters I had to go!
The film opens with pertinent information concerning the plot, and what ensues is an incredibly thrilling and beautifully shot ride through an apocalyptic view of the future. Throughout the film I sat, mouth agape, marveling at the spectacular special effects and dazzling art direction. The film showcases Ridley Scott's completely original vision and his ability to operate outside the conventions of Hollywood cinema. For such a bleak depiction of the future this film has gloriously beautiful moments.
"Deckard (Harrison Ford) is a 'Blade Runner', a specially trained police officer whose duty it is to seek and 'retire' genetically engineered humans called Replicants (including actors Rutger Hauer and Daryl Hannah). Formerly retired, he is called back into service due to 6 Replicants who escaped from an off-world colony," (Niko Ovenden, http://www.eufs.org.uk/films/blade_runner.html).
Much of the film takes place in the nearly unrecognizable Chinatown district of Los Angeles. The purpose of which I assume is to further alienate the audience, or confound the viewer. Scott obviously wants his audience to engage in the experience, but by setting the film in Chinatown he makes this futuristic world infinitely more foreign and makes it the actors' responsibilities to connect with the audience. With a setting that the audience is familiar with and comfortable with, it is easier to identify and connect with the characters, but in Chinatown the audience is always on edge because of the district's inherent strangeness and unfamiliarity. The Chinatown setting also emphasizes the isolation and emotional detachment Deckard seems to be experiencing. Of course this is all theoretical, perhaps setting the film (which is based on a novel) in Chinatown just seemed interesting to Scott (or Phillip K. Dick, the author).
The film is terrifying in its depiction of the future. It is not such a far fetched illustration of the world in the years to come. Rarely can a director create an atmosphere that transports his audience to the world he has created. This world seems so incredibly real that one need not suspend his belief like in other science fiction films. The perpetual precipitation and the morose metropolis set the tone for this film. From the first frame up until the final shot the audience is confronted with the frightful apparitions of intense pollution and dangerously advanced technology.
The acting is terrific, except for Harrison Ford. His performance is not necessarily bad, it is just largely uninspired. It's nothing particularly special. His acting is solid but it has little dimension. Fortunately, his character is very well-written and he is supported by an outstanding ensemble of lesser-knowns. Rutger Hauer does an exceptional job portraying a malignant replicant desperate for more life than that which was allotted to him by his creators. Joe Turkel plays the eccentric genius who designed the replicants. Turkel convinces us that his character is either ethically ignorant, or completely devoid of scientific ethics and unfamiliar or unconcerned with the consequences of challenging said ethics.
The story is terribly interesting and engaging. The film is perfectly paced, emphasizing uninhibited violence and depravity, while simultaneously showcasing sequences of simple tranquility and beauty. The film is mind-blowing. Seeing it on a big screen with digital projection is an outstanding adventure! It is phenomenal how well this film has stood the test of time. Even contemporary films struggle with creating such realistic renderings of the future. I really cannot say enough good things about this film. I cannot wait to purchase the 5-disc Collector's Set in December and I anticipate this will be one of these films that will continue to improve upon each additional viewing. "Blade Runner - The Final Cut" is a towering achievement, a science fiction masterpiece of epic proportions.
----------------
Now playing: The Black Angels - Young Men Dead
"No Country For Old Men" Review and Trailer
Easily my favorite film of the year thus far.
2007 has been a predominantly weak year for movies. Sure there was "3:10 to Yuma," "The Bourne Ultimatum," "Eastern Promises," "Into the Wild," and "Ratatouille." And then there was the commercially unsuccessful but critically acclaimed thriller "The Lookout." And least, but certainly not least was the largely disliked and discarded "Zodiac," one of my favorite films from 2007. Besides the comedies, "Knocked Up" and "Superbad" I cannot recall seeing a serious film that I knew instantly I could watch over and over. In '06 there was "Children of Men," "Perfume," "Little Children," and "Pan's Labyrinth," all films I that I immediately bought on DVD because of their repeatability factors. Each film has a high repeatability factor, which means I can easily sustain multiple viewings of these films and therefore I can justify the purchasing as opposed to the renting of these DVDs. This year, there hasn't yet been such a film, besides Wes Anderson's "The Darjeeling Limited," though almost unanimously panned by critics, I enjoyed thoroughly! But back in June, I saw the preview for "No Country For Old Men" on MovieBox.net, I cannot remember ever being so monumentally excited for a movie. This was a Coen Brothers film. This was not "Intolerable Cruelty" or "The Ladykillers" those were complete flukes and I don't even consider them Coen pictures. Those are the only Coen Brothers movies I don't own on DVD, all their other films from "Blood Simple" to "The Man Who Wasn't There" I own on DVD. And I hold each film in particularly high esteem. So you can imagine how excited I was when I saw this trailer, which is absolutely amazing, I cannot even articulate the feelings this trailer evoked after the first time I saw it. I was just so incredibly excited!
So the summer passed and I anxiously awaited the release of "No Country For Old Men." I was tempted all too often to purchase the novel because of my affinity for Cormac McCarthy's work, but because I am an odd creature I wanted to see the movie before reading the book. Because I am one of those rare breeds that appreciates cinema slightly more than literature I tend to watch the movie before reading the book. Anyways, I was terribly excited for this picture. Every week I went online and scanned the internet for information regarding early screenings in the Los Angeles area. I could not wait until the official release date November 9th, I had to get to a screening as soon as possible! So perhaps you can imagine how ecstatic I was when I discovered that LACMA would be screening the film about a week prior to its official release! I bought tickets immediately and marked it on my calendar, and I don't mark anything on my calendar, ever!
Saturday arrived and I could barely contain my excitement. The film was at the forefront of my mind throughout the day. Finally I arrived at the theater with my friends whose enthusiasm I must say failed to match mine, but that's not important. As I settled in my side I scanned the theater hoping maybe Joel and Ethan Coen would arrive for a surprise visit and maybe introduce the movie or conduct a Q & A, but they were nowhere to be found. My disappointment was eclipsed by the dimming of the lights as I anxiously awaited the start of the movie.
"No Country For Old Men" is based on the novel by the renowned author Cormac McCarthy. A hunter, Llewellyn Moss (Josh Brolin), stumbles upon the scene of a mass murder and a truckload of heroin and a satchel filled with $250 million. The sadistic Anton Chigurh (Javier Bardem) is hired to recover the money without any regard for anything else, especially human life. And Ed Tom Bell (Tommy Lee Jones) is the fatigued sheriff investigating the series of murders that ensue. It is an extraordinarily violent tale about the nature of evil and the inevitable corruption of the soul brought on by greed.
The film was beautifully shot. Roger Deakins (who has been the Director of Photography for every Coen Brothers film since "Barton Fink" was produced in 1991) reminds us why he is one of the most revered cinematographers working in the business today. Rarely is such beauty captured on film, and rarely is such beauty contrasted with such horrific violence and blatant malevolence. Deakins' carefully constructed cinematography creates an atmosphere consistent with the film's tone and representative of the characters and their feelings. As violent as this film is, the cinematography is so tastefully done that you cannot turn away during the most disturbing of sequences because Deakins frames each shot with such precision that the word "fascinating" does not even begin to describe how incredibly engrossing each particular shot is.
The film is a technical masterpiece. The Coens craft an incredibly high tension experience. They leave almost no breathing room for the audience because each scene conveys such frightening uncertainty and suspense. It must be noted that this is in no way a horror film, or even a scary film. But the magnetic performances and the technically flawless production make this film shockingly realistic. The Coens know how to create a mood better than anyone else in Hollywood. They know exactly what they want their audience to feel and they ensure that those feelings come through on screen.
Lastly, the performances must be addressed. Josh Brolin's understated performance was magnificent. There was nothing contrived or forced about his performance. His acting was so utterly simple that it perfectly reflected the man, Llewellyn Moss, himself. Tommy Lee Jones delivered an incredibly accurate portrayal of a "world-weary" Sheriff struggling with the demons of his past and the inconveniences of old age. No other actor embraces his age like Tommy Lee Jones. The wrinkles, weariness, and ruggedness that accompany old age are unabashedly displayed in every one of his scenes, illustrating not only Jones' maturity and prudence, but also the maturity of his character. But the actor who dominated the screen was Javier Bardem. His character is easily among the most menacing of villains in 21st century cinema. No one else can incite terror like Anton Chigurh. Javier Bardem is an acting virtuoso, he consistently exhibits profound versatility as evidenced by the various roles he plays. Anton is far and away Bardem's greatest cinematic achievement. It is a tour de force performance. Bardem completely embodied Chigurh . Rarely can an actor breath such life into a character.
"No Country For Old Men" is easily the most riveting and thought-provoking film of the year. There is some dark humor, but nowhere near the amount of dark humor the Coens are accustomed to injecting into their pictures. This film will arouse controversy and discussion if interpreted correctly, as an allegorical tale of good and evil. And if the film's themes go over your head, there is still no refuting the fact that it is supremely entertaining, and so far the best movie of the year.
----------------
Now playing: The Black Angels - Young Men Dead
2007 has been a predominantly weak year for movies. Sure there was "3:10 to Yuma," "The Bourne Ultimatum," "Eastern Promises," "Into the Wild," and "Ratatouille." And then there was the commercially unsuccessful but critically acclaimed thriller "The Lookout." And least, but certainly not least was the largely disliked and discarded "Zodiac," one of my favorite films from 2007. Besides the comedies, "Knocked Up" and "Superbad" I cannot recall seeing a serious film that I knew instantly I could watch over and over. In '06 there was "Children of Men," "Perfume," "Little Children," and "Pan's Labyrinth," all films I that I immediately bought on DVD because of their repeatability factors. Each film has a high repeatability factor, which means I can easily sustain multiple viewings of these films and therefore I can justify the purchasing as opposed to the renting of these DVDs. This year, there hasn't yet been such a film, besides Wes Anderson's "The Darjeeling Limited," though almost unanimously panned by critics, I enjoyed thoroughly! But back in June, I saw the preview for "No Country For Old Men" on MovieBox.net, I cannot remember ever being so monumentally excited for a movie. This was a Coen Brothers film. This was not "Intolerable Cruelty" or "The Ladykillers" those were complete flukes and I don't even consider them Coen pictures. Those are the only Coen Brothers movies I don't own on DVD, all their other films from "Blood Simple" to "The Man Who Wasn't There" I own on DVD. And I hold each film in particularly high esteem. So you can imagine how excited I was when I saw this trailer, which is absolutely amazing, I cannot even articulate the feelings this trailer evoked after the first time I saw it. I was just so incredibly excited!
So the summer passed and I anxiously awaited the release of "No Country For Old Men." I was tempted all too often to purchase the novel because of my affinity for Cormac McCarthy's work, but because I am an odd creature I wanted to see the movie before reading the book. Because I am one of those rare breeds that appreciates cinema slightly more than literature I tend to watch the movie before reading the book. Anyways, I was terribly excited for this picture. Every week I went online and scanned the internet for information regarding early screenings in the Los Angeles area. I could not wait until the official release date November 9th, I had to get to a screening as soon as possible! So perhaps you can imagine how ecstatic I was when I discovered that LACMA would be screening the film about a week prior to its official release! I bought tickets immediately and marked it on my calendar, and I don't mark anything on my calendar, ever!
Saturday arrived and I could barely contain my excitement. The film was at the forefront of my mind throughout the day. Finally I arrived at the theater with my friends whose enthusiasm I must say failed to match mine, but that's not important. As I settled in my side I scanned the theater hoping maybe Joel and Ethan Coen would arrive for a surprise visit and maybe introduce the movie or conduct a Q & A, but they were nowhere to be found. My disappointment was eclipsed by the dimming of the lights as I anxiously awaited the start of the movie.
"No Country For Old Men" is based on the novel by the renowned author Cormac McCarthy. A hunter, Llewellyn Moss (Josh Brolin), stumbles upon the scene of a mass murder and a truckload of heroin and a satchel filled with $250 million. The sadistic Anton Chigurh (Javier Bardem) is hired to recover the money without any regard for anything else, especially human life. And Ed Tom Bell (Tommy Lee Jones) is the fatigued sheriff investigating the series of murders that ensue. It is an extraordinarily violent tale about the nature of evil and the inevitable corruption of the soul brought on by greed.
The film was beautifully shot. Roger Deakins (who has been the Director of Photography for every Coen Brothers film since "Barton Fink" was produced in 1991) reminds us why he is one of the most revered cinematographers working in the business today. Rarely is such beauty captured on film, and rarely is such beauty contrasted with such horrific violence and blatant malevolence. Deakins' carefully constructed cinematography creates an atmosphere consistent with the film's tone and representative of the characters and their feelings. As violent as this film is, the cinematography is so tastefully done that you cannot turn away during the most disturbing of sequences because Deakins frames each shot with such precision that the word "fascinating" does not even begin to describe how incredibly engrossing each particular shot is.
The film is a technical masterpiece. The Coens craft an incredibly high tension experience. They leave almost no breathing room for the audience because each scene conveys such frightening uncertainty and suspense. It must be noted that this is in no way a horror film, or even a scary film. But the magnetic performances and the technically flawless production make this film shockingly realistic. The Coens know how to create a mood better than anyone else in Hollywood. They know exactly what they want their audience to feel and they ensure that those feelings come through on screen.
Lastly, the performances must be addressed. Josh Brolin's understated performance was magnificent. There was nothing contrived or forced about his performance. His acting was so utterly simple that it perfectly reflected the man, Llewellyn Moss, himself. Tommy Lee Jones delivered an incredibly accurate portrayal of a "world-weary" Sheriff struggling with the demons of his past and the inconveniences of old age. No other actor embraces his age like Tommy Lee Jones. The wrinkles, weariness, and ruggedness that accompany old age are unabashedly displayed in every one of his scenes, illustrating not only Jones' maturity and prudence, but also the maturity of his character. But the actor who dominated the screen was Javier Bardem. His character is easily among the most menacing of villains in 21st century cinema. No one else can incite terror like Anton Chigurh. Javier Bardem is an acting virtuoso, he consistently exhibits profound versatility as evidenced by the various roles he plays. Anton is far and away Bardem's greatest cinematic achievement. It is a tour de force performance. Bardem completely embodied Chigurh . Rarely can an actor breath such life into a character.
"No Country For Old Men" is easily the most riveting and thought-provoking film of the year. There is some dark humor, but nowhere near the amount of dark humor the Coens are accustomed to injecting into their pictures. This film will arouse controversy and discussion if interpreted correctly, as an allegorical tale of good and evil. And if the film's themes go over your head, there is still no refuting the fact that it is supremely entertaining, and so far the best movie of the year.
----------------
Now playing: The Black Angels - Young Men Dead
Friday, November 2, 2007
Star Sighting: The Godfather of Grunge
So as I waited at the bus stop on the corner of Westwood and Weyburn I was looking through the Onion, which for a parody newspaper has an outstanding A&E section called the "A.V. Club," and it mandated that people go to the Egyptian Theater in Hollywood to attend the west coast premiere of "THE OTHER SIDE OF THE MIRROR: BOB DYLAN LIVE AT NEWPORT." Supposedly the director was going to be there, and I love when directors are present at screenings of their films, I think it shows a true appreciation for their work and for the people who love film. And apparently this film showcases Bob Dylan's complete set at the 1965 Newport folk festival where he unveiled his new found affinity for the electric guitar. I am now looking over the master calendar of the Egyptian Theater, and I apparently missed out on some incredible rockdocs!! Ughh, nothing is more frustrating! Anyways, back to the point of this particular post. I arrived at the Westside Pavillion via the # 8 bus around 7:32 the bus was running late. I later ascertained that fate intervened and made this particular bus late so I would be at the right place, at the right time! As I make my way through Barnes and Noble I am thinking about where I am going to sit because at the Landmark Theater at the Westside Pavillion the guest can choose his or her particular seat, so I was thinking about that all the way up until it became my turn to purchase the ticket. There were some good seats available, fortunately. I chose H4. Now that I had done that I needed to go to the bathroom because the coke I ordered at Taco Bell 30 minutes earlier was much too big, so out of necessity I ran down the stairs and literally ran into none other than NEIL YOUNG!!!!!! Yes, the Godfather of Grunge, the Heart of Gold himself; the Harvest Moon! And I had NO idea what to do, it was the exact same feeling I had when I took my AP Calculus test. I was shellshocked, starstruck. Remember that scene in "Saving Private Ryan" where Tom Hanks enters that surrealistic silent zone on the beach in Normandy on D-Day? That is how I felt, I think my jaw literally dropped. And he just laughed, not a condescending laugh, but an almost appreciative laugh. And he and his wife Pegi continued up the escalator. And I stood in the lobby for several minutes trying to figure out my plan of action. I didn't know if i should ask for a picture, or an autograph, or a handshake. It was a very serious situation. Obviously I didn't plan things too well, because I was just so nervous and jittery, I mean Neil Young is HUGE for those of you that don't understand, I mean he is the real deal! For some reason I thought it would look very nonchalant for me to just wait in the hallway by the concession stand while he got his popcorn. So I pretened to look at the DVDs and books on display and waited for him to come by, and it probably looked terrifying from his point of view. Even as I walked up to him I thought to myself, 'This is how people get assassinated.' It was just an awkward angle, it looked as if I was trying to cut him off, but I wasn't. And I said, "Mr. Young I am a huge fan, and you are brilliant." And he just kinda laughed kind of appreciativly and kind of nervously. And I already felt terrible about bothering him, but I couldn't see someone like Neil Young and not tell him how amazing he is. And I definitely got the impression his wife was annoyed, so naturally I felt terrible. But he was nice and I patted him on the back, I think, maybe I almost did, but thought better of it. I don't quite remember everything, it is kind of a blur. And then he strolled out of my life as he headed towards his theater. It was very sad for some reason. As I sat through my movie I couldn't focus, I felt bad for bothering him. I didn't see anyone else go up to him. Maybe I was the only inconsiderate person in the whole theater, or the only one that recognized him. He seemed so incredibly down to earth, judging by how he dressed and the way he carried himself. I was very impressed. And if I hadn't seen Heart of Gold about a million and a half times I might not have recognized him either. But I did, and I'm glad.
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Now playing: The Brian Jonestown Massacre - Open Heart Surgery
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Now playing: The Brian Jonestown Massacre - Open Heart Surgery
Thursday, November 1, 2007
My First Post
I have never blogged before, except on a faux myspace page I made for Neil Young. So I suppose I am somewhat experienced, but I consider myself largely unaffiliated with the process of blogging. It is incredibly interesting isn't it? Everyone has the opportunity to be heard! I'm not a republican or a conservative by any means, but America is great, and Democrats are afraid asserting the claim that America is great, not necessarily the best, but a great nation. Our politicians aren't so great, but the principles this country was founded on, and the principles that are still maintained (to some degree) are remarkable. We truly are so privileged. Look at how privileged we are to have the ability to get on the internet and say whatever we want without worrying about the government imprisoning or executing us. Yes, I concede to the liberals that to a certain degree we have been censored and America does not always abide by the rules that were established and we do not always live up to the ideals we claim to eblematize, but nobody's perfect.
My apologies, this is probably my first and last political discourse. I rarely engage in political discussion and I suppose now I am excited about having a small platform on which I can expound upon what I believe, or at least to a small degree.
All that aside, this is a blog about music and film and the arts, but predominantly music and film. I will share my feelings on film, music, and literature from various decades spanning centuries (I suppose not so much "centuries" with regards to film, but it sounds better talking about things on a grand scale I think everybody can agree).
It is extraordinarily early in the morning, and I imagine this first post is extraordinarily boring and poorly written (which is embarrassing, but I am too tired), which is not good because it will discourage people from returning to this blog. But I promise you this: when I am not under the influence of fatigue I will deliver scintillating prose detailing my interpretations of the profundity of art in various media.
----------------
Now playing: Tool - Ænema
My apologies, this is probably my first and last political discourse. I rarely engage in political discussion and I suppose now I am excited about having a small platform on which I can expound upon what I believe, or at least to a small degree.
All that aside, this is a blog about music and film and the arts, but predominantly music and film. I will share my feelings on film, music, and literature from various decades spanning centuries (I suppose not so much "centuries" with regards to film, but it sounds better talking about things on a grand scale I think everybody can agree).
It is extraordinarily early in the morning, and I imagine this first post is extraordinarily boring and poorly written (which is embarrassing, but I am too tired), which is not good because it will discourage people from returning to this blog. But I promise you this: when I am not under the influence of fatigue I will deliver scintillating prose detailing my interpretations of the profundity of art in various media.
----------------
Now playing: Tool - Ænema
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