The Killer Snark

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About The Killer Snark

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    Second Earl of Robb
  • Birthday 01/16/1976

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    Glasgow, Scotland
  • Interests
    Music, films, good food, sci-fi novels, social theory, poetry

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  • Name
    Iain Robb

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  1. There were massive irregularities in the voting. Double ballots were sent only to Macron supporters, and votes were cast by 'expatriates' who may well (nudge, nudge) not even have been born in France. Similar jiggery pokery as occurred during the US election, with the Soros voting machines, voting illegals, and dead Democrats on the voting registry. Macron would still have won, though, in spite of many in France detesting him. But it wouldn't have been by so big a margin. Illegals will doubtlessly have voted as well. But there's no getting away from it. France hung herself. Germany at its next election isn't going to free itself either. The entire thing will be an orchestrated fraud.
  2. I still like her, but this is a first time director, and she's been given free rein to lapse into a lot of really bad habits. Give it a go, though, but I suspect the critics will be with me on this when it gets a release.
  3. I just saw the new film with Emilia Clarke in it, a period ghost story called Voice from the Stone. There's been some buzz about it already, mainly built around Clarke's supposed full frontal nudity. In truth, she just shows her breasts a few times, but that's the best thing about the film. It's bad. 'How bad?', I hear you ask. Well, I like Clarke in Game of Thrones, but she gives one of the worst performances in this I've seen from anyone in ages. She pulls off the esoteric trick of simultaneously underacting and overacting. Imagine Keanu Reeves at his worst, but throw in a load of crazy eyebrows and overdone facial expressions. But the real problem with the film is that it's ploddingly slow paced, narratively thin, predictable and eventless, with an ending that goes totally nowhere. There's no chemistry between the leads. The photography is pretty, but that's it. I'm glad I caught it on a download instead of catching it at the cinema. A real stinker. Sorry to burst the bubble of anyone who wants to see it mainly because of Clarke. On the other hand, I also watched Alejandro Jodorowsky's last film, Endless Poetry, earlier, and that is a genuine masterpiece.
  4. I haven't seen it yet. The only film at the moment I'm raring to see is Personal Shopper, which finally comes out in March in the UK after being delayed in distributor limbo for almost a year.
  5. Same here, re everyone else's comments. I could not believe how weak the resolution was, that I thought might rescue a well stylised but fairly metricious film. It was a bit like watching Total Recall and finding out not only that the main character had imagined the events of the film on his 'head holiday', but the director comes on at the end to tell the audience they've been trolled, because they've just been watching a movie, but the main character is based on an accountant somewhere named Steve. Probably a bad analogy. But talk about a shaggy dog story. My mother and sister liked it, but even they were baffled by the pointlessness of the end. Not the most overrated film of the year, though. Not by a long shot. I'd recommend the well regarded but completely plotless, characterless, toneless and irrelevant Certain Women myself.
  6. I was completely underwhelmed by Nocturnal Animals as well. About the best thing I can say about that movie, because I don't really remember too much about it (which is always a bad omen) is that I like Amy Adams. I just watched Fences. The film has a few detractors, even among mainstream critics, who've been left cold by its deliberate underdirection. Or at least the illusion that its underdirected. The film is bound to feel a bit stagy, because it is based on a play. Aside from my own caveat that it goes on too long in its last fifteen minutes or so, and the conclusion could be stronger (which is not Denzel Wasington's fault), it's a terrific film. Wasington and Viola Davis pitch in exemplary performances, the source material is beautifully written, it is beautifully free of the string laden overstatement and Meryl Streep histrionics others may have forced on it, and it's fully deserving of its general praise. I've added it to my list.
  7. JonSnow - A growing number of people are admitting what they really think about Moonlight as well. I hate to be too hard on it, though. The film has some merit. Sometimes fragrant puffery can really do a disservice to your appreciation of a film. Meera - The incompetence during the prize giving really angered me. It put both sets of people in a horrible position, and if I'd been a member of either party I'd have been yelling about it on stage. I'm adding Hardcore Henry to my list, because I'd forgotten about it earlier. I'm also adding a surreal Mexican social allegory/ scifi/ arthouse porn pic I've just seen called We Are the Flesh. It's a niche taste, but it's excellent, and should appeal to anyone who likes Lynch's Eraserhead, Jodorowsky and Gaspar Noe. Just bubbling under for me is The Love Witch. It's not among my favourite films of the year, but it's a lot of fun, and I have a soft spot for Anna Biller. I actually own Viva, which was her first and previous film.
  8. To be entirely honest, of the two choices I far preferred La La Land as a movie. Moonlight only gets started in the middle and then goes nowhere in the last third. And the characterisation is stronger on secondary characters than it is on the main character. It's...likable, but I've got Fences to watch later on and higher hopes for it. Poor La La Land, though. It was probably my own joint top pick of the year along with The Neon Demon until Toni Erdmann came out. Oh, and The Greasy Strangler, which is just hilarious, if anyone wants to watch a smartly made bad taste comedy.
  9. The Danish Girl is an excellent film. I actually own a copy. There was another really good movie, but about transvestism rather than transgenderism, and a French comedy, called The New Girlfriend from the same year.
  10. I'm coming onto this late, so here's my own list of favourites. 5 star films Toni Erdmann (though it's technically a 2017 film here in the UK - marginally my own pick for the best film of 2016) La La Land (also a 2017 film in the UK, but not Stateside) Arrival American Honey The Neon Demon Sausage Party Captain America: Civil War The Greasy Strangler Love and Friendship Fences Strong 4 star films A Bigger Splash The Nice Guys The Witch Moana Miss Peregrine's Home for Peculiar Children Kubo and the Two Strings Eisenstein in Guanajato Tale of Tales Swiss Army Man Hardcore Henry We Are the Flesh The Edge of Seventeen The Girl with All the Gifts High Rise 10 Cloverfield Lane Zootopia Passengers A Monster Calls My list is provisional. There's a Japanese anime I really need to check out called Your Name, but I'm having trouble finding a copy. It was only out for a week over here. I really liked Dirty Grandpa, but I don't have any intentions of sticking it on an objective best of list.
  11. So I've just finished watching Moonlight. And I liked it, but I wouldn't have given it the best picture award. It's slow to get going, and then tapers off during its final third just as it's gotten started. It's well photographed and well acted, but it's not a film that anyone is going to remember in a few years. Do I think itwas hyped up and awarded prevalently through political considerations? Not really. I can sort of see where critics were going with their reviews, but it ticked certain criticular boxes without actually having that much behind it. I won't bother comparing it to films which definitely were advanced in the past because of political concerns without even being good movies, such as Monster's Ball or Brokeback Mountain. The film it's most like is Richard Linklater's Boyhood, if you can imagine it having white characters and less conscious grittiness. But, truth to told, it isn't really that gritty. Regardless, Boyhood has more going on in it, more characters and more character development, and is actually a masterpiece whereas Moonlight is no more than a quite good film. If anyone really wants to see a great movie with a homosexual theme they might not have seen yet, I recommend they watch Blue is the Warmest Colour. La La Land was the more deserving Oscar winner over Moonlight, but to be honest I'm not annoyed.
  12. I know that the origins of jazz were in New Orleans and not white Europe. But at the same time there was a European classical influence on many jazz musicians, not least Fats Waller (who started out as a classically trained pianist who did indeed play Bach), Miles Davis and Bill Evans. This influence can't be disputed. Not all jazz music is primarily designed to dance to. I am not claiming white people invented jazz, just that the role that white people have had in its development even though it is a music primarily of black origin is ignored by too many for reasons of agenda. Hell, most rock bands are composed of white musicians, but I'm not going to ignore the contributiion to rock music that black musicians have made. Meera of Tarth - Thank you. That's my attitude as well.
  13. Re jazz, what a lot of people forget is that though it technically is of black origin, a lot of its antecedents were actually in the innovations into syncopated rhythm of some Western classical composers. Bach, for instance, or Beethoven, especially in the latter's last piano sonata, which now sounds uncannily prophetic. A number of the most important jazz musicians, bandleaders and arrangers of the twentieth century were white people. There were also white composers working in a jazz idiom at various points in their career such as Debussy, Ravel, Stravinsky, and of course Gershwin. It isn't as if the director of La La Land decided, "Hey, let's make a movie pretending white people ever had anything to do with jazz.' Plus, most of the jazz musicians in that film are black people, so I cannot see what people are arguing about. I'm taking a tea break during Moonlight. I'm enjoying it, but it's a slow burner, so I'm not deciding how good I think it is right now.
  14. Thank you. I'm glad you feel enlightened. I always aim to please.
  15. Well, I can take your point on that. I'm British. And I've never come across a black Brit who was into jazz music. It really is more of a thing that white people like more over here, at least in my experience.