Batman (1989) - Soundtrack

While there have been expanded re-issues and special editions of Danny Elfman's iconic score for Tim Burton's Batman, I have passed on every opportunity to purchase an upgraded variation of this original soundtrack, which I purchased way back in 1989. I am quite satisfied with what I have, thank you very much.

The Blair Witch Project (1999) - Trading Card #17

Welcome to Burkittsville

In 1884, the abandoned town of Blair was reborn as a community called Burkittsville, named after wealthy plantation owner Peter Branwall Burkitt. A friend of Burkitt's was a railroad baron in Maryland, and his while his men were laying new track he became lost in the woods and stumbled upon the overgrown road leading to what was once Blair. Knowing of Burkitt's desire to develop land, he tipped his friend off, and both men died happy millionaires.

Basic Instinct (1992) - Soundtrack

As good as Jerry Goldsmith's score for Basic Instinct is, and it is very good, it is not the music I most associate with the film. That would be Blue by LaTour, because of its being put to excellent use in the film's trailer. That is what I first 'hear' whenever I am wont to think about Basic Instinct. Which is not all that often, truth be told.

After having worked together with excellent results on the 1991 science-fiction action-adventure Total Recall, director Paul Verhoeven and composer Jerry Goldsmith joined forces for 1992's Basic Instinct. While the creation of the main theme for the former went rather smoothly, the journey to creating the main theme for Basic Instinct turned out to be a frustrating and challenging one.

"Jerry felt the movie needed a 'heart' that would elevate it," Verhoeven shares in the liner notes. "But when he started to play music in his studio, I disagreed with it... I didn't want...a romantic heart, because the movie is too harsh and cold-blooded [for] that."

Goldsmith took it in stride, though. After a piece of music eventually caught Verhoeven's ear and was placed under a scene featuring an intimate conversation between femme fatale Catherine Tramell (Sharon Stone) and troubled detective Nick Curran (Michael Douglas), the film's elusive main theme was discovered at last.

"In a flash, it became clear to Jerry what the score should be," Verhoeven explains. "From then on, he could write the score in one run, and we were sailing with the wind."

Goldsmith's main theme is not an overtly romantic one, as requested. Instead it is a haunting and almost hypnotic one. The liner notes describe it invoking "the feeling of being mesmerized." Which is accurate.

While most of the score plays under dialogue and sex scenes, there are a few moments that allowed for Goldsmith to display his gift for propulsive and brassy action composition. This occurs during an over-the-top sequence involving a bit of reckless driving on a winding Northern California highway. 

As good as the music for the scene is, the way it plays out always struck me as being ridiculous to the point of self-parody. It is probably intentional, but I nonetheless wince at the melodramatic goofiness of the scene whenever I see it.

But that viewing experience memory does not hamper my listening experience whenever I play this expanded edition soundtrack. The music remains an icy delight to this day. 

Alien (1979) - Trading Card #14

Practically an extension of his boss, Parker, Brett rarely displays any individuality and has little to say about things in general. His favorite response is "Right". 

Underworld: Awakening (2012) - Newspaper Ad [San Francisco Examiner- January 27, 2012 ]

Underworld: Awakening is one of two films in the Underworld franchise that I have seen. The first one was 2009's Underworld: Rise of the Lycans, which appears to have been a prequel film fleshing out the backstory of the first film and all its subsequent sequels. 

Neither film grabbed enough of my interest to compel me to check out the other entries, to see what I was missing out on. The only reason I did see Underworld: Awakening was because a friend-of-a-friend of ours, at the time, did not want to go the movies alone. Since I am a Monster Guy, I was willing to sit through watered down vampires fighting watered down werewolves. I was not all that engaged, but I was not bored, either.

Perhaps if I were to approach the franchise not as horror, but as action film oriented Urban Fantasy adventures, I might get the stick out of my muddy backside and enjoy the Underworld films for what they are. Frothy entertainments.

Maybe. But then, maybe not.

Bad Dreams (1988) - Soundtrack

This is one from Varèse Sarabande’s LP to CD series.

While I could still vividly recall images and sequences from Bad Dreams, the only music from the film that I remembered was the use of Guns N' Roses' song Sweet Child O' Mine for the end credits. Other than that, nothing.

Well, turns out there was a very good reason for that. Jay Ferguson's electronic score for the film eschews traditional thematic or melodic structure. Listening to it brought to mind one music writer's dismissal of most 80s electronic scores as being "one long drone." 

Which pretty much describes this score. It is 30 to 40 minutes of dark tones and drones that, no matter how often I revisit it, remains unmemorable.

The Blair Witch Project (1999) - Trading Card #16

Devouring the Slate

As a symbol of good luck, all three filmmakers were required to "kiss the first slate," and Mike got a little carried away. The silliness took place on Day One of "The Blair Witch Project" in Burkittsville Cemetery, on a hill overlooking the town. Heather provided on-camera narration for the opening sequence, which focused on the unusually high number of children's graves in the cemetery and served as an evocative "hook" for her documentary.

 

Schoolgirls in Chains (1973) - Newspaper Ad [Oakland Tribune - January 25, 1978]

I have come to believe that there are only two kinds of movie. There are movies I want to see and then there are movies that I do not want to see. Schoolgirls in Chains falls into the latter category.

What kind of movies I want to watch, when I want to watch them, and why I want to watch them are decided by my own idiosyncratic tastes and fickle moods. I can swing from something dead serious to a silly or campy romp. I could be in the mood for a slow burn or I could have a hankering for something a tad faster paced.

Yet there are films that I will probably never be in the mood or frame of mind to watch. Again, Schoolgirls in Chains falls into that category.

Back to the Future Part III (1990) - Soundtrack

"These are our boys, Jules... and Verne!"

Separate films being made back-to-back, as one giant production, was not unheard of in the late 1980s. The Salkind Clause had existed for well over a decade by the time Robert Zemeckis, Bob Gale, and Amblin Entertainment announced they would be making two sequels to their 1985 mega-hit Back to the Future, instead of the traditional one. Because they could not fit all of the story they wanted to tell into a single film.

It was a pretty big creative swing that, thankfully for all involved, paid off. Both for its makers and its viewers. Well, this viewer, at least. I recall the warm glow this finale ignited in my heart and the bright smile that spread beneath my widening eyes as Doc and Clara's time-traveling train took flight and swooped off to who knew where or when.

Silvestri's love theme for Doc and Clara debuts in the opening credits, which was markedly different from the second film's rousing "the sky's the limit" action adventure interpretation of the first film's iconic theme. A stylistic shift that communicates the warmer, gentler nature of Part III.

In the liner notes for this 25th Anniversary Edition composer Alan Silvestri describes the love theme as, "...an out-and-out nursery rhyme. Doc's love for Clara was childlike. It was the first time you felt Doc had ever experienced anything like that. And it was meant to be just a one-finger, simple, pure child's nursery rhyme."

That simple one-finger theme, which grows stronger and stronger as the movie progresses towards its exciting race back to the future, is my favorite thing about this particular score. A reminder that, for all of their time-traveling bombast and paradoxical play, the Back to the Future films are, at their core, about the power of love.

Alien (1979) - Trading Card #13

Parker is bitter, unhappy with his current assignment in space and a frequent complainer to Officer Ripley about the working conditions aboard "Nostromo".

Back to the Future Part II (1989) - Soundtrack

Once, a long time ago, I read a critique that proffered an interesting and challenging opinion regarding the scores for Jaws and Jaws 2, both of which were composed and conducted by the legendary John Williams. The opinion was that the score for Jaws 2 was superior to the iconic, and Academy Award winning, score for the first film.

I hold this very same opinion about the scores for Back to the Future and Back to the Future Part II. The former, while fresh, vibrant, and iconic, is nowhere near as fleshed out and expansive as the latter. Of the trio of films, the score for this one is my favorite and the one I listen to the most.

The Blair Witch Project (1999) - Trading Card #15

Michael Williams

Born in 1973, Michael Williams remained fairly unfocused as a young adult before taking two courses in sound mixing and editing for film at Montgomery Community College. That's where he met Joshua Leonard and the two became friends. When Leonard teamed with Heather Donahue for Donahue's "Blair Witch Project," he asked Michale to join them

Front: Mike sets up his equipment on the first day of shooting.

Back to the Future (1985) - Soundtrack

Here is an example of how my completist streak can guide a soundtrack into my collection.  I did not see Back to the Future until 1989 or 90, because I had decided to see Back to the Future Part II, or maybe it was Part III, on the big screen.

That would be the only time I ever watched the first film, although I did watch Parts II and III several more times, after they had come out on home video.

I also passed on the first film's original soundtrack album release, as it emphasized the rock and roll songs in the film, rather than Alan Silvestri's excellent, and iconic, film score.

But when remastered and expanded versions of the soundtracks for Back to the Future Part II and Part III were released, I felt it was only reasonable that I include this remastered expansion, which not only contains the complete original soundtrack, but also a second disc containing early session alternates.

Alien (1979) - Trading Card #12

 An emotional, occasionally high-strung young woman, Lambert is nevertheless an expert navigator and a value member of the "Nostromo" team.

Junji Ito's Uzumaki - A 500 piece puzzle from Unbox Industries

Baby: Secret of the Lost Legend (1985) - Soundtrack

How is it that I have yet to see this "Lost World" style fantasy-adventure film? It has dinosaurs in it! It also has William Katt, who I would have known, at the time, from his appearances in Carrie and The Greatest American Hero, Sean Young, who I would have likewise known, at the time, from Blade Runner and Stripes, and Patrick McGoohan, who I would have known from David Cronenberg's Scanners. I have watched many a movie that had far fewer points of interest to me than the four I just gave for Baby: Secret of the Lost Legend.

The movie also has a nifty Jerry Goldsmith score. One that was a part of a string of scores from him that featured extensive use of keyboard synthesizers. Others from this time period included the memorable scores for Gremlins, Twilight Zone: The Movie, Explorers, and Rambo: First Blood Part II. That is one hell of a creative hot streak for Goldsmith.

To be both honest and fair, there were, arguably, two primary reasons for my not having seen Baby: Secret of the Lost Legend in the mid-to-late 1980s. 

First, it was released while I was living in Hong Kong. While I did see a great many films, and also learned that a great many films could and would be altered for international release, Baby: Secret of the Lost Legend was not one of them.

Second would be that it was a Disney film. Which meant that it was silly "Kid's Stuff" that, way back in 1985, 18-year-old me would not have been the least bit interested in seeing. Gah, I was such an immature dork back then. I really should give this movie a look.

The Blair Witch Project (1999) - Trading Card #14

Joshua Leonard

Born in 1973, Joshua Leonard wrote and directed his own cable TV show, "MD. Skunk," while still in high school. He later attended and graduated from Montgomery Community College, where he learned an array of filmmaking techniques, including on-line Beta editing, basic sound design, 3-point lighting, and 16mm film production.

Front: Josh shares some thoughts with Heather and Mike while driving in Burkittsville.

Axe Giant: The Wrath of Paul Bunyan (2013) - Soundtrack

I had only just discovered that Midnight Syndicate existed when I attended the first Kirk Von Hammett's Fear FestEvil, held at the Regency Ball Room in San Francisco, February 6 - 8, way, way back in 2014.

After I geeked out over all the memorabilia, costumes, and props that were on display, I strolled through the vendors room(s) and discovered that Midnight Syndicate had a booth there. That is where I met and spoke with Edward Douglas, one half of the Midnight Syndicate team. I also bought a whole lot of stuff.

One of the items I purchased was this soundtrack for Axe Giant: The Wrath of Paul Bunyan, for which Douglas composed the music and Midnight Syndicate performed it. I liked it enough to check out the movie and... well, I still like the music.

Alien (1979) - Trading Card #11

Coldly scientific. Mysterious. Reclusive. These words best describe Science Officer Ash, a last minute addition to the crew of "Nostromo".

I have yet to muster the intellectual and creative energy to write a review of Alien: Romulus. While I thought the movie was okay, I also felt that it failed to meet the lowest of creative baselines: having an actual reason to exist.

Maybe that can count as a review. Whatever.

There was one thing that did rankle me, though. The unnecessary and borderline offensive use of the late Ian Holm's likeness in the film as the quasi-villainous android Rook. It was a part that could, and should, have been played by anyone else. There was zero need to use Holm's likeness. 

It was a distasteful distraction to an otherwise mid-to-lower tier monster movie.

Delicious in Dungeon by Ryoko Kui, Vol. 1 - Review

As I better acquaint myself with the wide variety of manga out there, there have been occasions wherein my brain asks, with no small amount of incredulity, "Wait a minute, this is actually a thing?"

Example one would be when I read the first volume of Monster Musume, which served as my introduction to the harem genre. While there was a time I would have enjoyed the offerings of this genre, that time is now past. So it goes.

Example two is Delicious in Dungeon, a Christmas gift from an anime-manga loving sister-in-law. One who not only knows that I have started to venture into the realm of manga, but also knows that I have been playing Dungeons and Dragons for well over a decade.

Here we have two great things, manga and D&D, that taste great together. But there is more, so much more. Delicious in Dungeon is rooted in something known as the gourmet genre. Which means the focus is, for the most part, on recipes, ingredients, and preparations. You know, foodie stuff.

But first, the backstory: One fine day the floor in the catacombs of a small village gives way. A man crawls out of the sinkhole and tells the villagers that he was the king of a wealthy country that had been entombed and hidden by a lunatic magician. His dying words are that whoever, or whomever, defeats the magician will have the country, and its riches, bestowed to them.

And so the treasure hunt begins... only there are all kinds of dangerous and deadly monsters and traps lurking in the world beneath those catacombs. 

Laios and his adventuring companions run afoul of one such monster, a large red dragon, and get their collective backsides whooped good and hard. Victory is quite literally tossed from the jaws of defeat, when one of the team, trapped inside the red dragon's mouth, teleports the rest to safety.

Now Laios, and the few who decide to return with him, is in a race against time to save the team member that saved them. That said team member also happens to be his sister only adds to the urgency...

Short on supplies and coin, Laios makes the bold and brash decision to eat the monsters they kill on their journey. Only not every member of the team is okay with this. Until they cross paths with a monster chef of a dwarf named Senshi, that is. He is able to make the distasteful concept of eating monsters into a rather tasteful reality.

Because Senshi, you see, knows a thing or three about how to turn monster remains into a meal. He also relishes the chance to cook a red dragon, so he is quite happy to join Laios's team. Amusing shenanigans ensue, of course.

The only downside to this first volume is how the fate of Falin, Laios's sister and presumed red dragon snack, remains TBD. While all this entertaining monster killing and cooking was going on, the memory of the traumatic ending to The Final Prayer (aka The Borderlands) refused to be ignored. Which added some bitter zest to this gastronomic-themed adventure.

More, please...

The Awakening (1980) - Soundtrack

I have yet to read Bram Stoker's novel The Jewel of Seven Stars, nor have I seen Hammer Film's Blood from the Mummy's Tomb, so I do not know how The Awakening compares to either.

On its own, however, it comes across as a bland knock-off of The Omen. Only the accidental deaths of any and all that would hamper the return of the dread Queen Kara were nowhere near as inventive, or memorable, in their staging as they had been in the films The Awakening was, um, paying homage to (i.e. The Omen and Damien Omen II). 

The Awakening would be the only horror film Claude Bolling composed a score for. While the movie itself leaves a great deal to be desired, Bolling's music is atmospheric and suitably chilling.

The Blair Witch Project (1999) - Trading Card #13

Three Filmmakers

 Front: Enthusiastic Michael Williams, Joshua Leonard and Heather Donahue on the first day of shooting. "Heather was probably one of the two or three best students that I have had the pleasure of teaching," offered film professor Micheal DeCoto of Montgomery College. "She was committed, she was energetic, she was very, very creative. She was looking to develop and find her voice (as a filmmaker)."

Avengers: Age of Ultron (2015) - Soundtrack

Brian Tyler and Danny Elfman joined forces to score the mega-sequel to the mega-hit that was The Avengers. The results were a serviceable, albeit unmemorable, film score. So it goes.

While I liked certain aspects and moments in Age of Ultron, it fell short of providing the first film's eye popping sugar rush of fun. But that kind of lightning in a bottle is oft times more the result of dumb luck and serendipitous timing, not corporate planning and oversight by production committee.

Nonetheless, Avengers: Age of Ultron would be better than some of the dire mediocrities to come.

Alien (1979) - Trading Card #10

Brave and inquisitive, Kane is the kind of fair-minded senior officer most workers in deep space dream of serving under.