... it's peers.
And it has interesting things to tell you, I think.
In addition it is a star webzinat (which he kept a tick, you'll see at the end of the artic).
He loves the Beatles, Final Fantasy VII and Final Fantasy VII music, old records cheesy you put a needle on it and we are forced to return when it arrives in the middle (and feel old), cooking pasta with sundried tomatoes & parmesan naked under her apron, before eating clips Antwoord die, he does not hear the word "hype" and hates the cover of the latest Deftones. And he occasionally tastes exquisite taste, as shown below.
His spiel on one of the great works of Big John could almost be me (as I'm a fan of Carpy uncle ... and so it's well written).
J'n'en say no more and lets you take notes, my lambs ...
They Live (John Carpenter, 1988)
" Truly a movie to the old generation of pre-action movies of my childhood 90's (88) , the action is slow, tacky music, general appearance somewhat Series B (the clothes of the characters are a nullity which just makes the film believable in its depiction top American working class losers). The idea of the film is really great (the shot glasses) but where the viewer expects a modern twist final with Freudian explanation to the key (in fact, the hero had hallux ah yeah, great), well no, he just burst in a final heroic gesture to put the pine in what has become Orwellian world america Reagan . The actor, known shows like every other film, has the luxury of being a cross between MacGyver (fresh fresh mullet included) and Stalone, and authentic wrestling with it (which gives rise to the longest street scene fighting one-to-one in the history of cinema)! Totally first degree and Bonnard, the kind of actor who would bring Van Damme for a manic-depressive gay and Chuck Norris in a dangerous hippie footwork asiatophile more than doubtful ... His faith in American ingenuity limit under total at the beginning of the film only makes her more credible suddenly buggery cable, a scenario that bar totally mad, recalling ff7 limit during the 2nd half of the film (the HQ of the wicked Shinra Tower-shaped, trip invaders that infest the land, the blonde mercenary hero without a past one against all) ... The best remaining can be the American side benet fully assumed, with a lot of replies and cult scenes when the hero begins to put the glasses (one stage of bank robbery just hilarious). Presumably, Carpenter has dug a little in Terminator, but his film grows much more reflection ...
Troublingly, in the bonus film, the 2000s, Carpenter confessed to be a capitalist patented, which is clearly the counter the message of his film, though delivered without any ambiguity ... Just dig a little more and watch the documentary + long devoted to the director to include: Carpenter explores the theme of evil, it is logical that he gets off Hollywood and the money while denouncing them clearly in his cinema is a real cry to rouse the American mentality, individualistic and loose. Today, he seems to have somewhat given up what he says with disarming frankness about in these terms: "at the time of They Live, I was angry against the patriotism of Reagan warrior my generation had hoped for better in the years 60/70, we were idealistic, we wanted to change the world (music) ... Then in the 90's, my generation has miserably messed up, we all sold our ideals and we all become good capitalists, denying our past. But I I do not deny. Besides, I think young people should we kick ass for fissa we die and they do not redo all our errors, which led us to this company that has only one obsession that the food from within ". That's basically the effect that made me an interview. We feel the guy a lucidity foolproof, including facing his own "cowardice", and many filmmakers dear to our European intelligentsia would do well to take the seed, the ones who maintain the pseudo- Mystery and Worship of the form to hide their stark lack of substance. Carpenter filmed humans panic and face reality in all its horror, but did not need a flag opulent Parisian bourgeois dare to show it ... This watch has never needed be hidden, it is the courage to see who is difficult and rare.
Troublingly, in the bonus film, the 2000s, Carpenter confessed to be a capitalist patented, which is clearly the counter the message of his film, though delivered without any ambiguity ... Just dig a little more and watch the documentary + long devoted to the director to include: Carpenter explores the theme of evil, it is logical that he gets off Hollywood and the money while denouncing them clearly in his cinema is a real cry to rouse the American mentality, individualistic and loose. Today, he seems to have somewhat given up what he says with disarming frankness about in these terms: "at the time of They Live, I was angry against the patriotism of Reagan warrior my generation had hoped for better in the years 60/70, we were idealistic, we wanted to change the world (music) ... Then in the 90's, my generation has miserably messed up, we all sold our ideals and we all become good capitalists, denying our past. But I I do not deny. Besides, I think young people should we kick ass for fissa we die and they do not redo all our errors, which led us to this company that has only one obsession that the food from within ". That's basically the effect that made me an interview. We feel the guy a lucidity foolproof, including facing his own "cowardice", and many filmmakers dear to our European intelligentsia would do well to take the seed, the ones who maintain the pseudo- Mystery and Worship of the form to hide their stark lack of substance. Carpenter filmed humans panic and face reality in all its horror, but did not need a flag opulent Parisian bourgeois dare to show it ... This watch has never needed be hidden, it is the courage to see who is difficult and rare.
5 / 6 "
signed Dariev Stands
