Being John Malkovich movie reviews & Metacritic score: An out-of-work puppeteer takes a filing clerk job on the cramped 7 Malkovich Malkovich Malkovich. All rights belong to the creators, producers, and the company who made 'Being John Malkovich' This clip is simply used for humorous intent, and in no way has monetary. Being John Malkovich - Movie Quotes. Maxine Lund: I think the world is divided into those who go after what they want and those who don’t. The passionate ones, the ones who go after what they want, they may not get what they want, but at least they remain vital, you know? The passionate ones, the ones who go after what they want, they may not get what they want, but at least they remain vital, you know? Being John Malkovich (1. Rotten Tomatoes. Would you pay money to journey into the mind of the star of Con Air, The Killing Fields, and In The Line of Fire? Puppeteer Craig Schwartz (John Cusack) is having money problems, so he takes a temporary job as a file clerk on the seventh- and- a- half floor of a large office building. One day, while rummaging behind a cabinet, he finds a small door that leads to the center of the mind of actor John Malkovich (played by, you guessed it, John Malkovich). Craig discovers that entering the portal allows him to become John Malkovich for a brief spell, and in time he and his beautiful but aloof co- worker Maxine (Catherine Keener) get the bright idea to charge admission for the privilege of spending 1. Malkovich realizes that something strange is happening to him, but can do little to stop it, as strangers take over his mind for a quarter- hour at a time. Craig's wife, Lotte (Cameron Diaz), eventually takes a trip into Malkovich's psyche, and she soon finds herself in love with Maxine, with whom Malkovich has an affair; meanwhile, Maxine in time becomes infatuated with both Craig and Lotte, but only when they're inside Malkovich. Being John Malkovich marked the feature- length debut of director Spike Jonze, who previously made acclaimed music videos for Weezer, the Beastie Boys, and the Breeders, among others.
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What’s the Greatest Bond Song of All Time? But it’d be a waste to spend our time here together trying to endlessly reassess the suitability of Daniel Craig for the title role — by now he’s proven himself capable enough, and can’t really be considered a greenhorn anymore given that, three movies in, he’s already outlasted George Lazenby and Timothy Dalton. And let’s be honest, it’d probably just end up being a straw- man comparison wherein we’d prop him up just long enough for an eventual skewering by Connery, right? No, let’s leave all that in the capable hands of Cinemetrics and find ourselves some new ground. The obvious alternate choice is the matter of the theme songs, which, after the lead actors, are the next elements of the franchise most readily available for neurotic comparative analysis. Admit it, there’s a Nate Silver–size hole in your heart right now, right? Never fear, we’re here to help. But a Bond theme is a funny animal. There’s always the expectation of proper British respectability, but the ultimate goal is still popular success, which creates a weird tightrope for the selected performers. As if that’s not enough, while walking across it they’re also expected to juggle edicts handed down by the film in matters of lyrical content, or even specific notes and melodies as dictated by the score composer. Embodying the musical trends of the day is desirable, but only so long as those trends are not later considered unbecoming; the ’8. James Bond 007 at MI6 HQ: The worlds most visited unofficial 007 website with full coverage of Spectre. Everything or Nothing Nightfire Agent Under Fire GoldenEye 007 (1997) Browse Collecting Comics Interviews Videos Photos All Photos 2016 Calendar. In a sure sign that video games are as powerful as movies, the latest James Bond game has all the actors, all the action, all the effects - and isn't based on a movie! Perfect for fans of New Orleans, a lot of the story takes place in that historic city of Louisiana. Behind the scenes look at the creation of the James Bond series, from its origins with writer Ian Fleming’s novels, to the early. To mark the occasion, the cable channel EPIX, in collaboration with EON ( Download James Bond 007 - Everything or Nothing soundtracks to your PC in MP3 format. Free James Bond 007 - Everything or Nothing soundtracks, James Bond 007 - Everything or Nothing MP3 downloads. Browse our great selection of James Bond 007. James Bond 007 -Everything or Nothing- Collector's Edition Score. This is James Bond 007: Everything or Nothing soundtrack. Composed by: Randy Bugnitz, Ron Fair, Sean Callery. Overview While best known for portraying Jack Bauer on the 24 series, Sean. EVERYTHING OR NOTHING DVD . JAMES BOND CD (UNIVERSAL) In a not-so-ordinary turn of events, Electronic Arts' next multi-console (and quite big budget) James Bond videogame ends up first on the Game Boy Advance. While Electronic Arts polishes its big-budget console version of 007: Everything or Nothing, the company. New Wave, and cheesy ballads, so one must imagine that other near- misses probably include disco in the ’7. It’s a tough act; this is why you shouldn’t hold your breath waiting for a hip- hop theme even if Kanye would probably knock it out of the park, why it’s baffling that Aerosmith’s late- ’9. Pierce Brosnan’s iteration, and why English chart phenomenon Adele, to all outward appearances, was an ideal choice for Skyfall. It’s also why we need to consider more than just the quality of the songs when figuring out how they work — simply put, because the best songs do not always make the best theme songs. Considered on its own, the strength of the song roughly corresponds with that first expectation of artistic unimpeachability, the idea that a secret agent of Bond’s formidable aptitude should not be introduced by anything less than the finest entry music. But the smoldering remains of the music industry do still like to chase after popular success, so we also need to consider the prominence, popularity, and reach of each song — for our purposes here, this is a rough amalgam of sales numbers, chart positions, eventual cover versions, and more generally, the extent to which the song can stand on its own as an independent cultural allusion many years after its initial release. This also acts as an automatic populist counterweight of sorts against what would otherwise be an isolated critical opinion for strength — please remember that as you’re composing your angry tweets about this article. Using two numbers allows us to measure intrinsic quality separate from widespread success, but those are already valid metrics for every song in existence, and we’ve not yet accounted for the fact that these are Bond themes, and therefore just the latest tiny pieces of a high- profile, long- running whole. Let’s see what we can do about that. The cleverest of the Bond pop songs are undoubtedly those that seamlessly incorporate a very specific melody, known among Bond music enthusiasts as the “suspense motif” — this is the slinky chromatic line that kicks in during the main title music, after the horns stop. If you listen carefully, you can hear it in the background at the beginning of the verses in Shirley Bassey’s “Goldfinger,” for example. This is what everyone thinks of as “the James Bond theme,” Adele and all her predecessors notwithstanding. Constructing your pop song around the mathematical constraints of the suspense motif is the most fascinating compositional approach, but there are also other ways to “sound like a Bond theme,” so we’ll simply assign a third score here for cohesion, which is the extent to which a given song cooperates with the rest of the series. The archetype here is Monty Norman’s immortal instrumental theme from 1. Dr. No, which we can’t really include in our rankings since it predates the practice of releasing a vocal pop song alongside each film and some version of it has appeared in every film thus far. James Bond Movie Everything Or Nothing Soundtrack FiftyThis now gives us three scores instead of one for each of the Bond pop songs — roughly speaking, we now have separate numbers, on a 1. Bond” (cohesion), “pop” (reach), and “song” (strength). From these we can calculate an overall average that we hope will better reflect the effectiveness of each theme song using more reasonably balanced criteria than a simple gut reaction. But despite our best efforts to the contrary, there is obviously still a place for subjectivity in this process, so numerical ties were resolved by editorial judgment. In some cases this might just be a breakdown of the same subject matter that is more finely nuanced than simple division, but it can also account for factors that don’t otherwise figure into the ranking system — the bar should have been higher for Madonna given her prior experience, Garbage were a refreshingly bold choice even in their ’9. Are you confused yet? Fine, let’s just demonstrate it in action using the intro sequence from the last Bond film, 2. Quantum of Solace. Jack White and Alicia Keys, “Another Way to Die”Quantum of Solace (2. Strength: 0 A one- note “melody,” a guitar riff cribbed from Marilyn Manson’s “The Beautiful People,” and two artists who have no business ever being in the same room as one another. What could possibly go wrong? Reach: 3 A few points for effort here, at least. But despite multiple ambitious releases — a limited edition from White’s Third Man Records label, a Keys album rerelease, some Coca- Coca thing, a Guitar Hero download — to this day, the primary channel through which one is exposed to this song is someone else complaining about it. Cohesion: 4 Oddly enough, White uses a very specific chord sequence that fits in right alongside the suspense motif — this was clearly deliberate, given that we can see from his other work that he’s no dummy — but then he never actually inserts the melody. Overall: 2. 3. 3See how this works? But our multi- metric is admittedly not very interesting if we’re only using it on crap, and “Another Way to Die” is the absolute dregs. Instead, let’s now consider each subsequent theme, in ascending order of overall performance. Things can only get better, right? James Bond Movie Everything Or Nothing Soundtrack GuardiansShirley Bassey, “Moonraker”Moonraker (1. Strength: 4 With three Bond themes under her belt, Bassey is the high queen of this game, but even she isn’t infallible. Reach: 3 Never really went anywhere — so you have to wonder what might have happened if this song had gone to Kate Bush as originally intended. Cohesion: 3 It’s dreamy, whimsical, and relaxing — all things that a Bond movie is not. Overall: 3. 3. 31. It mostly works out, surprisingly, though anchoring the entire production to an explosion of harpsichord- like arpeggios during the chorus makes it feel a bit lopsided the rest of the time. Reach: 3 Nice try, but no cigar — “The Living Daylights” failed to make a dent outside the UK. Cohesion: 1 This has nothing to do with anything, frankly, and could have just as easily been a regular a- ha song. And, in fact, that’s exactly what it became — despite its mediocre commercial performance, the band still liked the song enough to reclaim it from the franchise, and grafted a lightly reworked version onto their album the following year. Overall: 3. 3. 31. Lulu, “The Man With the Golden Gun”The Man With the Golden Gun (1. Strength: 2 Are you serious? The overbearing cabaret camp makes this sound more like a theme song for the very idea of theme songs; either way, it’s certainly a contender for the weakest theme song in the entire franchise. Reach: 2 Mercifully. Cohesion: 7 We’re in an unfortunate position here, in that the specific brand of despicable cheese on display here is also, to some extent, quite fairly equated with the Bond franchise. In fact, if you ignore Lulu’s hackneyed vocals (which, to be fair, are half the problem) it becomes pretty easy to see a direct path to the kooky theme song from Austin Powers, which was nothing if not a mockery of Bond conventions. So, fine — but remember, there’s a difference between playing by the rules and doing a good job, between coloring inside the lines and actually making it up onto the fridge. Overall: 3. 6. 71. Louis Armstrong, “We Have All the Time in the World”On Her Majesty’s Secret Service (1. Strength: 8 Coming off Connery’s run, it’s easy to roll your eyes at almost everything about George Lazenby’s one entry in the series, but that just makes the courtship montage soundtracked by Armstrong’s summery bounce stand out even more as a blistering highlight. Reach: 2 Most folks aren’t even aware that Armstrong ever did a Bond theme. Cohesion: 2 Great as it is, it sounds nothing like a Bond theme. The ominous, shadowy figures crouching in darkened corridors are gone, giving way instead to lazy- Sunday idle musings that seem like they’d work quite nicely for a synchronized swimming routine. Overall: 4. 16. Madonna, “Die Another Day”Die Another Day (2. Strength: 0 On paper, Madonna seems like an ideal Bond theme songstress, and there was, one must imagine, a certain arrogance at the time among the producers regarding her infallibility in this space — she was even given a small cameo in the movie. The electronic dance- pop that had started to seep into her music made sense, relatively speaking, on Ray of Light and Music. It could have even worked in a Bond theme, in theory, but Madonna drove the whole endeavor right off the nearest cliff with jagged start- and- stop fits that made the rhythmic flow feel erratic and over- the- top hypersexual grunts that were apparently supposed to come across as erotic. No (1. 96. 2) : : James Bond 0. Music. - Dr No. Credits. Music: Monty Norman. Conducted By: Eric Rodgers. Orchestrated By: Burt Rhode. James Bond Theme: Monty Norman. James Bond Theme Played By: John Barry and Orchestra. Album Label: United Artists (US), Columbia (UK)Single Label: United Artists, Liberty Records. Highest Chart Position: 1. UK), 5. 8 (US) History. Composer Monty Norman was selected by producer Albert. R. Broccoli after Broccoli backed a musical of Norman's, . Norman's tracks were conducted. Eric Rodgers and orchestrated by Burt Rhodes. Above: Cover art from the Columbia. RPM album released in the UK. Order. Amazon USAOrder. Amazon UK Norman accompanied the producers and film crew. Jamaica, but midway through the production, the producers. John Barry to rearrange the main theme and write. The change in composer introduced. The music. in film was almost entirely John Barry's, while the soundtrack. Monty Normans work, most of which was unused in the. Barry, who would later go on to compose the music for. Bond films, arranged the Bond theme, but was uncredited. This argument has been the. Norman. won. Some portions of the theme actually originated from a song, . In its original. form, the music is almost unrecognisable to the Bond theme. Many. fans consider Barry's arrangement the most important element. Barry has rarely spoken about the dispute over the. Norman was not brought. Bond movies. The selection of Diana Coupland to sing on two of the tracks. No was not originally issued. October. 1. 96. 2. However, in addition to his fee for orchestrating. The James Bond Theme, Barry was allowed to perform a different. Columbia Records. This became. a top ten hit in the U. K. The soundtrack album came out after the American release. Dr. No in June 1. American single recordings. The James Bond Theme by Al Caiola and Leroy Holmes on. United Artists Records and Si Zentner on Liberty Records. The soundtrack is an oddity. Jamaican. local music rather than film score. None of the Eric Rogers. No's Fantasy, Twisting with. James and the misleadingly entitled . Diana Coupland recalled that. Norman's first attempt at a 'James Bond Theme'. Notable. omissions from the soundtrack include the film's opening sci- fi. No's death (reused during. From. Russia with Love but not on that soundtrack album either). Nic Raine later rerecorded. No accompanying. Bond and Quarrel landing on Crab Key.
Single Fin: Yellow Directed by Jason Baffa 70 min 90 minutes bonus features (including director commentary) I really liked the concept of Single. DVD Available at www.aerialent.com 'Singlefin: yellow', tells the story of a 9'6' surfboard's life as it travels the globe shared by a group of friends. The journey of yellow single fin surfboard. Learn more about Surfline human forecasts, LOLA charts, and long-range forecasting. Singlefin: Yellow - Movie Quotes. Certified Fresh. Movies and TV shows are Certified Fresh with a steady Tomatometer of 7. TV shows), including 5 reviews from Top Critics. Man (Tyler Hatzikian) builds a surfboard, then ships it off to a friend with a simple note stating: enjoy it. Friend then ships it to another friend, and so it goes. Over the course of the film the board heads to Australia, Hawaii, and Japan to name a few destinations. Yellow was shaped by Tyler Hatzikian to be a vintage noserider, something that you wouldn’t normally find on shop racks. Singlefin Yellow tells the story of one surfboards life as it travels the globe shared by a group of friends. It also highlights significant Singlefin: Yellow movie was released Sep 28, 2004 by the Ryko Distribution studio. Journey the world as one yellow surfboard is shared by a group of friends. The dimensions were taken from a board that his father had shaped and it speaks of earlier generations, and a time when surfing was more about the journey and friendships than sponsorship and contests. The board itself sets the tone for the whole film as a quest for the true sprit of surfing that has been largely lost through years of commercialization. Each surfer describes their own surfing journey, their take on longboarding, the spirit that drives them to surf, and their experience with “yellow.” The common thread of the yellow longboard was the starting point for each of their perspectives. Don’t be scared off by the fact that this film might be classified as a longboarding movie. In fact, it’s more about the sport of surfing than longboarding by itself. The film explores the way that all types of surfers take on the challenge of a vintage board- something they might not otherwise ride. Singlefin: Yellow is shot entirely on 1. The cinematography is excellent and varied. We follow the board through the shaping room, past airports, and in the waves. It’s clear there was a lot of thought put into the visual look of the film. I loved the shot of David Kineshita carrying the longboard through crowded Tokyo streets- what an excellent contrast. The idea is fresh and original- a good thing in a market saturated with copycat punk rock music montages. Despite the originality and insight that each rider gives on their own take of the surfing spirit, the pace of the film is a little draggy. I found myself getting a bit restless as the surfers waxed philosophical. At some point it gets a bit maudlin to hear all the soulful talk. The most different perspective on surfing that I thought the film portrayed was by the Japanese surfer David Kineshita. He was very direct and to the point. I also liked Beau’s section. I was quite happy to see Daize Shayne’s section, but I thought it was too short, especially considering the lack of female representation in mainstream surf films. Her perspective, however, was quite refreshing and it helped the “all inclusive” feel of the film. The director’s commentary in the bonus features is worth the price of the film alone. It’s extremely insightful and opens a window to the film that increases appreciation tenfold. Filmmaker Jason Baffa has some great things to say about the making of the film, surf film art in general, and trivia tidbits about the surfers and locations. Overall Singlefin: Yellow is definitely worth a watch. It didn’t quite strike me as the “be all and end all” of surf films that many other people think it is, and I’d be lying if I said it did. However, the unique and refreshing take on the genre lift it above most of the fare that’s being churned out. Make sure to check this one out. |
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