Vim Fuego

Patrick Stott
Forum Admin Group · Death, T/S/G, Grind, VA Teams
Registered more than 2 years ago · Last visit 12 hours ago

Favorite Metal Artists

All Reviews/Ratings

1038 reviews/ratings
MORBID ANGEL - Altars of Madness Death Metal | review permalink
PUNGENT STENCH - Been Caught Buttering Death Metal | review permalink
CATHEDRAL - Forest of Equilibrium Doom Metal | review permalink
BRUTAL TRUTH - Extreme Conditions Demand Extreme Responses Deathgrind | review permalink
FIGHT - War of Words Groove Metal | review permalink
ANNIHILATOR - Alice in Hell Thrash Metal | review permalink
DARK ANGEL - Darkness Descends Thrash Metal | review permalink
CARNIVORE - Retaliation Crossover Thrash | review permalink
EXODUS - Fabulous Disaster Thrash Metal | review permalink
HOLY TERROR - Mind Wars Thrash Metal | review permalink
CARCASS - Symphonies of Sickness Goregrind | review permalink
CARNIVORE - Carnivore Crossover Thrash | review permalink
DARKTHRONE - Soulside Journey Death Metal
DEICIDE - Deicide Death Metal | review permalink
DESTRUCTION - Sentence of Death Thrash Metal | review permalink
BAD NEWS - Bad News Heavy Metal | review permalink
EXHORDER - Slaughter in the Vatican Thrash Metal | review permalink
8 FOOT SATIVA - Season for Assault Thrash Metal | review permalink
TERRORIZER - World Downfall Deathgrind | review permalink
METALLICA - ...And Justice for All Thrash Metal | review permalink

See all reviews/ratings

Metal Genre Nb. Rated Avg. rating
1 Thrash Metal 212 4.00
2 Heavy Metal 123 3.68
3 Death Metal 118 4.11
4 Grindcore 74 3.97
5 Hard Rock 41 3.10
6 Crossover Thrash 38 4.20
7 Groove Metal 36 3.47
8 Black Metal 33 3.44
9 Alternative Metal 28 2.48
10 Hardcore Punk 27 4.56
11 Industrial Metal 22 3.82
12 Glam Metal 21 3.38
13 Non-Metal 20 2.30
14 Melodic Death Metal 15 3.20
15 Goregrind 15 4.17
16 NWoBHM 15 3.97
17 Progressive Metal 14 2.79
18 Technical Death Metal 12 4.00
19 Power Metal 11 3.86
20 Gothic Metal 11 3.82
21 US Power Metal 10 4.00
22 Sludge Metal 9 3.44
23 Deathgrind 9 4.17
24 Folk Metal 9 4.06
25 Brutal Death Metal 8 3.44
26 Symphonic Metal 8 2.44
27 Nu Metal 7 1.14
28 Speed Metal 6 3.92
29 Metal Related 5 4.10
30 Cybergrind 5 4.50
31 Death 'n' Roll 5 2.40
32 Doom Metal 5 4.50
33 Death-Doom Metal 5 3.30
34 Deathcore 5 2.80
35 Funk Metal 4 2.63
36 Metalcore 4 3.25
37 Heavy Alternative Rock 4 3.88
38 Stoner Metal 4 2.75
39 Avant-garde Metal 4 4.25
40 Pornogrind 4 3.75
41 Rap Metal 4 3.00
42 Technical Thrash Metal 4 3.25
43 Traditional Doom Metal 3 4.00
44 Proto-Metal 3 4.33
45 Symphonic Black Metal 3 4.33
46 Melodic Black Metal 3 1.50
47 Atmospheric Black Metal 3 2.83
48 Atmospheric Sludge Metal 2 4.75
49 Crust Punk 2 4.75
50 Drone Metal 1 4.00
51 Depressive Black Metal 1 4.50
52 Melodic Metalcore 1 3.50
53 Heavy Psych 1 0.50
54 Viking Metal 1 3.00

Latest Albums Reviews

BEYOND DEVIATION Beyond Deviation 400 (400 Vocalist World Record Track)

EP · 2021 · Deathcore
Cover art Buy this album from MMA partners
The whole idea of “Beyond Deviation 400” is a mad arsed thing at first sight. It’s a 37 minute deathcore track created by Canadian band Beyond Deviation. In making this epic track, the band pulled in favours from a few friends. Actually, make that a LOT of friends. About 400 friends. See, the 400 in “Beyond Deviation 400” indicates the number of vocalists on this song, which set a new world record for the most solo vocalists on a single track.

Now, deathcore isn’t to everyone’s tastes. A lot of death metal fans treat it like that annoying cousin who wants to borrow your Dying Fetus vinyls, and then scratches them. Yes, well intentioned, but an embarrassment to have around. A lot of gatekeepers and elitists go even further in their disdain for the genre, declaring it “not metal!” Why? Er… hardcore-style breakdowns? Nu-metal style downtuning? Daring to not be straightjacketed by what has come before? Who the fuck can tell. This matters not to the legions of deathcore fans the world over, who just get on with it and create their own glorious noise. And apparently Beyond Deviation play a variety of deathcore called downtempo.

So... 400 vocalists and 37 minutes of downtempo deathcore. What sort of sound do you get? It’s pretty obvious it’s not gonna be bright and breezy uplifting pop music. Nope, you get guttural, bowel-churning doom/death/sludge that’s mostly played on the big fat low strings rather than the twiddly, squeaky high ones. It’s mostly what would be considered breakdowns, except breakdowns are usually brief interludes in a song where the band kicks things into low gear, rather than being the majority of the song like they are here. One of the great benefits of playing so slowly is that it makes the overall sound absolutely fucking massive.

And if there's 400 vocalists, there must be lyrics, right? Yes, there are, and rather a lot of them. They cover weighty philosophical topics like life and existence, reality versus insanity, strength versus weakness, etcetera, etcetera, but are any of them understandable without a lyric sheet? No, not really. And it doesn’t matter. That’s not the point. The voice is an instrument here, a bestial, violent, aggressive roar of an instrument. And despite what you might think, there’s still range for variety in the vocals. It’s hard to tell where one person ends and the next starts, but the grunt/growl/screech flows surprisingly well through this lumbering hulk of a song.

Some metal purists will fucking hate this, but it’s not made for them. This is made for the fans, and by the fans. It also might appeal to the more open-minded and adventurous listeners of funeral doom, doom/death, atmospheric sludge, depressive black metal, or even just the plain curious. This ambitious and slightly crazed project united musicians the world over at a time when it would be easy to feel isolated and alone, and created quite the buzz in a number of extreme music scenes.

Congratulations on the world record Beyond Deviation, and more power to you for conceiving, composing, and executing such a monumental work of dark and deeply satisfying art.

SEPULTURA Revolusongs

EP · 2002 · Groove Metal
Cover art Buy this album from MMA partners
Ever wondered what rocks Sepultura’s world? Yeah? Check this out.

The liner notes to Revolusongs say “We are a band that always played covers from the groups we liked; we learned a lot from them and had a lot of fun doing that.” And that’s what this is – a collection of songs getting “sepulturyzed” (their word, not mine).

First and foremost, Sepultura is a metal band, so you’d probably expect a decent dose of metal here. Sepultura made their name initially as an underground band in the tape trading scene and Hellhammer’s demos were a cornerstone of that scene, so the opening track “Messiah” is a fitting tribute to those days. While it was a reasonably fast track for Hellhammer, it’s a comfortable groove for Sepultura. Derrick Green’s gruff vocals are perfect for the track, out-graveling Tom G. Warrior. And most importantly, this song shows that a then-20-year-old riff still holds up decades later.

The next metal track is a rip through Exodus’ “Piranha”. The tune is absolutely vicious, like the nasty little fish it’s named after. Igor Cavalera absolutely nails the drum intro to this thrash classic, while Andreas Kisser puts his own spin on the Holt/Hunolt solo trade-offs.

The disc closes out with a spontaneous jam through the intros to Metallica’s “Enter Sandman” and “Fight Fire With Fire” - just a bit of silly fun which is cool to have on record.

Over the years Sepultura has taken metal into places far beyond their death/thrash roots. Checking the other tracks here you’ll see why. Paolo Jr is often the forgotten man of Sepultura, but without him, the band’s groove would be a bit thin and, well, grooveless. He’s absolutely to the fore in “Angel”, a Massive Attack cover. It’s a powerful song which builds on his massive bass foundation.

Sepultura flirted with hip-hop in the mid-90s while Max Cavalera was still in the band. The cover of Public Enemy’s “Black Steel in the Hour of Chaos” shows that hip-hop fandom didn’t depart with him. The song features guest vocals from Brazilian rapper Sabotage, and additional scratching and programming from Ze Gonzales. Many metal fans aren’t particularly comfortable with hip-hop, but even if they aren’t this track spices it up with enough metal to keep it interesting.

In the past, Sepultura had covered punk bands like Discharge and Dead Kennedys and Ratos De Porao, and this made a lot of sense. After all, it’s not a huge jump from full on thrash to hard out hardcore. But Devo? “Mongoloid” was a weird little song even for the electro-punk new wavers. Here it has been given a full metal make-over, complete with crushing guitars and a blast-beat ending. Weird but fun. (Note: the name of the song is not seen as very politically correct these days, but the lyrics are a positive story of a man with Down syndrome living in a world where no one notices he's any different.)

“Mountain Song” was the first song alt-hard rock band Jane’s Addiction ever wrote, even before the band name existed. It’s perfectly titled, with a cascading avalanche feel which Sepultura nail perfectly. The biggest difference is in vocals, because Derrick Green’s voice isn’t within a million miles of the same register as Perry Farrell’s. No matter, it’s all transposed and beefed up to suit the rest of the song.

Now, I hate U2’s music with a vengeance. I find it to be mediocre and annoying beyond words. I can’t stand Bono’s po-faced political posturing, even though I have to admit he’s often making some good points. I find The Edge’s guitar playing to be pretty damn dull. And the other two blokes? Yeah, they don’t even register. And U2 have sold nearly 200 million albums, been streamed half a billion times, and are one of the most successful touring acts of all time, so what the fuck do I know? Sepultura obviously see something I don’t. And grudgingly, I have to admit, the cover of “Bullet The Blue Sky” is good. In fact, it’s really fucking good. Yes, Sepultura succeeded in making something I find wonderous from something I really hate.

Fuck, they’re good.

FUCK THE FACTS Pleine Noirceur

Album · 2020 · Grindcore
Cover art Buy this album from MMA partners
Fuck The Facts has always been an abrasive band, usually right in your face, so that’s what most listeners would expect from “Pleine Noirceur”. And first track “Doubt, Fear, Neglect” doesn’t disappoint. It is just that, like a raging drill sergeant yelling in a raw recruit’s face. Until it’s not.

About three and a half minutes into the track, metallic riffs and lead guitar suddenly break into the mix. Sure, the drums are still exploding all over the place as you’d expect from a normal FTF album, but this new found dynamic is a surprise, and permeates right through the whole album. There are fans at the extreme end of the metal spectrum who dismiss or avoid grindcore because it often lacks sufficient metal elements or tropes. This is an album that can’t be dismissed quite so simply.

The band has streamlined it’s line-up since 2015’s “Desire Will Rot” album thinning down from a five-piece to a three-piece. It hasn’t made any noticeable difference to the size of the sound - it’s still enormous.

Second track “Ailleurs” seems like a return to type. It’s a minute and a quarter of blown bass, blasting drums and screeched vocals, but deteriorates into a soundscape like the last remnants of a wave washing out on a beach. Such subtlety would have been unknown to FTF in the past, as blasting angry noise usually filled the entire sonic register. Title track “Pleine Noirceur” (translates to “total darkness”) takes a similar but different dynamic (does that even make sense?) to the opening track. The introduction to “Sans Lumiere” is absolutely brutal, like a repeated kick in the face.

Vocalist Mel Mongeon is one of the best in grindcore and noisecore. In these genres, vocals are usually just another bludgeoning instrument, often rendered totally incomprehensible as a gurgle or a grunt, but hey, they sound brutal. Not so here. Mongeon’s vocals are brutal, but convey depths of emotion, and have a stark, spare beauty to them. You even fear for her emotional state in the gut wrenching “Everything I Love Is Ending”, which seems to be a bleak examination of human mortality. This album is also bilingual, as this Quebecois band writes in both English and French, and Mongeon is perfectly capable in both.

“A Dying Light” is a sparse instrumental with distant vocals more akin to a doom metal sound than something you would expect from a band which started life as a powerviolence project. “Dropping Like Flies” looks like a critical summation of 2020. It could be referring to the global pandemic which savaged the planet, or it could be about lack of respect for other humans’ lives which seems to have manifested in some sectors of society, or it could be a warning of impending environmental climatic Armageddon. Take your pick, or combine them all. Whatever the intention of the song, the lyrics paint a bleak picture.

The whole album has a cold, chill atmosphere to it, more often associated with black metal, but there’s nothing else of that genre on display here. The light/dark, hard/soft contrasts are not often expressed like this in grindcore, and the introduction of doom and death metal-tinged sections are a surprising but welcome addition to Fuck The Facts’ base sound. If anyone who has ever wanted to try grindcore but it has seemed too opaque or dense, this may well be the perfect introduction. Like a billowing mushroom cloud from an atomic bomb blast, "Pleine Noirceur" is an album of terrible but powerful beauty.

VARIOUS ARTISTS (SOUNDTRACKS) Last Action Hero

Album · 1993 · Hard Rock
Cover art Buy this album from MMA partners
Beef and Grizz were drunk again.

And when these two got drunk, everyone else knew all about it.

They weren’t nasty or violent drunks, no, quite the opposite. Grizz’s naturally friendly personality was amplified by the booze, so he became everyone’s best mate. Beef was a quiet guy, until he got a few drinks in him. Then, he was LOUD.

So, here’s the scene: we’re at a movie multiplex lining up for tickets for a late showing of the brand new Arnold Schwarzenegger movie “Last Action Hero”. We’d been out for a few drinks at a nightclub. It wasn’t a particularly classy nightclub – after all, it let us in, a bunch of bogans and farm boys – which thankfully played as much rock music as it did dance. The idea was to have a few beers, catch the movie, and then do a few laps around town, get a feed of KFC, do a few more laps, and then head for home.

Unfortunately, Beef and Grizz overdid it. They were boozed up and excited, like kids the night before Christmas. They were almost bouncing off the walls. They were shaking hands with strangers, introducing themselves, and asking if they liked AC/DC too. Y’see, Beef and Grizz couldn’t give a fuck about big Arnie’s new action-packed blockbuster. Shit, they would have been there if it was a weepy tearjerker or a documentary about echidnas.

No, it wasn’t a movie star which had brought them here, but a song. Best friends since boyhood, Beef and Grizz were AC/DC superfans, and “Last Action Hero” featured “Big Gun”, the first new AC/DC song since 1990. That’s why they were excited. We managed to corral the boisterous denim-and-leather-clad toddlers into the theatre. The pair of them chanted “AC/DC, AC/DC, AC/DC!” through the previews. All the while, the relatively more sober members of the group were trying to shush them, made apologies to the Arnie fans sitting near us, and assured the grumpy usher that our slightly intoxicated friends wouldn’t disturb other patrons.

The lights dimmed. Beef and Grizz cheered, chanted “AC/DC!” one last time, and promptly fell asleep. Yep, the darkened theatre was too much for the boozed-filled bogan boys to resist. And luckily, they didn’t snore too loudly.

Last Action Hero is a noisy movie. There’s explosions, gunfire, and car chases. On top of that, it has a loud rocking soundtrack. When this movie was released in 1993, metal and rock was in somewhat of a flux. Grunge was the hot sound, and rock fans were discovering it was OK to widen their listening palettes. The last struggling remnants of the glam metal scene was hanging on by a fingernail, and only the Big Four were really surviving in the thrash world. AC/DC, of course, were immune to any vagaries of scene or taste. And that’s exactly what this soundtrack illustrates.

Let’s leave AC/DC for now. What else set the mood in this fabulously messy flop? Let’s look at the grunge first. Like Soundgarden, Alice in Chains was one of those bands with a foot squarely in both the metal and grunge camps. “What The Hell Have I?” has a killer metal riff, some Middle Eastern-ish flourishes, and downer grunge vocals. Not exactly happy music. AIC got two bites at the cherry here. Second track “A Little Bitter” has heavy effects on the vocals, which are still dreary, and the guitars are nowhere near as metal, but are still reasonably noisy, on and off. However, there’s an evil bassline snaking through the song.

Hailing from Seattle seemed to give Queensrÿche a special place in the musical consciousness at this time. While never really a hair metal band, they were seen to be related to that scene, but the double whammy of “Operation: Mindcrime” and “Empire” meant they were loved by both the 80s metal crowd not easily adjusting to the new trends and sounds and the slacker generation who usually seemed to like their music less sophisticated. “Real World” is an epic ballad, with heavy sounding orchestration from the late Michael Kamen.

Somehow, Tesla managed to score the title track here. And “Last Action Hero” shows why glam metal had to die. Lame gang vocal in the chorus? Check. Simplistic, unimaginative riffs? Check. Whiny vocalist? Check. Predictable, dull song structure? Check. Too much wanking from the lead guitarist? Bingo!

“Two Steps Behind” huh, Def Leppard? Two years behind, at least. This sort of sugary power ballad sold by the bucketload in the late 80s, but times changed. You guys started at the same time and in the same scene as Iron Maiden? Where did your fucking bollock go? Go and take a listen to Aerosmith. “Dream On” might have been 20 years old at this stage, but it rocks harder than you do. Steven Tyler still had a voice at that stage, and Joe Perry absolutely wails live.

“Angry Again” shows why Megadeth were still relevant while a lot of their thrash metal contemporaries were falling by the wayside. It takes the slowed-down, chugged-up style from the “Symphony For Destruction” album and applies it to a brand new killer of a riff, adds an ascending crescendo passage, throws in some tasty leads, and tops it off with Dave Mustaine’s snarling vocals. Yeah, Megadeth were still doing OK because they were still making fucking metal.

Anthrax weren’t doing quite so well. Their most recent album “Sound of White Noise” had confused people a bit. Some were upset at the change in vocalist, while others didn’t like the slight shift in musical direction. In the background, record labels were being fucking dicks. Despite all this, Anthrax spat out this fucking killer of a track. It’s tight, angry, and brutal. John Bush was really gelling with the band, and gives a confident performance here. This is easily the second best song on the soundtrack after “Big Gun”.

Fishbone was one of those funky metal conglomerates that was a bit hard to classify. Long time metal fans were a bit confused by them, but the new wave of rock and metal listeners weren’t too terribly bothered, just enjoying a good tune when they heard one. “Swim” is a big chunky freak out with psycho vocals flying in all sorts of directions, while the main riff just destroys all in it’s path.

It used to be quite common to hear metal fans say “I hate all rap except…” There were a number of bands which possibly came after that “except”. It could be Beastie Boys, Run DMC, Public Enemy, NWA, or these guys, Cypress Hill. There’s not really much in “Cock The Hammer” for a metal fan to feed off, but if you like your hip-hop slightly THC-flavoured, love a squirming bassline and don’t mind the vocals, this is a rocking tune.

Buckethead has always been something of a musical chameleon. The instrumental “Jack And The Ripper”, credited here with classical composer and conductor Michael Kamen. It’s a movie soundtrack, but it’s orchestrated with guitars instead of the more traditional instruments. There’s all kinds of six string wizardry in here.

And finally, the big one, “Big Gun”. Anyone who has seen “Last Action Hero” knows that the song finally plays in full at the closing credits. It’s near on the perfect AC/DC song. It has a driving beat (apparently the final song recorded with larger-than-life drummer Chris Slade), a great main riff, Angus’ leads absolutely rip, and the lyrics are clever, full of double- and triple-entendres. If you have never seen the music video, do yourself a favour and check it out – see Arnie dressed as Angus! And of course, the opening riff woke up our sleeping beauties. There was a “yay, AC/DC!” some fists in the air, and a bit of gratuitous headbanging. Never mind that the boys had missed almost the entire movie. They got their AC/DC fix!

There’s a bittersweet end to the tale of Beef and Grizz. A couple of years later, AC/DC finally came to town. We all got tickets, which were all general admission. I watched the whole magnificent, ridiculous spectacle from the relative comfort of a grandstand, along with my family. Not Beef and Grizz. They lined up hours before gates opened at the stadium, and rushed the stage. They found themselves a spot at the barrier in front of the stage, and wrapped their arms through it. This was still three or four hours before even the support act Shihad was due to play. And they stayed there. Other friends helped them out with things like food and drink, and a convenient bottle to piss in. They took a hell of a beating too. Later arrivals tried physically to move them from the spot, but they held firm. Grizz wasn’t exactly the most physically imposing guy you’d ever meet. Beef however, was a bit bigger (why do you think we called him Beef?) and most people chose not to mess with him, but they were up against skinheads and gang members. Despite being punched and continually crushed against the barrier, the pair gutsed it our for what was as close as they ever came to a religious experience.

The concert was in November. Beef (real name Craig) was killed in a farm accident in February.

He was laid to rest in his tight black jeans, leather jacket, and AC/DC t-shirt. At his funeral, his car was parked outside the church. As his coffin was carried out, the massive sound system in his car (it doubled the value of his old Holden Torana) blasted out a final song as farewell.

“Big Gun” by AC/DC.

ALESTORM Curse of the Crystal Coconut

Album · 2020 · Folk Metal
Cover art Buy this album from MMA partners
For a band initially written off as a short-term gimmick, Alestorm seem to be having a rather lengthy, and highly successful, career.

Part of the reason these pirate-loving Scots are still peddling their melodic metal silliness to a loyal audience is that the humourless killjoys misread metal fans completely. There are a number of other piss-take/gimmick bands which invoked the wrath of the self-appointed po-faced metal intelligentsia who have also made a success of it. Babymetal, Steel Panther, Slipknot, GWAR, Bad News, and the granddaddy of them all, Spinal Tap, all managed to gain devoted audiences. Why? Because despite the silliness, image, costumes, or non-metal elements they introduced, all proved they loved the music of their fans – metal.

If you familiar with Alestorm, you already know what’s going to be served up here on Alestorm’s sixth album. There’s going to be silly song titles, incredibly stupid rhymes (witness the third verse of “Chomp Chomp”: If you find a giant cayman/You're gonna have a really bad day man/There's nothing more to say than/I won't see you in a while/Not even Russell Crowe/With a giant crossbow/Ain't got a snowballs chance in hell/To save you from that crocodile), awful pirate accents, and infectious sing-along choruses.

There’s a bit of variety here though. “Tortuga” has a hip-hop/disco feel to it, but doesn’t stray far from the usual Alestorm formula. “Call of the Waves” has a power metal gallop to it. The hilarious “Fannybaws” is a drunken shout-along (Who's got a boaby two feet long? Fannybaws!)

There’s generally at least one historically accurate song per album. This time it’s “Zombies Ate My Pirate Ship”… no, of course it’s not. It’s closing track “Henry Martin”. This is a traditional folk song, originally based on the life of 15th and 16th century privateer Andrew Barton. The acoustic intro gives way to a folk metal power ballad.

“Shit Boat (No Fans)” is a stand-out here. It’s the pirate equivalent of a playground taunt (Your pirate ship can eat a giant bag of dicks/Your poopdeck is a shithole and your rudder is crap). It’s short and stupid, and infectiously hummable. It’s not quite as offensive as “Fucked With An Anchor” but it’s nearly as embarrassing to hum to yourself in polite company.

And despite all this lyrical and thematic dopiness, Alestorm still have plenty to offer metal fans. While their lyrics aren’t very serious, their musicianship is seriously good. There might be flashier guitarists than Máté Bodor, but he’s got a great line in grooving piratical riffs. “Wooden Leg Part 2 (The Woodening)” allows drummer Peter Alcorn a little room to show off with a snare-shredding intro. The keyboards of Elliot Vernon and Christopher Bowes lead many of the melodies here, purposefully sounding like cheesy fake violins and hurdy-gurdies. That’s not to say there aren’t real instruments here. There are real violins and brass, and a genuine hurdy-gurdy, courtesy of Patty Gurdy, formerly of German pirate metal band Storm Seeker, and now a noted artist in her own right.

Over this musical monstrosity, Bowes rasps out lyrical lunacy in his distinctive Scots pirate accent. It’s not big or clever, but it’s tuneful and encourages singalongs. And that’s what makes Alestorm so attractive to metal fans. The band can fucking play when they want to, but being funny and having fun come first.

It’s not for everybody, but if you don’t like it, the band says it best in the line “…Kristof's gonna take a shit on your fucking lawn.”

Latest Forum Topic Posts

  • Posted 2 days ago in Recently Watched Films
    I love the convoluted, silly plots to the Jack Reacher books, but they don't necessarily transfer well to film. They did a reasonable job here though. Tom Cruise is still far too small to be a convincing Reacher, but all the other elements aren't far off. Lots of ass kicking, lots of connecting the seemingly unconnected dots, lots of bending the law past snapping point but still getting away with it... Didn't do well when it was released. I don't care. I liked it.
  • Posted 2 days ago in Recently Watched Films
    Meh. Didn't like. My brother and his missus are in a production of this next month, which I'll be obliged to go and see (I'm a life member of the theatre group, so I don't get much choice!), and hopefully it'll be a bit better than this. There's some great songs, and the retelling of Romeo and Juliet is a decent enough idea, but I just don't like this musical. And some of the men's singing is absolutely dreadful. Yes, I know it's 60 years old, and recorded on the best technology available at the time, but a lot of it is just flat and off key.
  • Posted 4 days ago in Recently Watched Films
    [QUOTE=adg211288]Okay, this is the third Wes Anderson film I've seen and the third that's been bloody brilliant. I'm going to have to pay more attention to this director. [/QUOTE] Yeah, it's brilliant this one. Have you seen The Life Aquatic with Steve Zissou? I would recommend it if you liked this.

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