The Review Thread!

Discuss entertainment media here, including TV, cinema, the Internet, books and literature, and other non-musical works or multimedia productions.
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Postby SlappyMcGee » 2009.08.05 (00:43)

Where you can review all forms of Mutlimedia.

Basically just a place for all of our reviews in a set format.

Template for Reviews!

Title in Bold
Type of Multimedia in Italics. (Movie, Music, Dessert, etc.)
Review out of ten. Feel free to use decimals.

<Content of Review>

Have fun!
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Postby Tanner » 2009.08.05 (00:57)

Bitte Orca by Dirty Projectors
Music

4/10

I thoroughly enjoyed the "experimental rock" genre tag on this album. With what, pray tell, is this band experimenting? I have some theories, I do, but most of them have less to do with music and more to do with cultural breaking points. Have we come to a point whereby even experimental music is so formulaic that we can specifically pick out which sections were stolen from The Fiery Furnaces and which were taken directly from Talking Heads? Dirty Projectors seem to think so, if Bitte Orca is any indication.

This is not to say that the music isn't enjoyable. And why shouldn't it be? It rests comfortably on the laurels established by hundreds of excellent bands that came before it. It is musical junk food. It feels good and it's easy to listen to but it doesn't merit this "experimental rock" tag in any way, shape or form. I am also a child of the Dada, hipster, and this just doesn't ring true for me. I have plenty of other musical guilty pleasures when I want some baby food coming out of my speakers.
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Postby SlappyMcGee » 2009.08.05 (02:37)

I'll be using this thread to review Battlestar Galactica episodes starting with Season 2, because I watched Season One about a week ago and am hardly in the mindset to remember each individual episode. I'll try to be as spoiler free as possible, but anybody not familiar with the previous episodes is bound to pick up tidbits. Let me preface these reviews by saying a loved the miniseries and thought that the first season was an amazing season of television. So, here goes nothing:

Battlestar Galactica S2: "Scattered" and "Valley of Darkness"
Episodic Television
6.8/10 and 8.8/10 respectively.

First of all, what the hell happened to the opening? We used to get a cold open followed by a cool intro with nice music and footage from the miniseries, which would break into tribal drums showing scenes from the episode ahead. Which was unique and cool. However, at the beginning of S2, which I'm watching in a different format than S1 which could be the problem, we get a small snippet which sums up the miniseries, then the regular cold open, then a new montage with worse music and no scenes from the episode ahead. A step down.

Which is pretty much what these two episodes are. A step down. The first tries to show Tigh in a similar internal conflict about Commander Adoma being shot much the way Starbuck did with midseason with regard to the unknown Adoma. The flashbacks fall largely flat this time around, on the other hand, being largely confusing until the episode and ultimately, reveal little about the character that actual serves any purpose.

Meanwhile, Galactica-Boomer has been jailed in a seperate brig from Mme. President and Apollo. She seems regretful and quiet, traits unseen in Cylons so far. The Boomer character has insofar served the purpose of showing that the Cylons are unconnected to eachother, and really does blur the line between humanity and robot. But, she's a bitch.

Oh, and Cally, Chief, Generic Bald Military Asshole, Generic Medic Lady, Cool Guy Who Has To Die Soon, Gaius (and his Robot Lady) and Generic Wounded Soldier are all trapped on Kobol. Gaius is still having weird baby dreams and GBMA is still a douchebag who conflicts with Chief. GML decides that GWS needs medecine that CGWHTDS forgot to bring, so GBMA orders CGWHTDS to go get it alone. Chief convinces GBMA to let himself and Cally go with him, they fetch the medecine, Cool Guy gets shot by mysterious gunfire and dies. A really forced moment takes place between the Chief and Tarn, which was the name of the cool guy, apparantly. Tarn was virtually invisible among the cast prior to this moment, so his death has very little impact.

Back on Galactica, a Cylon Baystar arrives, so the fleet gets ready to jump. Gaeta fucks up, forgets to send the right coordinates to the rest of the fleet, so they end up in an entirely different space. Gaeta determines the only way to get the whole fleet back together is to go back to the Baystar, hook up a network (which Fat Guy who we've barely seen before seems opposed to.), and hold off the Cylons for ten minutes. Seems reasonable. So, they fly back, there's an awesome action sequence with Apollo back in his plane, Hotdog becoming a pro, a female pilot who is likeable enough, and, a complete surprise, an extremely likeable face with a scar who seems to know what he's doing and not have the baggage that characters like Apollo tend to have. I had much hope for his addition to the second season cast; that is, until the next episode.

They do all right, barely managing to save the day and having one of those awful forced moments of joy which were fantastic around episode eight of S1 when there was nothing but misery otherwise but at this point are so commonplace that each one feels like a slap in the face. Oh, also, a ship crashed into their deck filled with Cylon Centurions. Which brings us to episode 2:

(Aside: I decided not to mention Starbuck and Helo back on Caprica until the end because it is far and away the best part of the two episodes, and I'd rather have some space to focus on those exchanges specifically.)

---------------------------

So, it's the second episode of the second season. The first episode wasn't sure whether it was sad or happy; it forgot the religion theme that was overly prevalent at the end of season one, but it also didn't try to do more than conclude a few of it's sideplots while having an average A plot. Well, we have more of the Lords of Kobol in this episode. Gaius dreams that his non-existent half-Cylon baby-of-the-future gets drowned by Adoma and has some equally uncomfortable exchanges with RoboLady. The President prays with a brother when they find out about the Cylons. It gets laid on a little thick, especially for science fiction, which is usually more, you know, science-y.

First, to tie up the loose end; Kamp Kobol's injured dude dies in spite of the medicine brought back by Chief and Cally. The emotion is a little better here, with Chief giving the dead dude some hope right before he dies. Part of why this episode works 2 points better than the last one is that the emotion seems much more real than the first episode. It might have been that gap they had to compensate for, but they really couldn't make me care about anything in the first episode. This episode doesn't require that I care about too much, because it lets you in with good dialogue and absolutely fantastic action.

It isn't too important that I explain what the action was; needless to say, Cylons die, we meet Jammer, who is awesome (and probably a Cylon, in retrospect), and more Cylons die in a rather explosive fashion. Billy and Dee's relationship finally moves forward in a really fantastically written way, and Apollo and Tigh argue about whose ass the old man's going to kick as soon as he wakes up. Apollo has been a weak point for the last couple of episodes, acting out of character and just being frankly annoying. Oh, and Roslin is back in jail. Awesomesauce.

Now, back to Caprica: Caprica-Preggers-Helo steals Starbuck's Raider, Helo and Starbuck discuss the idea that Helo's been boinking a Cylon. Then, Starbuck shows Helo where she used to live. The apartment is small; she says the air conditioner doesn't work during the summer, the heater doesn't work during the winter, and the rent was murder. This old piano tune plays in the background during all of the resolving drama of the episode and it connects so well with Starbuck in the line she spouts, which I'll now poorly paraphrase; "Everybody else is fighting because they're trying to get back to this; I'm fighting because I don't know how to do anything else." They steal her old father's jeep, and drive off into the sunset.

I'll try and do these semi-weekly. :D
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Postby 乳头的早餐谷物 » 2009.08.05 (08:29)

rennaT wrote:Bitte Orca by Dirty Projectors
Music

4/10

I thoroughly enjoyed the "experimental rock" genre tag on this album. With what, pray tell, is this band experimenting? I have some theories, I do, but most of them have less to do with music and more to do with cultural breaking points. Have we come to a point whereby even experimental music is so formulaic that we can specifically pick out which sections were stolen from The Fiery Furnaces and which were taken directly from Talking Heads? Dirty Projectors seem to think so, if Bitte Orca is any indication.

This is not to say that the music isn't enjoyable. And why shouldn't it be? It rests comfortably on the laurels established by hundreds of excellent bands that came before it. It is musical junk food. It feels good and it's easy to listen to but it doesn't merit this "experimental rock" tag in any way, shape or form. I am also a child of the Dada, hipster, and this just doesn't ring true for me. I have plenty of other musical guilty pleasures when I want some baby food coming out of my speakers.
"Experimental rock" genre tag? What genre tag? What are you talking about? It's almost as if this review was meant for another website.
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Postby Tanner » 2009.08.05 (11:30)

ortsz wrote:"Experimental rock" genre tag? What genre tag? What are you talking about? It's almost as if this review was meant for another website.
I have no idea what you're talking about but everyone should make a Rate Your Music account. You can rate and review films as well now. Mine: http://rateyourmusic.com/~WuTangTan
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Postby TomWhite » 2009.08.06 (14:12)

Dig Out Your Soul by Oasis

8/10

I really like Oasis, as they are just what indie rock needs, a kick up the arse. This new album is one of their best, second to only "Be Here Now" and "(What's the Story)Morning Glory". It's pretty experimental, featuring new beats, abstract distortion and even sitars. With "Falling Down" Noel sings to a lovely rhythm on an electro-acoustic guitar, with the overdriven chorus. In "I'm Outta Time" Liam shows his songwriting splendor with amazing lyrics. And to top it off "Waiting for the Rapture" takes a step out of the norm, with abstract lyrics. It's brilliant.
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Postby toasters » 2009.08.06 (14:15)

Oasis isn't really indie.
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Postby TomWhite » 2009.08.06 (14:16)

toasters wrote:Oasis isn't really indie.
Well it is in England. It's alternative rock, or indie over here.
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Postby a happy song » 2009.08.06 (14:46)

TomWhite wrote:
toasters wrote:Oasis isn't really indie.
Well it is in England. It's alternative rock, or indie over here.
Let's not get into this again. Commercial categorization and genre definitions are really lazy and the term Indie is used to bracket everything from Independent releases, to Britpop and lighter Rock.

Blame it on HMV, iTunes, etc...
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Postby Vyacheslav » 2009.08.06 (16:19)

All forms of multimedia, right?

-

Creative Soundblaster 16 sound card.
PC Components

10/10

Its an ISA sound card with state-of-the-art features, such as 16 bit stereo sound and plug and play! That means no hassle of configuring DMA and IRQ settings... the card is configured automatically! It supports the legendary MS-DOS operating system as well as Windows 95! It also works with Windows 3.1... drivers are included on floppies and a CD-ROM. It works great for gaming and it has soundblaster compatibility for all your DOS games! It comes with some software such as Text Assist and a sound file player. The audio quality is superior and MIDI sounds crisp. I highly recommend this sound card.
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Postby SlappyMcGee » 2009.08.06 (17:20)

Right, except you didn't follow the format and used a huge image. :/
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Postby a happy song » 2009.08.06 (17:43)

Fixed it. S'your forum, Slappy Mc Slapperson. You could have done that!
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Postby Vyacheslav » 2009.08.06 (19:57)

Ay, sorry about that.
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Postby handofgod » 2009.08.07 (05:48)

Lost in the sounds of separation
a journey of self discovery (set to textures of ambient melody)

10/10

For those who don't know, Lost in the Sounds of Separation is the latest release by post-hardcore band Underoath. And even for those who haven't dipped their feet into the deep pool of hardcore/post-hardcore music, this album is a force to be reckoned with.

From the moment the first track - Breathing in a new mentality - begins, you can feel the urgency of the punk drum beat intro ringing in your ear canals. It doesn't take long for the music to explode. Literally. The production value on LINSOS goes from lo-fi 90s indie grunge to flawless, underoaths signature wall of textured riffage and ambient keyboards bleeding a steady and overwhelming overdose of decibels and colors.

(Note: Forgo the iTunes version and fork over an extra two bucks for the cd. Its worth every penny as the engaging album art only adds to the atmosphere.)

Atmosphere is aplenty in LINSOS. Spencer Chamberlains powerful roar has ripened and matured over time, and now he's at his peak. Screaming his lungs out in Anyone Can Dig a Hole, But It Takes a Real Man to Call It Home, and The Only Survivor Was Miraculously Unharmed. LINSOS plays almost like a concept album, with themes of an imminent apocalypse and addiction ringing out in the painfully personal lyrics. Songs like Emergency Broadcast :: The End Is Near are the most atmospheric, with chilling chants and dirty, rumbling bass lines that slink in and out of growls and shouts of anguish.

This is an album to be enjoyed in its entirety. From beginning to end.

As LINSOS continues. The sensory overload only burrows deeper into your brain, with frantic distress signals and near-retarded-off-kilter time signatures being complimented with slow, yet no less disturbing and emotional, mid tempo ballads. If they can even be called that. The Created Void, a stunning and emotional acid trip of emo-esque desperation, is an example of how post-hardcore can actually be beautiful. But beauty always has a beast, and after four short minutes a monster of rapid paced drum beats and hardcore-typical breakdowns ensue, no one is safe. NO ONE WILL BE SPARED. As the music climbs in an invisible crescendo of paced exhaustion and depression, the lyrics become more and more visually stunning and a painting, drawn with thick brushstrokes of oil on a off-white canvas, forms in your head. Your ears aren't bleeding yet. Perhaps my favorite and maybe the most standout track on LINSOS is The Only Survivor Was Miraculously Unharmed, its unconventional song structure and brutally honest lyrics range from dirty and distorted to sweet croons, before finally exploding into a death-chant interlude of doom-metal riffs slithering in and out of molasses thick rhythms.

An unfortunate plague that has taken the lives of many modern and unsatisfying artists is the failure to make a consistent album, regardless of poppy singles, that can be played from start to finish and actually has a climatic end. My obsession with finding the perfect album has been (temporarily?) quenched by the final 4 tracks of LINSOS. On Coming Down Is Calming Down and Desperate Times, Desperate Measures respectively, Underoath finally reigns in their wild and experimental structures for two verse-chorus-verse-chorus-bridge, single worthy tracks that have all the elements of great hardcore music. Breakdowns come standard.

Oh and I forgot to mention A Fault Line, a Fault of Mine. This track contains a soaring chorus, but sung by Chamberlain it's a refreshing break from Aaron Gillespie's haunting if not sometimes whiny emo-standard voice. It also has bitching lyrics.

Anyways as I was saying before. After having your ears repeatedly raped by screams aplenty, things finally, finally, finally calm down for the penultimate track, Too Bright to See, Too Loud to Hear. On this, a haunting single lick is played, layered with eons of decaying distortion, and soon it is joined by other lonesome travelers, another guitar, a voice, and a simple beat, as they reminisce on the pains of existence in a dying lament (or a eulogy, even) to an earth that has long since crumbled to a desert wasteland. And for one last time, Spencer Chamberlain screams his raucous growl for the last time, as if it is the last time forever. And believe me, every...single...second...counts.

And then it ends. But it doesn't end. Because one final song plays after a nostalgic belch of static crackles your headphones.

Desolate Earth :: The End Is Here

this is undisputedly the most beautiful song Underoath has ever written, and questionably the most beautiful song in all of post-harcore. After all that the main character of this daunting novel has been through, a slow and soothing instrumental of ambient keys and squealing cellos drown the senses in a fog of sound for one last time. There are only five lines of lyric in this song. But Chamberlain makes the most of them, belting out every last word like its the last he'll ever speak, literally screaming from a far away location, making his voice knock down walls to the gray prison he's trapped himself in. The cellos sing like a church choir. The guitars play dueling octaves of tremolo picked pieces of life, ripped straight from the backbone of the earth. The distortion is an instrument in itself, timbres of white noise tangled in the wind. The tortured far away scream.

Then it ends.
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Postby SlappyMcGee » 2009.08.07 (15:23)

That last track, which I just checked out on Youtube, was fantastic. I might give this band another chance.
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Postby Lenny » 2009.08.12 (09:05)

Wow. I'm not sure how I missed this topic, but those were some great reviews which actually want to make me listen to music.

I might get to doing a simple review sometime within the next week or two, but it would probably be movie soundtracks or something. :D
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Postby SkyPanda » 2009.08.15 (09:42)

District 9
Film
4/10 (don't pay the movie ticket, maybe worth seeing on DVD. If you're bored.)

Overall, a below average movie.
(click for review!)

What I think a lot of reviewers are failing to understand with District 9 is that unique does not automatically equal thought-provoking and intelligent. Sometimes unique is just stupid and implausible, as is the case with this film.

The basic plot is that a stricken alien spaceship visits earth. The aliens on board are sick and are ferried down to earth, where they are incarcerated in camps and generally ignored by the world. Oooooh, different.
This incarceration and segregation is a metahor for apartheid in Africa ("no it's not!" "yes it is!" "no it's not!"), although a rather poor one because the black Africans in the film are stereotyped and demonized, portrayed as unintelligent, nasty and superstitious. I think we're probably not supposed to notice that and instead focus on the aliens, which are representations of black Africans during the times of apartheid (as opposed to the actual black Africans in the film).
Sounds pretty clumsy? It is.

Nevermind, because there's plenty of action and excitement in the film to make up for it. But that comes later in the movie. First, you have to sit through the fake documentary-style interviews and shaky chase cams and such that have become ever so popular in modern film. You either like this cinematic style or you don't. Even if you hate it, don't despair, because the film gets much better.

The main character, Wikus Van De Merwe, who was part of a team engaged in an operation to relocate the aliens to a new camp, stumbles upon a canister of a strange alien liquid. He promptly squirts himself in the face with it, and it begins to slowly mutate him into an alien, beginning with the transformation of his left arm into a slimy tentacled thing. The film then becomes a typical chase movie, with Wikus on the run from a corporation that wants to exploit his hybrid alien-human DNA, and a group of Nigerians (the aforementioned black Africans) who want to eat his arm. There's some pretty tense moments, and the action scenes are decent, but considerably less explosive and destructive than you may have come to expect from modern action sci-fi films. There's nothing that will make you go "whoah!".

Overall, I didn't think much of the way this film explores various issues such as race, and then the film becomes nothing more than an average chase movie. Critics loved it, but i'm going to put it down as one of the most overrated films in recent years.


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Postby otters~1 » 2009.09.06 (00:32)

I strongly recommend Catch Me If You Can, by Frank Abagnale (with a ghostwriter). It was one of the fifteen most interesting nonfiction books I've ever encountered. Frank tells of his time as a con-man and paperhanger, during which he escapes jail several times, scams banks in 30 countries out of thousands, and pretends he is an airline pilot (among other things).

Really a damned engaging book, all true. I would give it five stars, and whatnot.
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Postby a happy song » 2009.09.06 (03:02)

SkyPanda wrote:District 9
Film
4/10 (don't pay the movie ticket, maybe worth seeing on DVD. If you're bored.)
I hope you're typing bullshit, because the trailers look awesome and I really want this to be good! :(

(TY for containing spoilers).
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Postby Tanner » 2009.09.06 (06:45)

I'm pretty confused as to what movie you're going to see if you weren't entertained by District 9. Were we you expecting to see a documentary or an action flick? I just don't understand what any of you want. It was actiony enough and it was thought-provoking enough? What? Whatwhatwhat?

I thought it the movie strode the line between the two camps wonderfully. I personally didn't have my thoughts provoked but I thought it was an interesting take on a tried and true method. There was far too much shakeycam but that was hardly a deal-breaker (ladies!). I think 4/10 is too low but it's on the high side of too low, I suppose.

I had a good time. I enjoyed myself. If you didn't, it is my opinion that you're trying too hard. If this happens again you should probably stop going to the theater altogether and just start downloading all the Ingmar Bergman films you can get your hands on.
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Postby Tunco » 2009.09.06 (09:46)

AMD Phenom II 965 Processor
PC Components

8.5/10

It's one of the AMD's best processors which AMD released not so long ago. This one is faster than the last Phenom, something like 200 MHz. -Phenom II 955- It's one of the AMD's Black Edition processors, so you won't have a problem when doing overlock, except for the heat. Eventhough it's 200 MHz faster than the last one, it's not like "Woah dude look at this awesome piece of shit!". Anyway, 3,4 GHz, four 512 KB L2 cache, and a 6 MB L3 cache which I can call awesome. When we look at the technic details, appromixately, this processor uses 0,850 -1,425 V. Processors TDP value (ThermalDesignPower) is more to the 955 processor. Also, TDP value was 125W and 955, it's 140W now. This means it will heat up lot more than 955. The result I have is that this processor is slightly overlocked version of AMD Phenom II 965. The only difference between them is that processor frequency multiple is increased to x17 from x16. So, this is not a new design, but it's advantage is that it worth it's money, but nothing new. That's why this get's 8.5 from me.
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Postby SlappyMcGee » 2009.09.06 (16:38)

rennaT wrote:I'm pretty confused as to what movie you're going to see if you weren't entertained by District 9. Were we you expecting to see a documentary or an action flick? I just don't understand what any of you want. It was actiony enough and it was thought-provoking enough? What? Whatwhatwhat?

I thought it the movie strode the line between the two camps wonderfully. I personally didn't have my thoughts provoked but I thought it was an interesting take on a tried and true method. There was far too much shakeycam but that was hardly a deal-breaker (ladies!). I think 4/10 is too low but it's on the high side of too low, I suppose.

I had a good time. I enjoyed myself. If you didn't, it is my opinion that you're trying too hard. If this happens again you should probably stop going to the theater altogether and just start downloading all the Ingmar Bergman films you can get your hands on.
I'm not sure I understand your reasoning. This movie is extremely popular critically, which tends to be the Ingmar Bergman crowd. I'm not sure why you are victim complexing on a movie that is largely popular critically as well as commercially. It's been my experience that average people I know strongly disliked this movie; I saw it with three friends who had the same sentiments as me, and the two other people I've spoken to it about thought it was average and bad, respectively.

It's my opinion that 4/10 is too high, and that he probably is just feeling the pressure of critical consensus in shaping his score. Because that movie is a ridiculous piece of shit. Dealbreaker.
Loathes

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Postby Tanner » 2009.09.06 (17:53)

I refuse to argue with you about this because you know more about movies than I do and because I love you.
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Postby SkyPanda » 2009.09.12 (13:32)

brighter wrote:I hope you're typing bullshit, because the trailers look awesome and I really want this to be good! :(
Haha yeah you'll probably like it, most people did I think.
rennaT wrote: It was actiony enough and it was thought-provoking enough?
Children of Men?

Children of Men
film
10/10
Go see this film. It is technical brilliance in a box. With thought poking and action too.


Follow up on a previous review of mine which turned out to be a critical success:
I think 4/10 is a perfect evaluation of this film, which is why I gave it 4/10.

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Postby Tanner » 2009.09.12 (18:00)

SkyPanda wrote:Children of Men
film
10/10
Go see this film. It is technical brilliance in a box. With thought poking and action too.
QFE. Best film of the past five years.
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