So, I’ve just cancelled my subscription to Mubi, the online streaming service that specialises in arthouse and foreign film. I’m a bit sad about leaving, as I’ve discovered some really good things on there – and been made to watch things I’d always meant to get around to – but increasingly I’ve been viewing it with more side-eye than anticipation. I’d like to say that the decision to exit was purely financial – there’s a house being built, after all – but it’s not quite that simple.
So you should all know that Erick Purkhiser and Kirsty Wallace – or Lux Interior and Poison Ivy, to give them the names by which the world most readily identifies them – were The Cramps. You know: the band that invented the term psychobilly (even if they didn’t think they had much in common with the double-bass music that ploughs that furrow today), who were often written off as a novelty act (because monsters) and who were stalwart protectors and exponents of the history and primacy of rock and roll.
This is another brief review, largely because it feels kind of weird to review Akira per-trade rather than as a whole.
(No, it doesn’t. It just fits in with my must finish it! feelings – though I’m trying to pace myself with it. I mean I can’t read manga all year, can I?) (more…)
It’s a building that’s had a contentious history, but is much loved by those who’ve lived there. It’s also a building the government wants torn down, so that 250 luxury apartments can be made because presumably, people who can afford a box in the sky deserve to see the harbour and the city much more than people who might live there because of a social housing program. (more…)
How do you review something like Don Quixote properly? I mean, something that was written four centuries ago, and is a cornerstone of Spanish literature. It’s one of the earliest novels, deals in knighthood and class, and is something I’ve lugged from country to country over the past 20 years because I never seemed to be able to donate enough time to it.
Well, I’ve now finished it, so I’ll give reviewing it a shot: Don Quixote is a pretty good, earthily rendered cautionary tale of how reading chivalric romances leads to elder abuse. It also features more people vomiting on each other than you’d expect from a classic of literature.
So this is the third time I’ve played this game. It’s not the same as the game I played the first two times – this is a remake of that game, and I haven’t had to fire up the PS2 to give this a whirl – but it’s so close to the original that it still counts. So what’s it all about?
It’s well known that you don’t go to a Gaspar Noé film for A Good Time. I mean, this is a guy who has put 28Hz hums into his films to induce audience nausea, as if the rape and face-poundings weren’t enough to put you off.
So with that in mind, I went to see his latest, Climax, at the Sydney Film Festival. It’s a film about a dance company that suffers from a spiked punch incident, so practically bucolic in comparison to the director’s other work. I figured – given only six people had walked out on it in Cannes – that it’d probably be all right.
What I discovered that it’s basically Jacob’s Ladder: The Dance Spectacular, if such a film were set in the Pink Room from Fire Walk With Me.
(Interesting trivia tidbit: Wikipedia labels this a horror musical which is at once the best and worst thing ever.)
I decided I needed a palate-cleanser after the whole God of War thing, so I chose something not an entire world away: the zombie-slaying double-pack of Dead Island and Dead Island Riptide, both gussied up for the PS4.
Were they good? Oh, heavens no. I got caught on scenery, had pitiful frame rates and found some design clunky and odd. The quests were repetitive and kinda lame.
It let me put a circular saw blade on a spade and hit dead holidaymakers with it. It let me electrify a katana and cut up unholy mutations. And it let me indulge in some molitov crowd control while a buddy yelled in a terrible Aussie accent about how we should “give these fuckers a floggin’.”
So it was worthwhile, all told. (more…)
I guess a lot of what I wrote in my review of the first volume of Akira is applicable here: it’s something technological and dirty; something full of speed and movement, yet manages to not advance the story particularly far.
(Well, that’s not entirely true. The story told here hints at Bigger Consequences Yet To Come, even though the whole volume is essentially one lengthy chase sequence.)
You know, I was a bit dubious when I heard that God of War was going to be resurrected. My leeriness increased when I heard it was going to be a beardy Norse father-son adventure.
Thankfully, my doubts were misplaced. Because the 2018 game has proven to be one of the best – if not the best – in the series. I absolutely loved it.
Well, mostly. But we’ll get to that.
(There’ll likely be some spoilers in here too, so be mindful if you’ve not played it yet.)