Two years since Watching Movies With The Sound Off, Mac Miller has returned with his first major-label album GO:OD AM and it does not disappoint. While not as good in comparison to Watching Movies With The Sound Off, GO:OD AM is still without a doubt, a wonderfully crafted project by the Pittsburg MC and a look at how time has developed the artist from “Easy Mac with the chessy rap,” to one of the most versatile and underrated rappers currently. It seems like it been a long way since Blue Slide Park but, a musical journey that has paid off in this latest collection of his 17 track LP.
GO:OD AM moves from the sad and sobering, to the weird and odd. The lyrical, to the typical banger and hitting every style that Miller has grown into in-between. With GO:OD AM moving smoothly from song to song, as Miller tells the story of where he was and where he is at currently, this is truly an album of growth and reflection. Featuring collabs with several well known artists to include TDE’s Ab-Soul, the Base God Lil B, Miguel, Chief Keef, and Little Dragon.
GO:OD AM may not be Miller’s best but, it’s still one of the best rap albums of 2015.
GO:OD AM opens with what feels like a dream state, in the first track Doors, before moving into Brand Name, a wide reflection of Mac Miller’s growth as an artist and self-made status in the rap community. One of the more solid songs on GO:OD AM, 100 Grandkids and the most commercial, Miller actually had to get clearance from Diddy for borrowing several lines from his Bad Boys For Life record. Other notables include Break The Law, Weekend feat. Miguel, When In Rome and Rush Hour, which features one of the most honest and direct hooks, “The World don’t give a f*** about your loneliness”.
Overall, GO:OD AM was a solid album and one that is uniquely Mac Miller. There doesn’t seem to be much, if any, interference from Warner Brother’s Records on the album, giving Miller the ability to be himself. While again, in comparisons to his last album Watching Movies With The Sound Off, GO:OD AM falls slightly short to its predecessor, this does not mean it’s a bad album in the least. This project displays Miller’s growth over the years, through not only his lyrics, but uses of different flows and styles on a variety of beats, as well as wide range of track choices. GO:OD AM may fall under the radar as one of the better rap albums of 2015, like YelaWolf’s Love Story or Dizzy Wright’s The Growing Process but, it is none the less one of the better hip hop projects to drop in 2o15.
The BBC released a show reel for the fall/winter season which reveal clips from Luther and Sherlock.
“There are some things that you might have heard about me that quite possibly could be true,” says Idris Elba.
Benedict Cumberbatch and Martin Freeman return for the Sherlock Christmas Special which airs December 25, 2015. The fourth season of Luther is scheduled for a 2015 release but no date has been confirmed yet.
The Night Manager with Hugh Laurie and Tom Hiddleston could be the most intriguing show from BBC’s fall/winter lineup. A night manager of a European hotel is recruited by intelligence agents to infiltrate an international arms dealer’s network.The Night Manager is looking at a 2016 release.
Summary:Charges of treason are leveled against an unlikely suspect, meaning Wilkins must fulfill his duties as the new executioner.
The episode opens with Wilkin getting lessons from Annora how how to properly practice his new trade. She starts dropping hints about his past and how she can help him discover more about his mother. There’s a flashback showcasing Wilkin’s mom as a warrior nun, training under Annora’s husband, but the significance of this isn’t answered in the episode.
Wilkin and his team are all getting restless about wanting to take revenge, but are sidelined when they realize Ash the goat herder has vanished. Upon investigation, they find a dead man with his arms and legs cut off and left with an arrow ritualistically drawn in the dirt around him. More on that later.
Back in the village, a young rebel girl is held captive for breaking the dead Baron’s statue. The Baroness tries a gentler approach by questioning her and realizes where she must live. The group heads back to the girl’s fishing village and learn about a rebel leader simply known as The wolf. They get ambushed by more rebels and Wilkin protects the Baroness and they share a moment. It looks like they are starting to move closer.
Annora does some magic over the dead guy they found earlier and is able to pull a snake from out of his mouth and kill it. Later, its revealed she has a collection of these snakes hanging in her cave but their purpose has yet to be touched upon.
As things wrap up, the rebel girl loses her nose in punishment for damaging the statue, Wilkin is told by Corbett not to defy him and by that he means not to make any moves on the Baroness, and its revealed that one of the guards helped with the raid on the village. Revenge is coming, but it would be nice if it got here a bit quicker.
Is Wilkin’s new wife stalker obsessed with him or just playing along because she doesn’t want to go back to her crappy husband, when he shows himself again? It’s hard to tell at this point.
The team already wants vengeance and are sharpening their weapons to make sure every single person responsible for the raid on their village pays the price. It’s probably would be best if they either achieve it or have another obstacle get in their way pretty quick. If not the characters will just be angry and bitter the entire season. Something creator Kurt Sutter has pulled off before in the past with Sons of Anarchy but usually with one character, not an entire team. Their needs to be more character development here other than simply revenge.
Also, Ash comes back. Was anyone really worried about if he’d survive or not?
There is a bit too much mystery and not enough actual story development in this episode. If they are going to keep Annora such a plot-centric aspect of the show they are going to have to do something to make her moments feel more interesting. Yes, mystery surrounding her is interesting, but at this feels a bit too slow with its execution.
The Muppets are some of the most enduring characters of all time, and have made a come back with two hit movies in the past five years. So, it makes sense for them to transition back to TV again. Last night the premiere of their modern show debuted, and gave us a different take on Jim Henson’s classic creations. Rather than just focusing on bad puns, celebrity guests, and songs, we also get to see a more introspective look at The Muppets and their personal lives.
The format of the show is very similar to Parks and Recreation with interviews, and a mockumentary filming style. While the Muppets themselves are fully aware of the gimmicks and overuse of this style, they manage to use it sparingly, and each interview was used for good humor or too advanced some character development. However, the more interesting angle is the setting, which is similar to 30 Rock.
Miss Piggy is the host of a late night show called “Up Late With Miss Piggy.” Kermit plays the Liz Lemon type as the producer of the show, Fozzie Bear is the warm up comedian and sidekick, Gonzo is a writer/performer, and the rest of the Muppets have specific jobs to help the show move along. Each of their roles shows a complex hierarchy and gives more depth to the setting of the show. Thankfully, all the Muppets are true to their original characters: Kermit is constantly stressed, Fozzie is overly anxious, and Miss Piggy is, of course, a drama queen. Even Statler and Waldorf maintained their place as hecklers for the show.
While the show could have easily just banked off the Muppets name by hashing out predictable Muppets-esque story lines and parodies, the writers chose to dive deeper into the characters and create some interesting drama. Most of the episode focuses on Fozzie meeting his human girlfriend’s parents who don’t take kindly to the fact that their daughter is dating a bear. We see Kermit start to fall for another pig named Denise. But most importantly, we actually get a reason about why Piggy and Kermit broke up, and it’s surprisingly heart breaking. It’s definitely a welcome addition to balance out the zany characters and their antics.
The show isn’t perfect, some of the Muppet performers seem to gobble up their words, and at times it was genuinely hard to understand what they were saying. Also, while the humor is accessible for those of all ages, there are some pretty adult jokes. Most are very funny, but it was sometimes weird to see these beloved child icons make some pretty dark and disturbing jokes. Again, none of them are even close to South Park level (chances are kids will not understand them), but it’s a little strange to hear these jokes from such adorable puppets.
And of course it wouldn’t be a Muppets show with out a slew of celebrity cameos. Elizabeth Banks, Tom Bergeron, Jere Burns and the members of Imagine Dragons all make great jokes, and are a lot of fun working off The Muppets. Elizabeth Banks in particular pokes a lot of great fun at Miss Piggy (and herself for that matter), and has a pretty entertaining fight with Scooter on a golf cart.
Overall, this pilot was a strong first step for hopefully a strong series. Give it a watch and let us know about your thoughts below in the comments section.
For those of you who don’t know about MondoCon, now is the time to learn. MondoCon is a new convention – this being the second annual – highlighting some of the coolest, most compelling film and pop-culture artwork from Mondo Studios, the most celebrated art gallery of its kind. Mondo has, for many years, been the staple of posters and artwork in regards to the world of pop culture. A convention showing off their new work and upcoming prints, held in Austin every year now, sounds incredible.
Word of some prints have begun to trickle out, as well as some images from Martin Ansen and Jonathan Burton. Ansen’s portfolio includes some incredible prints of Alien, Frankenstein, and Iron Man among others. This year at MondoCon, Ansen is unveiling his new Rocketeer inspired prints:
Jonathan Burton, who’s own Mondo portfolio is heavy on the horror, is debuting a set of prints from Tod Browning and Bela Lugosi’s Dracula. These are something:
These are merely a glimpse into what MondoCon has prepared for their convention, which takes place October 2 and 3 in Austin.
Sony Pictures Classics today released the first trailer and poster to the film Truth, staring Robert Redford, Cate Blanchett, Dennis Quaid, Topher Grace, Stacey Keach, Bruce Greenwood and Elisabeth Moss.
Newsroom drama detailing the 2004 CBS 60 Minutes report investigating then-President George W. Bush’s military service, and the subsequent firestorm of criticism that cost anchor Dan Rather and producer Mary Mapes their careers.
Truth is directed by James Vanderbilt and will bein theaters on October 16.
No official announcement has been made by Marvel Studios or Netflix but if you go to IMDB and look up Iron Fist, Ethan Arkin’s comes up as actor in the series with Ryan Phillippe rumored to be Danny Rand.
It gets interesting when you look at Arkin’s filmography, his name is attached to The Defenders as Danny Rand. This could be a typo but someone attached Arkin’s name to Iron Fist. We will let you know when more details are available.
Danny Rand should be announced shortly as he probably will appear at sometime in Marvel’s Luke Cage.
Rumors of the Western’s demise have been greatly exaggerated. For many, many years, prognosticators and studios have been seemingly eager to put that final nail in the Western coffin, and yet, it returns. Look no further to December of this year, where you will find Quentin Tarantino’s The Hateful Eight, QT’s second Western in three years. Prior to that, Kurt Russell will star in another Western, Bone Tomahawk, out in October. Russell is trying to get the most he can out of that epic cowboy mustache.
Earlier in 2015, Michael Fassbender starred in Slow West, a meditative, quiet Western many liked (although I did not particularly enjoy). My point is here, the Western is not dead, it’s just kinda dormant. Kinda. There have been a great number of Westerns since the turn of the new millennium, and here are eight must-see genre entries since 2000…
8) Django Unchained (2012) – While I didn’t particularly enjoy Quentin Tarantino’s slavery-revenge Western as much as his other films, even minor Tarantino is better than most. Django Unchained is, much like his fictional spin on World War II Inglourious Basterds, an opportunity for an oppressed people to get revenge on their oppressor via re-written history. In this case, enslaved African-Americans are represented by Jaime Foxx’s eccentric gunslinger Django. While it is entertaining and often beautiful, steeped in Tarantino’s insightful dialogue, the film does grind its gears from time to time. But, again, I’ll take lesser QT over many directors’ best work any day.
7) Meek’s Cutoff (2010) – Meek’s Cutoff works like a silent film, and it could be that just as easily as it added the sparse dialogue. Kelly Reichardt’s film is a true Western, a story of the taxing and deadly journey West, and the pitfalls lying in front of a group of pioneer men and women. Michelle Williams stars, along with a bearded Bruce Greenwood and Paul Dano, but the real star here is the harsh landscape. These open plains look like a cakewalk in 2015, but in 1845 this Oregon Trail was a deadly, arduous journey for many. “You Have Died of Dysentery.”
6) Open Range (2003) – Kevin Costner’s career has been wildly inconsistent, but in the midst of drivel like Dragonfly and Rumor Has It…, Costner returned to his comfort zone to direct Open Range. The result is one of the more overlooked, underrated Westerns in recent memory. Costner and the invaluable cowboy actor Robert Duvall star as a pair of cattlemen who buck up against a corrupt lawman. Open Range is a film about honor and code, and it is a patient directorial effort from Costner, who appreciates the aesthetic serenity of the open plains. Violence is minimal here, only when it’s necessary in one of the more incredibly choreographed gunfights in all of Western cinema.
5) True Grit (2010) – As much as John Wayne’s original is celebrated, Joel and Ethan Coen’s remake, starring Jeff Bridges in the Rooster Cogburn role, adds much-needed life and vigor to the proceedings. Let’s be honest, the original True Grit was little more than a vehicle to get Wayne his Oscar; overall, the film was less than memorable. Bridges is slovenly genius, and the Coen Brothers’ sensibilities sync up with the idiosyncratic dialogue in Charles Portis’s quirky novel. And let’s not forget, Hailee Steinfeld’s precocious young Mattie Ross, the catalyst of the entire story, is a dynamite character.
4) 3:10 to Yuma (2007) – Another remake improving on the original, James Mangold’s story of a desperate family man (Christian Bale) charged with transporting a notorious outlaw (Russell Crowe) to an outbound train, is a tense chase film from top to bottom. Bale and Crowe are electric opposing one another, an Ben Foster adds his typical manic instability as Crowe’s henchman. 3:10 to Yuma is a Western wound tight, filled to the brim with bravado and desperation.
3) The Assassination of Jesse James by The Coward Robert Ford (2007) – This is where the field separates into not only a list of the best Westerns of this new millennium, but some of the best overall films of the last fifteen years. Andrew Dominik’s deliberate, moody tone poem is more a meditation on the Western than a traditional six-shooters-and-saddles story. Brad Pitt captures the mythic notes of Jesse James, and Oscar nominee Casey Affleck is pitch perfect as the insecure Robert Ford. Add to this the haunting soundtrack from Nick Cave and Warren Ellis, and the film elevates beyond genre into a tale of longing, wonder, and the dying ways of the Old West.
2) The Proposition (2005) – John Hillcoat’s Australian Western is unforgivingly violent, nihilistic, and altogether a captivating experience. Guy Pearce plays Charlie Burns, one of a trio of outlaw brothers. He is captured by Captain Stanley (Ray Winstone), a lawman charged with cleaning up the lawless Outback. He offers Burns an opportunity: kill his psychotic older brother, Arthur (Danny Huston, evocative), or see his younger, simple-minded brother hanged. The setup is brilliant, and the unfolding compelling and often brutal. Hillcoat captures the stunning beauty of Australian, the stark desolation of an Outback without rules, the madness in men, and the physical and mental toll violence can take on humanity.
1) There Will Be Blood (2007) – This may be a bit of cheating, as There Will Be Blood is in no way a traditional Western. There are few horses, no gunfights, and no clear heroes and villains. That being said, Paul Thomas Anderson’s finest film is still a signal, taking the Old West out and bringing in the new industrialization of the country. Daniel Day-Lewis is magnificent, hypnotically intense as the obsessive oilman Daniel Plainview. As Plainview squares off against Eli Sunday, a religious charlatan, tension grows almost unbearably, and madness consumes everyone in their orbit. Anderson’s film is a battle of wills, a fight between religion and capitalism, and an examination of what lies in the darkest corners of men’s hearts.
Drew Goddard was out promoting The Martian and talked with iO9 about the Sinister Six film he was working on and presumably scrapped after the Spider-Man returned to the MCU. Goddard apparently wrote the script for the Sinister Six to fit in any continuity.
“My vision of that movie was a summer annual, so you didn’t have to worry about continuity. It was just, ‘We take Peter, put him on an adventure, we put him back in his life.’ I intentionally wanted a movie that didn’t have to worry about mythology and continuity. It was important to me to make a movie that could stand on its own. So the good news is, you know, [laughs], it slots in very well to any plan anybody ever wants. We just need to let a couple years go by, I think,” said Goddard to io9.
As this is the third time with the Spider-Man franchise, all roads need to point towards a Sinister Six film. Anything less than that seems like a waste of time or a rehash of the previous two incarnations.
The next Spider-Man will be directed by Jon Watts, with screenplay by John Francis Daley and Jonathan Goldstein, and Tom Holland stars in the lead role as Peter Parker with Marisa Tomei as Aunt May. The film is due out on July 28, 2017.
It never came as a surprise to me that I was greatly enjoying a movie in which elementary school children were turned into flesh-eating zombies, and then routinely hacked to pieces by their dysfunctional faculty. That is probably the greatest strength of Jonathan Milott and Cary Murnion’s film, Cooties. It successfully straddles the line between what we will and won’t accept when it comes to an absurdist horror-comedy. Here, catharsis is the relevant currency and the audience is all the better for it, despite a severely dragging mid-section and scares that don’t match up to the laughs.
Elijah Wood (who also produces*) stars as Clint, a maybe-writer who has moved back to his hometown from New York to do some substitute teaching at Ft. Chicken Elementary School. Clint goes to his first day of classes, book manuscript firmly in hand, and discovers that the kids are awful, his childhood crush and fellow teacher, Lucy (Alison Pill), is dating alpha-male gym teacher, Wade (Rainn Wilson) and the chicken nuggets have begun to transform these students into ravenous zombies.
The plot mildly twists and turns but the movie gets almost all of its mileage from the conceit that the children have turned into monsters and the teachers must fight back. I was impressed at the brisk pace of the first act and a half; jokes and gore coming at nearly breakneck pace and characters that are clearly established with very little effort and screen time. The script by Ian Brennan (GLEE) and Leigh Whannell (SAW) is slick and wry when delivering each punch. Whannell also pulls double duty here, acting as socially inept and likely future serial killer, Doug.
Whannell is the notable scene-stealer but each cast member gets their chance to out-weird the other with Jack McBrayer, Nasim Pedrad, Jorge Garcia (though he’s eventually relegated to a less successful side-movie of his own) and Peter Kwong as the school’s heroic, Samurai-esque janitor rounding out the ensemble.
Wood’s performance, in particular, is notable for imbuing a character that is narcissistic and irritating with a shred of sympathy. His seemingly ageless face and big blue eyes do work with small glances that others couldn’t do with pages of dialogue.
For all that the cast and writers do right, they also can’t quite stick the other half of their genre’s promise: horror. The second act of the film tries to up the tension, the undead kids closing in on the janitor’s office where our faculty has taken refuge. Directing team Miliott and Murnion are great at playing fast and loose with the script and performances, but struggle when things need to be reigned in. The film’s horror bits work best when Cooties is being ghoulish and gross, often garnering a laugh at the same time as a cringe. A set piece involving the collection of candy for an uninfected, diabetic child is aimless and, due to the film’s established stakes and tone, bereft of drama.
Thankfully, the movie is able to right the ship and hurtles toward a finale that is big and weird and messed up in the best of ways (which, according to producers Wood and Josh C. Waller, apparently isn’t the ending that was seen when the film premiered at Sundance this year, after which the producers were given more funding to film a more cinematic, fun sequence). At the end, I was actually doubled-over, cackling with laughter.
Cooties presents enough vicious laughs and gore that it overcomes a sluggish middle-third and the sidelining of certain characters to become a more-than-solid entry in the horror-comedy genre. The mileage you get out of the film depends on your acceptance of heightened situations and ridiculous moments, but I’d say if you choose to watch an R-rated move called Cooties, you’re well aware of what you’re in for.
Cooties was released simultaneously in limited theaters and VOD on September, 18.
* In a Q&A that followed the screening of the film, Wood noted that he wasn’t planning to play a part in the film at all, and wanted to serve solely as a producer through his company, SpectreVision, which has grown to be a very bright spot in his career. The iconic actor from The Lord of the Rings trilogy will never shed that fame, but has found a very interesting chunk of the industry where he can showcase what speaks to him and co-founder Waller. Wood, in person, and through the films his company produces, comes across as such a Superfan for genre cinema that it simply adds to his allure as a geek culture cornerstone.
