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Dennis Potter: Karaoke & Cold Lazarus DVD review

Flay — Tue, 07 Sep 2010 07:00:00 +0000

Screenwriter Dennis Potter’s final works, Karaoke and Cold Lazarus, were a poignant examination of his life and future legacy. Cliff takes a look at their DVD editions…

A dying writer, haunted by his past creations and aware of how his legacy will be picked over by the media barons he so hates, writes about a dying writer, haunted by his past creations, and then how his legacy is picked over by the media barons.

Albert Finney is (and occasionally was) Daniel Feeld in these two dramas, but so is Dennis Potter. This duet is the ‘lastest last great work’ you’ll see, and there’s nothing really quite like it.

Or, perhaps there is, as throughout there are numerous homages to previous Potter productions, rarely subtle: Karaoke with all the hospital imagery of The Singing Detective and the moving Pennies From Heaven finale, Cold Lazarus even heavier, as the voyeurism of The Singing Detective, the adult-as-child young Daniel recalling Blue Remembered Hills, the oily Stiltz further oiled by two beautiful nurses.

Karaoke is the ‘fantasy drama’ half, Cold Lazarus the full-blooded science fiction sequel. Made at Potter’s request as a joint BBC/Channel 4 venture, both are (just about) standalone, but you wouldn’t really want to only see one or the other.

It begins with Feeld slowly realising and coming to terms with fatal illness, whilst lines from scripts keep popping up around him, people he meets are eerily familiar, and soon he finds himself trying to prevent the brutal murder he’s already written about.

Then, for Cold Lazarus, flash forward, four hundred years. Unsurprisingly, Feeld’s dead by now (we’ll see a bit of his death later on) and a team of scientists led by Emma Porlock (Frances de la Tour) are extracting memories, visualised on a virtual screen.

Meanwhile, an American oligarch competes with the president to control the project, the marketing of Feeld’s often harrowing memories their concern. But Feeld may not be as completely unaware of his situation as people realise.

The episodes are not always the paciest. That said, Potter wasn’t the paciest of writers, but the performances are, mostly, good enough, big enough or both to keep up interest, from a highly respectable company.

Albert Finney is excellent as Feeld across both, balancing weary bitterness with the nearest Potter gets to warmth early on, and all the fear and discomfort later on, never putting a twitch wrong even as a disembodied, frozen head. Karaoke is his showcase, while in Cold Lazarus he’s always the focus, but not the star.

In Karaoke, Roy Hudd’s constantly Spoonerisming agent doesn’t quite sell the over-egged dialogue he’s given, but I don’t know who could. Richard E Grant, with the barmy Balmer, revisits the obsessional Dennis from How To Get Ahead In Advertising, as he tries to get ahead in boiling bunnies for Keeley Hawes. ‘Pig’ Malion, the villain, is played with a more grounded menace by Hywell Bennett. Then there’s Anna Chancellor and Alison Steadman.

At times, it’s easy to drift from the story and just enjoy the images and actors doing their thing. Overall, the heightened reality, which makes an implied sense once you’ve seen all of Cold Lazarus, makes it a weirder watch than the conclusion. De la Tour and Ciar

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Asch — Tue, 31 Aug 2010 11:11:47 +0000

NFO | Homepage

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Music in the movies: Clint Eastwood

Asch — Mon, 30 Aug 2010 18:55:00 +0000

He’s one of Hollywood’s most recognisable stars, a respected director, and an accomplished musician, too. Glen salutes the finest scores of Clint Eastwood…

One of the most well respected actors and directors working today, Clint Eastwood has an enviable body of work to his credit. He is also quite vocal about his love of music, particularly jazz, which underpins much of directorial efforts, and country and western, which marked his debut album in 1959, Cowboy Favourites.

Whilst the album was far from a success, he has written a number of excellent pieces for films over the years including Honkytonk Man, City Heat, Heartbreak Ridge, A Perfect World, The Bridges Of Madison County, Qui, Absolute Power, True Crime, Space Cowboys, the piano compositions for In The Line Of Fire, and the excellent song that plays out during the credits of Gran Torino.

Having penned numerous songs to accompany projects over the years, as well as assisting his long time composer, Lennie Niehaus, in a number of his projects, Eastwood made the transition to solo composer to striking effect, scoring a number of his recent films, showcasing his talent, and marking him as one of the most complete filmmakers working in the business today.

Below are the scores that the great man has written and composed solo:

Mystic River

Eastwood’s score for his Dennis Lehane adaptation Mystic River is very strong, indeed. It’s surprising that this was the first time he decided to try his hand at composing a full score solo, considering his lifelong love of music, but this is an assured, confident and very effective piece of work. What’s more surprising is that a score so emotional and affecting is so subtle in the film.

Eastwood brings out the most in each scene with an expert’s touch. This is a highly emotive piece of work with themes of loss and anguish being explored throughout with Eastwood employing his jazz obsession to underpin much of the piece, creatingan intense atmosphere. The score is performed by the Boston Symphony and Tanglewood Festival Chorus under direction from Lennie Niehaus.

The score also features two inclusions from Eastwood’s son, Kyle, who provides the pieces for barroom scenes. They add a nice contrast to the rest of the score and show that a strong ear for music clearly runs in the family. Kyle is, of course, an accomplished and talented musician in his own right, who has released a number of albums and has assisted on many of his father’s soundtracks.

Million Dollar Baby

The score for Million Dollar Baby is another exercise in subtlety, whose melancholic themes slowly affected audiences and listeners as the piece progresses. It’s a much more stripped back affair than its predecessor, which, in itself, was hardly bombastic, utilising little more than an acoustic guitar and a string quartet to draw out the required emotion of the piece.

With this being an Eastwood project, jazz music is ever present and provides an occasional welcome break from the sadness of the score. The score is never overbearing, and the images on screen always take priority, but its presence accentuates what’s on screen magnificently.

Flags Of Our Fathers

Patriotic is a word that springs to mind when hearing Eastwood’s score for the US part of his war double bill, Flags Of Our Fathers. But like the film that it accompanies, it’s not patriotism without perspective. The film is countered with the Japanese perspective of the events depicted here, with Letters From Iwo Jima. The themes of patriotism in the score for Flags Of Our Fathers are countered with themes of melancholy that, at this point, are typical of Eastwood’s compositions.

The score is supplemented with a rather excellent collection of songs popular from around the era the which the film is set, which adds to the sense of time and place depicted in the film.

Simple string and piano melodies are enhanced with military drums. This is another fine example of a wonderfully considered and effective score that shows great attention to detail and isn’t overbearing.

Like Eastwood’s other pieces, this is an accompaniment rather than the main attraction, which is part of the reason why it’s so effective.

Grace Is Gone

James C Strouse’s drama starring John Cusack lays it on a bit thick at times, but is a generally effective piece of work that boasts a great central performance from Cusack and an excellent score from Eastwood.

Tonally, Eastwood’s work here is quite similar to the pieces he penned for The Bridges Of Madison County, which were composed by long-time collaborator Lennie Niehaus. It’s a tender piece of work that matches the emotion of the film it accompanies and is worth a listen, given it’s one of those rare occasions wherein Eastwood has composed a score for a film that is not one of his own.

Changeling

Such a large part of Changeling‘s success is down to the quality of the score Eastwood wrote to accompany it. There’s a strong sense of claustrophobia, paranoia and dread that adds to the tension throughout the film. This brooding piece of work is far from his most accessible piece, but it’s one of his most effective.

As with many of his scores, Eastwood’s love of jazz comes through here, as he uses styles from the period the film’s setting to masterfully give a sense of time and place. The score builds gradually throughout the film. What starts off quite low key gets more dramatic as the film progresses, with the introduction of a full orchestra adding to the dramatic build of tension.

Add your opinions of the musical side of Clint Eastwood to the comments section…

See all the Music in the Movies

The Expendables soundtrack review

Asch — Wed, 25 Aug 2010 07:32:00 +0000

Sylvester Stallone’s barnstorming action movie The Expendables gets an equally urgent soundtrack courtesy of composer Bryan Tyler.

The Expendables is a film that I have been anticipating ever since the first news of the assembled cast hit. Ever since then, it has been a long wait. As is, no doubt, the case for many of those of my age, a huge part of my movie intake was from the output of many of the stars that feature in this film, so I was hugely excited to be in a packed cinema on opening night and watch the action spectacular unfold.

The film has been subject to two four star reviews on this site, courtesy of Simon and Duncan, so I won’t go into too much detail on the film itself, other than to say that it delivered exactly what I was expecting and still managed to surprise me on a number of occasions.

Such was the effect of The Expendables, I went from mildly out of shape to ripped and clean shaven to bearded through the course of the film. Now, whilst those previous statements aren’t true, the film is a whole lot of testosterone packed goodness.

One of the biggest surprises for me was the quality of its score. I was familiar with a lot of composer Brian Tyler’s previous efforts prior to viewing this through his work on The Fast And The Furious series and a number of other action orientated projects, including an excellent score for Stallone’s last film, the most recent entry in to the Rambo series. No doubt the quality of the aforementioned collaboration led to Stallone hiring Tyler to tackle the material for his latest big action movie and the results are very good, indeed.

With an 80 piece orchestra at his disposal, Tyler creates a bombastic assault on the senses that elevates the material to dramatic heights. There’s nothing tongue in cheek here. This is a dramatic and often emotive score that is as much a triumph as the film it accompanies.

The majority of the score plays on variations on The Expendables Main Theme and is very effective as a result. The slight deviations give enough variation to keep the material fresh, whilst keeping a sense of consistency and urgency running throughout.

There are changes of pace, with Ravens And Skulls having an air of loss and sadness attached, and Lee And Lacy carrying a similar theme, but utilising a simple guitar melody to draw out the emotion of the scene. There’s also a Latin slant to material like Contact, which is fitting in the context of the film, but, sadly, doesn’t sit that well when the piece is enjoyed in isolation. That’s the only real criticism of the piece that I have.

The main theme aside, the epic The Gulf Of Aden is a big highlight with its build up of military style drums reaching a moment of dramatic insanity halfway through before tailing off and exploding into action again towards the number’s finale.

Giant With A Shotgun accompanies one of my favourite moments of the film and listening to it aside from the film brings back the images it accompanies, which is most definitely a good thing, as I’m sure those who have seen the film will attest.

From the opening main theme through to the closer of Mayhem And Finale, this is a score as action packed and spectacular as the film itself, and one that would be a welcome addition to the record collections of fans of the film and film scores alike.

On the strength of this, it’s easy to see why Tyler is one of the go-to guys for action scores and is certainly a name to look out for on future projects. I can’t wait to hear what he comes up with for the intriguing Battle: Los Angeles.

The results here are really very good with this being one of the finest scores for an action movie I have heard for quite some time, and at this point, it stands as one of my favourite scores of the year. Yes, it really is that good.

The Expendables OST is out now and available from the Den Of Geek Store.

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Asch — Tue, 22 Dec 2009 23:40:59 +0000

Series Link

Episode 5 – Rebecca suspected that she is helping cause the events that they are trying to stop. Now she is convinced of that, when the images point to a member of the team in some way. One photo shows a shot dead teenager and the hand on the gun is Rebecca’s. Will she be able to change her own destiny?

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Paradox.S01E04.HDTV.XviD-BiA & Paradox.S01E04.720p.HDTV.x264-BiA

Asch — Wed, 16 Dec 2009 02:21:59 +0000

Series Link

Into the Shop – The team receive double the amount of images in what appears to be their most unfathomable mystery so far. The images seem to be predicting a robbery, a fire and multiple deaths, but how can they trace so many clues in so little time? One of the images last time was random; are some of these the same? How do they know which images relate to the event they are supposed to stop and which ones they can trust?

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Paradox.1×01.HDTV.XviD-FoV

Asch — Wed, 25 Nov 2009 20:10:02 +0000

Series Link

Here is a new series from the BBC that seems like it has a similar plot to flash forward.

If you could see the future, would you change it? That’s the dilemma facing Detective Inspector Rebecca Flint (Tamzin Outhwaite) and astrophysicist Dr Christian King (Emun Elliott) when a series of rogue images transmitted into his laboratory from space, throw them together.

The fragmented images appear to be of a major incident, but shockingly they suggest it has yet to happen; it’s in the future. Christian, Rebecca and her team, DS Ben Holt (Mark Bonnar) and DC Callum Gada (Chiké Okonkwo), have just 18 hours to work out the clues and prevent a tragedy.

Episode 1 – When Dr Christian King says he has received a series of images from space and that a disaster is about happen, the team investigate.

Dr Christian King, a world-renowned astrophysicist, claims to have received a series of images from space. The images show fragments of an event, an explosion in which many are killed. Shockingly, Dr King claims the disaster is yet to happen. It will take place in 18 hours time.

Is this an elaborate warning of a terrorist attack, or could it be something else? Uncertain, DI Rebecca Flint and her team investigate Dr King and the images. But as the pieces of the jigsaw puzzle come together, it becomes clear that this is a chain of events which no person could possibly predict or plan.

With time running out a tragedy drawing closer DI Flint begins to contemplate the impossible – that the images might not be a coded warning or an elaborate threat, but a genuine glimpse of the future.

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Asch — Thu, 05 Nov 2009 09:40:47 +0000

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Prince of Persia: The Sands of Time (2010) Trailer

Asch — Thu, 05 Nov 2009 06:22:36 +0000

Based on the video game, which follows an adventurous prince who teams up with a rival princess to stop an angry ruler from unleashing a sandstorm that could destroy the world.… CLICK HERE TO DOWNLOAD | Upload Files & Earn | Share Your Images and Earn | Free PSP Games, Movies, Etc. | Fast Seedbox & Offshore Web Hosting | Easy-Share.com Discount Coupon | AllYouLike |

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Grey’s Anatomy – The Complete First Season – DVDRip

Asch — Thu, 05 Nov 2009 04:15:12 +0000

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Fringe – The Complete First Season – DVDRip

Asch — Thu, 05 Nov 2009 02:50:32 +0000

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Watchmen (2009) ULTIMATE CUT DVDRip

Asch — Thu, 05 Nov 2009 01:08:02 +0000

Watchmen.2009.ULTIMATE.CUT.DVDRip.XviD-NODLABS Another cut of Watchmen – this time it’s ULTIMATE cut which is something like 3 and half hours long. Quote from Warner Bros: “Warner Home Video has officially announced release of ‘Watchmen: The Ultimate Cut’ for November 3.

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Another cut of Watchmen – this time it’s ULTIMATE cut which is something like 3 and half hours long. Quote from Warner Bros: “Warner Home Video has officially announced release of ‘Watchmen: The Ultimate Cut’ for November 3. Ultimate cut will contain the animated comic ‘Tales of the Black Freighter’ woven into the director’s cut of the film. The total running length will be 215 minutes.”

In a gritty and alternate 1985 the glory days of costumed vigilantes have been brought to a close by a government crackdown, but after one of the masked veterans is brutally murdered an investigation into the killer is initiated. The reunited heroes set out to prevent their own destruction, but in doing so discover a deeper and far more diabolical plot. /> align="center"> CLICK HERE TO DOWNLOAD

The Sniper (2009) DVDRip

Asch — Wed, 04 Nov 2009 23:01:24 +0000

Ming is renowned as the top shooter in the police force. But behind the legend lies a skeleton in the closet: his former teammate and superb marksman Ching, who was jailed for accidentally killing a hostage, has just been released. With only vengeance in his mind, Ching determines to take on Ming and the police, believing they are the real culprits for his downfall…… SEE SAMPLE VIDEO HERE CLICK HERE TO DOWNLOAD | Upload Files & Earn | Share Your Images and Earn | Free PSP Games, Movies, Etc.

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Asch — Wed, 04 Nov 2009 12:47:26 +0000

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Asch — Wed, 04 Nov 2009 11:40:36 +0000

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