If WB‘s new trailer for Mad Max: Fury Road is any indication of the dystopian final product that awaits us this summer, then fans of cyberpunk pulp can breathe easy.
My musical doppelganger, Panda Sanchez, was especially thrilled to receive a ping from filmmaker Matthew Taylor, co-founder of Electrolift Creative, a premier media and video consulting firm located in Washington D.C.
A couple months ago, a rather odd (viral) film emerged out of the Icelandic ashes of one Valtari* (XL; 2012), the latest soundtrack-friendly album by Sigur Ros — one of the seminal pre-millennial disestablishmentarian tilrauninas (Icelandic for “experimenters”) that helped define and shape the very landscape of what many music connoisseurs affectionately refer to as “post rock.”
Last Shop Standing (2012; Blue Hippo Media; directed by Pip Piper) is an intriguing film that documents the breakneck rise of independent UK record shops in the 1960s, 1970s, and the 1980s; their downfall in the 21st century’s aughts; and their curious resurgence in a paradoxically digital age.
This piece intends to comment on Ridley Scott’s Prometheus in relation to its allusions to deities, creation and religion. Being that I come from a Christian background, however, much of this article (unavoidably) relies on Prometheus’ supposed Biblical allusions — as it appears to have been Ridley Scott’s intention to draw from such themes. Still, because I axiologically write from a Creationist perspective, it is in no ulterior way meant to challenge secularist interpretations of the film.
This is not an essay. As of now, there is no structure, MLA formatting, citations, or working thesis.
An hour before midnight last night, I stepped in to a 505 person capacity IMAX theater to watch the premiere of Ridley Scott’s Prometheus. Although I was an hour early, the theater was already about 60% full, and by the time the movie started, there were nary, if any seats open.
So as the lights dimmed and film rolled, it felt as if we had all just strapped in to a journey far away from this little rock called earth.
Typically, I don’t find myself wishing to foray into the worlds of film or television criticism. Though it is a craft that I admire from afar, my inexperience and general lack of knowledge on the subject usually stop me from ever making a comment myself. However, after watching (and subsequently re-watching) the new trailer for Baz Luhrmann‘s film adaptation of The Great Gatsby, I feel as if I have something to say. Here are my (brief) thoughts: