Posts Tagged ‘Christian Slater’

10. Zero 7 – In The Waiting Line

Zero 7’s Simple Things released in 2001 is sometimes too saccharine for my taste. It blurred the line between trip hop and straight up pop music, and while it gave rose to many superfluous moments, it also had a few hummable gems in there. Tracks like this one, with its seductively sad vocals, bursts of soft elecronica and ridiculously simple song structures, make me want to call up Nick Hornby. “You can’t be miserable listening to great pop music, my man.”

9. Patrick Williams – Tears Of Julian Po (Download)

Don’t “hey, this isn’t a song” me now. This gorgeous arrangement of strings accompanies the climax of Alan Wade’s Julian Po in which Christian Slater puts the ocean in his pipe and smokes it. Branimir Scepanovic’s pensive words, as spoken by the protagonist, collide with fragments of dreamy gospel laments to great effect. One of those rare opportunities for us to rekindle love affair with our headphones and make movie scenes out of our lives. You have a nice day too, Mr. Patrick Williams.

8. Paul Cantelon – River Of Collections

Contemporary classicist Paul Cantelon must have had a field day composing Everything Is Illuminated’s soundtrack because his tunes sound like they’ve stretched themselves on a sunflower patch, chewing stems and dreaming about stolen nectar. A tantalizing mix of melancholy, beauty and penance. Yup, penance. A lot of characters come to terms with difficult parts of their lives in Live Schrieber’s film to find solace. Cantelon’s music pays tribute to such eventualities and sort of drifts away into ethereal heights.

7. White Zombie – Blood, Milk And Sky (Download)

Named after a Béla Lugosi classic, White Zombie, fronted by the one they call Rob, has the exact opposite effect on people as a breath of fresh air, which is overrated anyway considering that it isn’t too different from mild flatulence. Blood-curdling industrial metal this also isn’t. Their music is far more graceful in its intent towards brutality. Behind every slab of thundering riffing there is a unicorn winking back at us…no wait, I meant, a gushing of warm melody. This track from their Astro-Creep 2000 album sounds like Pink Floyd jamming with Toni Iommi and Peter Steele on a song written by Prince in a very, very bad mood.

6. Elysian Fields – Black Acres (Download)

NYC dream poppers/rockers Elysian Fields create music that moves from sensuality to disturbance. They call to mind the spookiest moments of Tori Amos, with richly-textured modern folk arrangements to wash it all down with. UK music critic Nick Kent once described their sound being “as sensual as a sleepwalker’s wet dream” and most of the tracks on their Queen of the Meadow album song testify to this. Black Acres has a harmony section so wistfully fragile that you almost fear for the mp3’s safety from malware threats. Singer / chanteuse Jennifer Charles sounds like exactly how a depressed 14-year-old shouldn’t. Of course, she isn’t, so it’s all very exciting and velveteen.

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He Was A Quiet Man

Frank Cappello’s He Was A Quiet Man is an odd film, in which a disoriented, self-defecating office worker plans on gaining notoriety but ends up being inadvertently heroic. Christian Slater plays (and brilliantly too) Bob Maconel, a man on a mission to validate his own meaningless existence. He is Jack without Tyler Durden to iron out the existential laundry or more fittingly, a deranged Dilbert without Catbert by his side. Quite simply put, a working-class man, someone who hates his job and his co-workers, even more. In such times pf desperation, he vows vengeance on all those who have treated him unfairly. Back at office, after being on the business end of yet another barrage of verbal insults from his over-breaking colleague, he calmly looks down, pulls out a revolver and envisions a blood-splattered spree of violence and mayhem. No wait, a bullet slips through his fingers and rolls on the carpet…and as he gets on the ground to pick it up, loud shots are fired as bodies fall to the ground amidst screams and cries. Apparently, Mr Bob wasn’t the only one on the verge of self-destruction at office… has also been slowly “going postal”. And in a fit of irony, Bob saves the day and gets promoted to VP of Creative Thinking. Throw in a quadriplegic love interest (a very pretty Elisha Cuthbert), a dislikable boss (William H Macy) and Jeff Beal’s cautionary background score and what you essentially have is a darkly comic devoid of a sense of justice. Riveting stuff.

George Washington

Director David Gordon Green must have thought of this film on a Sunday afternoon. There is a something so lackadaisical about the whole affair that the director’s intention to slow roast the proceedings over a thin flame soon becomes obvious to the audience. That’s not to say that George Washington doesn’t lend itself to austerity. No no no…in essence, the storyline is quite urgent but thankfully (yes, thankfully) we don’t feel the urgency. I guess that’s a testament to the cinematic languor that breathes heavily in every scene of this film. Without further adieu, let me to offer a glimpse into the story. A group of children (inter-racial) from a sleepy Deep South town are forced to face the consequences of actions when one of them is accidentally killed. There’s also twelve-year-old Nasia (Candace Evanofski) who harbors a strange sort of love for George (Donald Holden), a kid whose skull never hardened after birth. And that’s all you need to know. One could even mistake this for a Spike Lee flick, if it weren’t for one glaring difference…the kids don’t distinguish between black and white, only good and evil.

Blue Velvet

One thing’s for sure…I can never look at Dennis Hopper the same way again. In Blue Velvet, he exhibits the kind of sociopathic dementia that would otherwise be reserved for a Takashi Miike film. Yet it’s one of the many things that make Blue Velvet a brilliant, voyeuristic study of film noir and surrealism. For the first ten minutes, we are force-fed the notion that Jeffrey (Kyle MacLachlan) is a normal man, just as perturbed by tragedies like anyone else. The movie picks up pace when he finds a severed ear in a vacant lot and through amateurish snooping he eventually comes into contact with a nightclub singer Dorothy (flawlessly played by Isabella Rossellini). From then on, you (along with Jeffery) get to witness Frank (Dennis Hopper), a violent sociopath inflict sadistic sexual perversities on the hapless singer. It’s evident these increasingly perverse favours collectively constitute to some sort of a ransom that is being imposed upon Dorothy. Why and what, I will let you figure out while watching the movie. You probably won’t enjoy if you don’t have the stomach for violence or if you simply don’t wish to see Dennis Hopper getting his jollies through erotic asphyxiation. But if you are an avid admirer of David Lynch (I don’t see any reason why you shouldn’t be), get this film and give it a spin. Your dysfunctional mind will thank me later for it.

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