Kind: Watches

watching a movie, television show, online video, play or other visual-based event
Watched 1985 film directed by John Hughes by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.
On the New Music Friday podcast, discussed The Bleachers origins as a soundtrack for an imaginary John Hughes film. (Read Yasmeen Gharnit’s attempt at matching up of John Hughes films associated with Strange Desires.) I was left intrigued at thinking about the Bleachers through this lens.

I grew up with Ferris Bueller’s Day Off, Planes, Trains and Automobiles, Uncle Buck, Home Alone and Dennis the Menace, but for whatever reason, I never borrowed The Breakfast Club (or Pretty in Pink and Sixteen Candles) from the video store.  I recently watched The Breakfast Club for the first time. It was an intriguing film, basically set in one space, similar to Reservoir Dogs. (I imagine that both films have been adapted this for the stage since.)

It is intriguing watch these films with hindsight, as Ringwald touched on in her 2018 essay rethinking her three films in a post-#METOO world:

John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical. And yet, and yet. . . .

How are we meant to feel about art that we both love and oppose? What if we are in the unusual position of having helped create it? Erasing history is a dangerous road when it comes to art—change is essential, but so, too, is remembering the past, in all of its transgression and barbarism, so that we may properly gauge how far we have come, and also how far we still need to go.

Source: What About “The Breakfast Club”? by Molly Ringwald

There is something fantastical and absurd about all these films. But on a serious note, when were smoke detectors invented and where is the duty of care with leaving the students unattended for large swathes of time?

Watched
Not exactly sure how I ended up watching Rick Beato’s interview with James Maynard Keenan, but I did not regret it. I was intrigued by the discussion of the three bands and how the combination of musicians in each allows for a different side, perspective.

The T-Shirt.

However, the thing that really left me thinking was Keenan’s reflections on touring. He discussed the reality of not being able to eat after 3pm and why even though every dietician would cringe, he then eats a meal at 12pm, after performing.

I have to eat either at three o’clock or not until 11 30, after the show, because you can’t eat too close to the show, because I’m carrying it around and you risk your reflux and now you now you’ve compromised your voice for the next three shows. So I have to eat early in the day, knock that out, and then after the show, if you have talked to any dietitians, they’re like, “you’re eating at 11 30 at night or midnight what’s wrong with you.”

Source: Maynard James Keenan Interview (Tool, A Perfect Circle & Puscifer)

This reminded me of the sacrifices that Kate Miller-Heidke makes as a performer.

Watched
I watched the performance of I’m Just Ken from The Oscars with my daughter and then showed her November Rain to explain the significance of the guitar solo. Her comment within seconds of the solo in November Rain, “why is he smoking? Smoking is disgusting …” I will trying to provide her a lesson in culture, instead she gave me one.

This was after she came into my office the other day concerned about a video that came up in YTKids. I was worried and asked her to show me. It was Van Halen’s Jump. She was really concerned about David Lee Roth doing the splits in leather pants. I had never really noticed that before, really I could never get past the hair.

Watched Looking for Alibrandi (film) by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.
Rewatching Looking for Alibrandi, I feel that there are films, such as Baz Luhrman’s Romeo and Juliet, that manage to transport your back to a particular time and place through the soundtrack. I feel that this is different to say Donnie Darko whose soundtrack feels like it is designed to construct a particular past.
Watched American Sniper by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.
American Sniper, based on the memoir American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History (2012) by Chris Kyle with Scott McEwen and Jim DeFelice, provides an insight into the conflicted nature of and sacrifices associated with war and challenges with returning back to society.
Watched
This video is being promoted as OpenAI’s first officially commissioned Sora collaboration with a musician as well as a filmmaker. Beyond the uncanny nature of the video, I found it strangely off putting the speed in which everything moved. It was interesting to compare this with something like Michel Gondry’s work with The Chemical Brothers.
Watched Love in Bright Landscapes: The Story of David McComb of the Triffids by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

Love in Bright Landscapes: The Story of David McComb of the Triffids is a feature-length documentary, depicting the life and times of late Australian songwriter David McComb (February 17, 1962 – February 2, 1999) best known for his work with the Triffids, a band he co-founded in Perth, Western Australia. The Triffids were active between 1978 and 1990.

The film was the directorial debut of Melbourne-based writer/broadcaster Jonathan Alley, who also wrote the documentary screenplay. The film was produced by Atticus Media and The Acme Film Company and distributed in the Australian/New Zealand territory by Label Distribution.

The title Love in Bright Landscapes refers both to the Triffids’ compilation of the same name, released in 1986, and the poem by Spanish literary figure Rafael Alberti, who published The Coming Back of Love in Bright Landscapes] in 1973.[1]

https://en.wikipedia.org/wiki/Love_in_Bright_Landscapes:_The_Story_of_David_McComb_of_the_Triffids

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I had watched Great Australian Albums episode on Born Sandy Devotional and listened to Kirsten Krauth’s Almost a Mirror episode on ‘Wide Open Road’, so I was aware of The Triffids story. However, what Jonathan Alley brought to the table with were some of the voices closest to David McComb. What was weird though about this was that by the time this documentary was released in 2021, how many of these voices were long past, a point made by Alley in the credits.

One aspect that I felt Alley made more light of was McComb’s life after ‘Born Sand Devotional’. I had not realised that the record company wanted to seemingly replace the band in the recording process for Calenture, their Island Records debut. It makes you wonder in this circumstance where David McComb stops and the band begins, a similar experience I had reading Love & Pain by Ben Gillies and Chris Joannou.

Another interesting aspect to this sort of documentary are the voices that are included and the subsequent ones that are excluded. For example, Bleddyn Butcher is not a part of the discussion. Maybe as he has his own book Save What You Can, then he did not feel the need to be involved or was not asked?

Watched 2023 American film by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.
I clearly was not in sync with things when I decided to take my daughter to see Trolls – Band Together. It was slow and boring. I felt I had seen the film in the trailer. I really enjoyed the mix of music in the first two films, but this time around there was not much that was memorable.
Watched 2018 documentary film directed by Peter Jackson by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

They Shall Not Grow Old is a 2018 documentary film directed and produced by Peter Jackson. The film was created using original footage of the First World War from the Imperial War Museum‘s archives, most previously unseen, all over 100 years old by the time of release. Audio is from BBC and Imperial War Museum (IWM) interviews of British servicemen who fought in the conflict. Most of the footage has been colourised and transformed with modern production techniques, with the addition of sound effects and voice acting to be more evocative and feel closer to the soldiers’ actual experiences.

Source: They Shall Not Grow Old by Wikipedia

They Shall Not Grow Old is documentary that ties together voices from the war with archival film and images from World War One. It was co-commissioned by 14–18 NOW and Imperial War Museums in association with the BBC, with a copy sent to every school in the United Kingdom.

The film was directed by Peter Jackson. He used technology to bring new life to original footage from World War One, fixing up the inconsistencies with the rates per minute and adding colour. There are also moments when actors have been brought in to add voice to the silent film with the scripts produced by professional lip readers who watched the archival material.

As a narrative, it begins with the build-up to war and the excitement about enlisting, even if you were not officially old enough. It then recounts the training for soldiers and the journey to Europe and the trenches. We are given an insight into life in the trenches, including the maze like structure, how you rested where you were, the food eaten, such as bread, bacon, biscuits and bully beef, where people went to the toilet, and how soldiers dealt with infestations of lice and rats. This is contrasted with constant shelling, gas attacks, and the chaos of going over the top to take an enemy line. It then ends with armistice and the neglected and misunderstood life of the returned serviceman.

Overall, the film ties together different facets of war into an odd narrative about the western front that seemingly existed for so many, but for no-one in particular. I think that it is telling how much material was reviewed for the project.

The crew reviewed 600 hours of interviews from 200 veterans and 100 hours of original film footage to make the film.

Source: They Shall Not Grow Old by Wikipedia

Although there has been a lot of praise for the film.

Jackson has done something quite remarkable: using 21st-century technology to put the humanity back into old movie stock.

Source: They Shall Not Grow Old review – an utterly breathtaking journey into the trenches by Mark Kermode

There are also some who think that we need to be mindful of the choices made and the act of history making.

But the colourisation combined with the selective source base, the implicit narrative making and the critical response that suggests that this is somehow more “authentic” history, is problematic. Some reviewers seem unable to distinguish fiction from reality: “No Lord of the Rings battle could match the sheer hellishness of what the filmmaker recreates here,” writes one.

What does this process of modernisation and the addition of colour and sound, which Jackson advocates for wider usage across historical archives, do for our understanding of the past? On Armistice Day, we should encourage people to watch this film – not just for its World War I history, but as a good opportunity to think about history making.

Source: They Shall Not Grow Old: World War I film a masterpiece of skill and artistry – just don’t call it a documentary by Alice Kelly

Watched 2023 computer-animated film, directed by Jeff Rowe by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.
I saw Teenage Mutant Ninja Turtles – Mutant Mayhem today. We had a voucher that was running out and there was not really anything else on.

I grew up with Teenage Mutant Ninja Turtles and saw the 2007 remake. I was not sure what to expect from this revamp.

One of the points of difference was the comic-book style used.

Like with his previous outing, The Mitchells vs. the Machines, Rowe wanted Mutant Mayhem to look different from what was expected from an animated film. The director’s aim was to make it heavily resemble the concept art.[33] He was inspired by sketches he made in school notebooks as a teenager and how they tend to have a lot of exaggerated features, spikes, and random effects lines, and wanted the film’s animation to reflect a similar feeling.[34] Rowe described the film’s sketch look as its “North Star”, as the comic book-inspired look was for Spider-Man: Into the Spider-Verse (2018).[12]

Source: Teenage Mutant Ninja Turtles: Mutant Mayhem – Wikipedia

In addition to this, the sound track was done by Trent Reznor and Atticus Ross, which adds a real edge and feel.

Overall, I felt that it was well done. I remember reading on Common Sense Media that it was a film for the family. Although I was not sure about the sadistic torturing, I did feel that it provided aspects for both children and parents alike.

On the review aggregator website Rotten Tomatoes, 96% of 238 critics’ reviews are positive, with an average rating of 7.6/10. The website’s consensus reads: “With its unique visual style and a story that captures the essence of the franchise’s appeal, Teenage Mutant Ninja Turtles: Mutant Mayhem is an animated treat for the whole family.”[78] Metacritic, which uses a weighted average, assigned the film a score of 74 out of 100, based on 47 critics, indicating “generally favorable” reviews.[79] Audiences surveyed by CinemaScore gave the film an average grade of “A” on an A+ to F scale, while those polled at PostTrak gave it an 88% overall positive score, with 70% saying they would definitely recommend the film.[75]

Source: Teenage Mutant Ninja Turtles: Mutant Mayhem – Wikipedia

Watched

I dive deep into the new firmware updates for the Roland MC-101 and MC-707 grooveboxes, which offer some much requested improvements and features, including complete sound design from scratch on the MC-101 (the partial tone editor), new effects including phonograph, exciter, and JD Multi, scatter step sequencing, MC-707 sample assign, and more.

I finally got around to updating my MC-101 today after watching Gabe Miller’s walk through. I was circumspect about how fiddly the partial tone editor would be. I found it fine and love the ability to build from scratch. A great addition.

Watched
I enjoyed this documentary on the ‘birth of Cool Britannia’. I am not sure I was aware how central Suede was. All I remember was the Oasis vs. Blur saga.

It all left me wondering whether this is a story that could have been told in different ways? There were certain voices not necessarily included, such as Bernard Butler. I also wondered about other artists, such as Pulp, and they place they served? Also, will time tell a different story?

Watched British historical drama TV series by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

Peaky Blinders is a British period crime drama television series created by Steven Knight. Set in Birmingham, it follows the exploits of the Peaky Blinders crime gang in the direct aftermath of the First World War. The fictional gang is loosely based on a real urban youth gang of the same name who were active in the city from the 1880s to the 1910s.

It features an ensemble cast led by Cillian Murphy, starring as Tommy Shelby, Helen McCrory as Elizabeth “Polly” Gray, Paul Anderson as Arthur Shelby, Sophie Rundle as Ada Shelby, and Joe Cole as John Shelby, the gang’s senior members. Sam Neill, Annabelle Wallis, Iddo Goldberg, Tom Hardy, Charlotte Riley, Finn Cole, Natasha O’Keeffe, Paddy Considine, Adrien Brody, Aidan Gillen, Anya Taylor-Joy, Sam Claflin, Amber Anderson, James Frecheville, and Stephen Graham also star. The programme began on 12 September 2013, broadcast on BBC Two until the fourth series (with repeats on BBC Four), then moved to BBC One for the fifth and sixth series.

I had always heard of ‘Peaky Blinders’, but had no idea what it was about. I decided to watch it after reading that Nick Cave did the soundtrack for it. One of the interesting things was how now matter how many times Red Right Hand was played, it always felt fresh, with versions by Iggy Pop, Laura Marling, PJ Harvey, Pulp’s Jarvis Cocker and L.A. alternative band Fidlar.

As a series, I enjoyed the ebbs and flows, and the various characters. I also liked the way in which it tied in various historical elements and characters, such as shell shock, Wall Street crash, Tuberculosis, Winston Churchill, Jessie Eden and Oswald Mosley. However, I felt that the storyline got somewhat repetitious after a while. One person would die, a new family member would appear. One enemy would be overcome, another would take their place. Maybe this is a product of bingeing six series in quick succession, maybe it is just life. Not sure.

Watched
I was wondering if Autechre had ever shared any insight into their process, this led me to Sean Booth’s Twitch AMA reposted on YouTube. I have never watched or listened to an AMA before, especially not one that goes for six hours. I must admit, I only got to the four hour mark, but it was kind of interesting. My two highlights were his answer to tinnitus and his discussion of by neuro-divergent.

Responding to how Booth manages tinnitus, he suggested that it is as much neurological as it is physical. He finds listening to Computer World by Kraftwerk fixes things.

Discussing autism spectrum disorder, Booth explains that he is lucky as the various traits have actually helped him with his music, just as CEO’s with narcissistic personality disorder have helped them.

Regarding my question, I think that it is probably something that you can only learn through experience.

Watched 2016 American mystery drama television series by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.
The OA explores a multi-verse stemming from near-death experiences. Although I felt it was a bit slow to unpack all the characters and storyline, once it gets going it was quite captivating. From a storytelling point of view I feel like all these science fiction series blend into each other. There were aspects of talking between dimensions similar to Stranger Things, while the puzzle house reminded me of 1899.
Watched The Go-Betweens: Right Here (2017) – The Screen Guide – Screen Australia from screenaustralia.gov.au

The Go-Betweens : Right Here is the feature length documentary about the people who created the seminal rock band the Go-Betweens. It is a heartfelt story of discovery, uncovering the intensely passionate, creative and fraught relationships that formed one of the most loved and influential bands in Australian rock history. It is also the universal story of a great creative adventure that spanned three decades, through countless successes, failures, romances, break-ups, betrayals, triumphs and tragedies.

Kriv Stenders tells the story of The Go-Betweens, from Robert Forster’s first meeting with Grant McLennan at university in 1975 throught to the end of the band when McLennan died in 2006. Stenders has some history with the band as the director of the music video to Streets of Your Town. It pulls together snippets of voices from inside and outside of the band both now and then. It is interesting to watch this alongside David Nichols book The Go-Betweens as it gives face to the many names. I would not be surprised if Nichols actually provided some of the source material. It differs from 16 Lovers Lane – The Story Behind the Album documentary in that it also goes into the band’s second reincarnation. It also provides a more nostalgic perspective on their legacy. A highlight is Clinton Walker’s commentary throughout.
Watched 1899 by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

1899 is a multilingual German period mystery-science fiction television series created by Jantje Friese and Baran bo Odar. It premiered on Netflix on 17 November 2022. It received mostly positive critical reviews, with praise for its casting, directing, cinematography, and acting. The creators had ideas for two more seasons, but in January 2023, the show was cancelled.

I really enjoyed Dark and although it was slow to start, really enjoyed 1899 by the end of the first season. It is interesting to see the show cancelled by Netflix:

Plans are a funny thing in the streaming business. Obscure shows like Squid Game can find their audience, become cultural juggernauts, and then get additional seasons. Others, like Warrior Nun, can also find rabid fans but just not enough of them to stay alive. As the streaming landscape expands, the possibility of any show surviving starts to feel like Squid Game itself—and the thrum of “red light,” “green light” leaves everyone on their toes. 

Watched
I have listened to Take 5 podcast for a while. I was not sure what to expect from moving it to television. I was strangely surprised. There was something about spinning the records and seeing clips of the songs in question.

I must admit, I think I would enjoy a party DJed by Guy Pearce. I also liked the quote:

Singing is just crying in tune.

It seems to be something of a trend at the moment with Song Exploder also making a move to screen.

Watched The Umbrella Academy by Contributors to Wikimedia projects from Wikimedia Foundation, Inc.

The Umbrella Academy is an American superhero streaming television series based on the comic book series of the same name written by Gerard Way, illustrated by Gabriel Bá, and published by Dark Horse Comics. Created for Netflix by Steve Blackman and developed by Jeremy Slater, it revolves around a dysfunctional family of adopted sibling superheroes who reunite to solve the mystery of their father’s death and the threat of an imminent apocalypse. The series is produced by Borderline Entertainment (season 1–2), Irish Cowboy (season 3), Dark Horse Entertainment, and Universal Content Productions. Netflix gave seasons 1 & 2 a TV-14 rating while season 3 received a TV-MA rating.

The cast features Elliot Page, Tom Hopper, David Castañeda, Emmy Raver-Lampman, Robert Sheehan, Aidan Gallagher, Cameron Britton, Mary J. Blige, John Magaro, Adam Godley, Colm Feore, Justin H. Min, Ritu Arya, Yusuf Gatewood, Marin Ireland, Kate Walsh, Genesis Rodriguez, and Britne Oldford. The adaptation began development as a film optioned by Universal Pictures in 2011. It was eventually shelved in favor of a television series in 2015, before being officially greenlit by Netflix in July 2017. The series is filmed in Toronto and Hamilton, Ontario.

The first season was released on Netflix on February 15, 2019. In April 2019, Netflix reported that 45 million households had watched season one during its first month of release, thus becoming one of the most-streamed series of the year. That same month, following the success of the first season, the series was renewed for a second season, which was released on July 31, 2020.[1][2] In November 2020, the series was renewed for a third season, which was released on June 22, 2022.

I found The Umbrella Academy to be a quirky series that poses far more questions than it answers. I think that is always going to happen when super humans start jumping through time.

Although I enjoyed the story line, what I liked the most were the characters and their various relationships. In particular, I enjoyed Klaus’ absurdity and Number Five’s old man in a child’s body.