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Recent reviews

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Review (no spoiler)

Posted : 1 week, 1 day ago on 4 February 2016 08:24 (A review of The Hateful Eight)

After the first few minutes of the film, with all that snow, that Christ in the foreground taken while the 70mm movie camera gets up to make us see the arrival of the direct coach at Red Rock and the incredible music of Ennio Morricone There goes very well in the ears to make us understand that it is indeed a western, but also a horror, maybe that's the Quentin Tarantino version westerns of Howard Hawks' the Thing and the Thing John Carpenter, we already knew this the Hateful Eight won. He won.

And when we see the figure of Major Marquis Warren, even as the director Charles Marquis Warren, played by Samuel L. Jackson who feels Lee Van Cleef, which stops the carriage where they travel bounty killer John Ruth Kurt Russell and his very bad Daisy prey Domergue (even as Faith Domergue) Jennifer Jason Leigh, who then would be the daughter of Vic Morrow, do not forget to Sledge director, old spaghetti westerns that I love, and the three began to talk, because even the largest is a bounty killer, we are already fed up with a film that has just begun.

The western fans, of course, immediately begins to build its web of references. Of course there is John Ford's Stagecoach-Stagecoach, that Quentin does not love, but Ringo John Wayne stops the carriage just like Samuel L. Jackson, then there is the coach of A Fistful of Sergio Leone, and that of hundreds and hundreds of small western. Not to mention the American TV series 60. But above all, there is the carriage in the snow of the convicts transported from Robert Hundar with his daughter Emma Cohen in the great western horror Spanish Condenados a vivir (or Cut-Throats Nine) Joaquin Luis Romero Marchent, perhaps the most similar movies thematic and violence at what she has in mind Quentin. But that movie or many movies in his head Quentin simultaneously? Meanwhile, there is a fourth passenger for the carriage, the neo-Sheriff Chris Mannix, ie Walter Goggins, the most talkative, last scion of a family of Southerners rebels, ready to confrontation with Major, who is black and has a letter Lincoln's personal with him.

Mannix brings to the film a key from the show, as the name indicates, but also brings the timeliness of an America not pacified six or seven years after the end of the Civil War, which will be the whole of the film policy key, the a clash never finished within American society, that only fiction can quench. But when the action moves and will remain there for all the film, in Minnie's Habedashery, the cursed inn where the sheriff Mannix, the two bounty killers with their prey, Daisy Domergue, who should be brought to Red Rock to be hanged, and the four come together with four other very strange characters, an English dandy, Oswaldo Mobray, Tim Roth, a general old Southerner, Sanford Smithers, that is, the heroic old Bruce Dern, a strange cowboy who tells him to go to his mother, Joe Gage, that is, Michael Madsen and Bob the Mexican Demian Bichir, also able to play the piano, but none of these has anything to do with the old owners of the inn, the Indian Minnie Mink and her husband Dave Sweet, it is clear that the film takes another turn. That is, we are in the realm of stageY westerns, usually very rare, more suited to the western TV series, because he is poor, that the true western, although Shoot the Living and Pray for the Dead by Giuseppe Vari, written by Fernando Di Leo, with Klaus Kinski as bad, but all are fake and bad there, it's what you have in your head Quentin.

He has in his head, of course, also the great silence of Sergio Corbucci, another western with snow with Klaus Kinski bad, Jean-Louis Trintignant dumb and Vonetta McGee black presence. And let's also great movies of the '30s and' 40s, such as The Petrified Forest Archie Mayo or as John Huston's Key Largo, which are the basis of every great black comedy whole set in one set apart from the world. Yes, because you will have to destroy these four characters in search of some kind of truth in the night they will spend together. And, of course, no one is what it claims to be. The only truth that is given us to know is that there is a red candy hidden in the floor. Sign that something unpleasant has happened recently in the inn, and that the door was broken. Everything else I do not say.

But I tell you that it is a film in which Tarantino plays with itself and with its cinema, not only with the one he loves. Use the spaghetti western to give greater strength to his characters, but he thinks deeply about the American cinema, by Howard Hawks in Delmer Daves, and American society today, to his violence. Not at all a peaceful film, but a film where you do not make concessions to anyone. Even in the violence, as usual, you will save not irony and found almost classic cartoon, Tex Avery. It is an ensemble film, where no actor is really more important than the other. It is also a very free movie, to the point that at the end of one of the six chapters, do not tell you who, the same goes Tarantino with his voice on the field, he tells how things are and says with a flash back sosa really happened. And to make matters worse at this point the film becomes a real yellow. But not at all. It is always and only an American disguised as spaghetti westerns westerns that hides a science fiction horror depth on the type of the thing, that the music of Morricone, partly recovered from that Carpenter's film, exalts. But the end is also something deeper and even more free. For this more difficult to win the Oscar. But it's a great film.


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Steve Jobs review

Posted : 2 weeks, 4 days ago on 25 January 2016 07:48 (A review of Steve Jobs)

If you're given the task of interpreting a film with the speculative mind of a genius indisputable, it may help not to make too many stupid moves. That said, consider a triumph as well Steve Jobs, a film so innovative and surprising in the design and implementation to leave intimidated.
Michael Fassbender is moving very well in the role of volcanic co-founder and CEO of Apple, a man badly in relationships, but capable of flying very high when it comes to revolutionize the world of personal computers and anything else digital, from music to animation (with Pixar) publishing, up to those iPhone that we are wearing as if they were a second skin. The Jobs of Fassbender is a tornado of ferocity, anger and repressed feelings. It is also fascinating, seductive and fun, which makes it even more dangerous if you get too close.

The screenplay, written by Aaron Sorkin, won an Oscar for The Social Network, is absolutely brilliant. Sorkin has not only followed the bestselling biography by Walter Isaacson: he absorbed in her DNA, and said with a bold structure and a very personal point of view. He divided the film into three periods, each telling the story of the launch of a product created by Steve Jobs, shot in three different formats by Boyle with the help of the talented cinematographer Alwin Kuchler. The first part is in 16mm film in low resolution and is set in 1984 in Cupertino, California, where the 29 year-old Steve Jobs created the first Macintosh. The second, on 35mm, opens with a conference at the San Francisco Opera House in 1988, in which Jobs, downloaded from Apple, NeXT presents the general indifference. The last part, filmed in digital high definition, takes place in 1998 at Davies Symphony Hall in San Francisco, where Jobs, again at the helm of Apple, announced a spectacular presentation of the new iMac. As Jobs, who always rush to do the next thing, Sorkin leaves you with the task of keeping up the story. But it is a challenge that is worth collecting.

Congratulations to the teacher Danny Boyle (Trainspotting, Slumdog Millionaire, 127 Hours) for directing the three acts of the script with the pace of a thriller. Boyle also knows how to fill the spaces (few) between words and reveal the emotions of the masses of people who enter and exit the tumultuous life of Jobs. Sorkin moves the characters on a chessboard (remember Birdman), without worrying too much to check if they were really present during some of the outbursts of Jobs, but always making sure that their actions and reactions reflect a truth often hard and uncomfortable.

The actors could not be better at reciting a long duel 14 years against the man who has compared himself to Julius Caesar, an emperor surrounded by enemies. A superb Seth Rogen reveals the wounded heart of Steve "Woz" Wozniak, cofounder of Apple who can not take lightly the refusal of Jobs and his team recognize the success of the Apple II. And Jeff Daniels, actor icon Sorkin in the HBO series The Newsroom, can interpret every nuance of the personality of John Sculley, CEO of Apple, who dismisses Jobs kicking off his cruel revenge. But there is someone who can tame this fierce perfectionist? The marketing director of Polish Joanna Hoffman, comes close. Interpreted by Kate Winslet Oscar, can radiate courage and grace in equal measure, Hoffman is the only person who gives a hard time to the head. She is scolding billionaire Jobs for leaving misery in his former lover Chrisann Brennan (Katherine Waterston) and his stubbornness in not wanting to recognize the paternity of his daughter Lisa, five years.

Sorkin has never tender with the protagonist, adopted son with the horrible tendency to keep distant loved ones. But Fassbender also makes us a glimpse of his humanity. What they do not see is the Steve Jobs older and richer, married Laurene Powell and father of three, who has created more miracles branded Apple, fought pancreatic cancer, which consumed his body and for which He died in 2011 at 56 years. The film aims to capture the man behind Steve Jobs, and tell it in three public events in which people who defined their life in relation to his came forward at the last minute to give it a sound punishment. Hard? Yes it is. But it is essential to talk about a pioneer who created products from coating immaculate and stylish to hide all the intricate circuitry inside. Steve Jobs shows us for the first time these internal circuits, never belittle the role of rebel and visionary who changed our digital life, and continues to do so today.


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This Is Acting review

Posted : 2 weeks, 4 days ago on 25 January 2016 07:37 (A review of This Is Acting)

There is a passage in the interview that both priceless granted in December to Rolling Stone, the American one. He explains how to write for third parties: compulsando smartphone stores where ideas, trying to match a singer and song, sniffing the air pulling looking for popular topics. The Australian songwriter exposes the prosaic nature of his profession in the new album "This is acting", the seventh in a discography full of little twists and turns, a journey in search of an identity in constant evolution. "This is play", the title says. Both mean that it does not express itself, but in the role of others as you would an actress playing pieces he wrote for Rihanna, Adele, Beyonce, Shakira, and they refused. Waste are, literally, but a half rivals anything nowadays transmit radio networks. Lighter than the previous "1000 forms of fear", it follows the musical forms. The songwriting was a shameless appeal that here and there refer to the '80s power ballad, but sound and arrangements comply with the rules of the contemporary song.
If this is acting, Sia Furler is an excellent actress. She, a decade older than the pop star whose songs and provides suggestions, sings here and there as its customers, for the same phenomenon that has led many to think "Ah, the new Rihanna" the first time I have heard "Chandelier". And the good girl gone bad had proposed "Reaper" and "Cheap thrills" with the idea for them to finish on "Anti". The most sensational of the two, "Reaper", was composed and produced by Kanye West. It is a pop song by the candid nature, and music at the simple and imaginative vocal colorings, where Furler says in the face of Sad Reaper to come back in there, for these were many things to do. "Cheap thrills" is thin and flat. It is the song of the girl who is preparing to do havoc to the disco at any Friday night. Both voice seems rejuvenated unnaturally - ah, make up digital - while a choir of children and an oriental tune just mentioned adding another load of kitsch which he did not feel the need.
If "Footprints" is part of a group of a couple dozen songs written for the album of 2013 of Beyoncé, "Move your body" it is a Tamarra who knows Shakira a kilometer away. It is much, much better "Free Bird in September": written for the soundtrack of "Pitch perfect 2", discarded, given to Rihanna, refused, offering to Adele for "25", again rejected. It is brought home in an interpretation of passion, with shameless way and histrionic who both sing capable of rescuing even simple texts and metaphors worn. The same goes for "Alive", designed to "25", written with the English singer and songwriter Tobias Jesso Jr, to "Goon." It is the confession of a surviving his demons that celebrates itself and is built on the contrast between the verse and chorus empty aftertaste gospel. The single "One million bullets" goes beyond the concept of the album. Is not proposed it to anyone, it decided to keep for himself this song where "oh oh oh ohhh" winking at odds with the text of a love story from the end of the world.
The problem of the album is the fickle nature of the compositions and arrangements. Each piece of first choice is a jumble of clichés like "Unstoppable" and "House on Fire" sounds cheap and free of any development. It is therefore welcome "Space Between", the farewell in which both again pulls out his acting ability on the basis of a ghostly reverberations. In short, "This is acting" reveals strengths and weaknesses of Australian songwriter and in his small, dismantling the toy contemporary pop. Explains the most distracted who is behind the success of some of the biggest stars living, but does not add much to the identity of the woman he loves hide behind big blonde wigs, two-tone today. Hiding is useful, said both the show's host Ellen DeGeneres, "I can piss on the roadside with no one to follow me filmarm


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The Revenant review

Posted : 3 weeks, 3 days ago on 19 January 2016 07:20 (A review of The Revenant)

Some chefs say that the most important thing for a large plate, before technique, originality, presentation and the quality of the ingredients. If we apply this formula to the movies, we can safely say that a film-like Revenant Revenant (original title The Revenant, ed) crazy ingredients: a director Inarritu, fresh Oscar for the acclaimed Birdman; a director of photography, Lubecki, among the best around (Oscar for Gravity and Birdman); the most important actor in recent years, Leonardo DiCaprio, in search of the final performance that will finally give the blessed who was Oscar win for The Wolf of Wall Street; as a soundtrack by Oscar (Sakamoto, Alva Noto and Bryce Dessner of the National) and, not least, an epic story (but mostly true) like that of Hugh Glass, fur trapper in America unexplored in the early nineteenth century, slaughtered by a grizzly and betrayed by his companions, who died and rose and dropped in a hostile nature and beautiful, her skin torn held together only by virtue of the feeling of revenge. The greatest value of Revenant is able to maintain a balance between the miraculous narrative tension that never decreases in the two and a half hours of film, and a poetic tone / contemplative style Terrence Malick, which remains the greatest singer of the American nature. The closest reference in Revenant, however, could be the metaphysical western The Assassination of Jesse James by the Coward Robert Ford (2007), but without its excessive delays and forced silence. The camera of Inarritu accompanies the journey of Glass at extremely close distances without fear of tarnish on his breath or difficult to stain of his blood: the author of Revenant is there, with your feet in the snow and in the water along with his protagonist, regardless of frost, of pain and fear. And we are with him. In this film, someone will continue to prefer Birdman, more programmatically artsy and ambitious, but others (including this writer) remain convinced that Revenant is the best film of Iñárritu: a majestic tale that no one detail too, where everything appears to be spontaneous , essential, and at the same time checked in every minimally.


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Speaks Evil review

Posted : 3 weeks, 3 days ago on 19 January 2016 06:45 (A review of Speaks Evil)


"Speaks evil "is the third album of Judah, the first rock band Roman - who with his previous work has attracted the attention of the American press - public with the reborn Burning Heart, the Swedish label that over the years '90, and 2000 was the reference for the production of garage punk and hardcore groups of international importance. the album is composed of ten new tracks in which the passion of Judas for vintage '70s rock-style british, be it glam or punk, results in a sound that reflects the live sound of the band.

The ten tracks on "Evil Speaks" are characterized by the mix of catchy melodies and raw guitar riffs . The disc was recorded at GreenMountainAudio.


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A failed movie...

Posted : 1 month ago on 13 January 2016 07:36 (A review of La corrispondenza)

The everlasting love. There is ambition for a more powerful director that know how to tell the feeling more utopian and moving to the big screen? Probably not. And that desire to get to the absolute value and poignant illusion that often trips up even the best. As Giuseppe Tornatore's Oscar winner and author of great works and how you can not Baarìa and perhaps not sufficiently appreciated as author gender, special talent that he has not been able to grow properly after dazzling debut with the Camorra. Mainly because it was more appreciated by critics and audiences, wrongly, for its melodramatic genre. That, you know, is one of the most dangerous and slippery strands film, constantly bringing in a narrative (and interpretations of the protagonists) over the top. And that's what happens in the latest film by this author appreciated that the right tone, in almost two hours, I do not guess never. If the Italian version is penalized by a dubbing embarrassing, you can not be completely attributed to it the mediocrity of a work that has the talent of its creator, only a few shot from teacher and little more.
Difficult to talk about this feature without a glimpse of a piece of the plot, but we'll try since all were determined to avoid any spoilers, we were not even in the presence of Star Wars. Jeremy Irons and the beautiful Olga Kurylenko very sorry but here are two lovers: he renowned astrophysicist and her graduate student in the matter but also stuntwoman, as if to sum up the career of the actress, former muse of Malick and Bond girl. The fate will separate them, but he did not make a right, finding ways to stay close and obsess her. She, of this morbid and garbatissimo stalking - web, email and mobile - will be victim and accomplice, forcing us to look to suffer in the face of an infinite love and solipsistic that never finds, or almost a physical outlet, already difficult in six years of their history, because he married her third wheel condescending.
The film suffers from a fragile subject, from a screenplay sloppy in his incredible plot twists, in the broadest sense of the term, as in his dialogues-monologues that never bring you to that empathy would arouse. Irons, caged in a display on the screen, is a two-dimensional ghost, as well as her lover, never able to get out of that figure of female mourners and submissive, pathetic and pathological, even in his own solitude.
Everything seems hostage to a filmmaker who is torn between the urge to indulge in easy emotional rhetoric and trying to draw a parabola exemplary of technology, (de) formation sentimental and improbable actors (think all'Ottavio-Charon starring Paul Calabresi) that only serve to confirm a theorem as stubborn as bumper. Unfortunately Correspondence is perhaps the worst film by Giuseppe Tornatore, which does not recover even in a soundtrack redundant, in a photograph plastic and in a setting without a flash, leaving the school assembly that flattens the different visual languages.
Although the fascinating idea already present in The latest offer of absence-presence physical and metaphysical, witty and powerful inspiration of the penultimate work of director, here becomes only a pretext, labile path through which to reach the end of the trip with repetitive and boring inability to amaze and engage the viewer.
And you end up, at best, to enjoy a match, yes, but of love nonsense.


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Saint Cecilia EP (Vinyl) review

Posted : 1 month ago on 11 January 2016 05:43 (A review of Saint Cecilia EP (Vinyl))

The Foo Fighters will never make a wrong move? For years, they are moving ever higher the bar of coolness, that embody the idea of ​​being contemporary rock 'n' roll. Dave Grohl is one that continues to play with a broken leg, who invents a throne of guitars to continue the tour even with the leg in a cast, one that responds immediately to a group of fans who showed a video to get him to play in a city of the province - and then it keeps the promise and organize a full-scale concert in a place outside the channels of live music. The only shadow was the cancellation of the post-concert on November 13, also completely understandable after the events in Paris (but some Italian fans have complained that the decision to cancel the date of Turin came only in mid-afternoon, a few hours before the concert, while many were already on).

Here, this EP is yet another smart move of a long winning streak. A sequence dwarfing even the 15 victories in a row in which the Golden State Warriors started the NBA season (records of all time).
After the massacre of the Bataclan, this EP has a completely different taste, explains Dave Grohl, in the letter accompanying it. Announced with a countdown, it would still have to go out today, the day after the feast of St. Cecilia (November 22), the patron of music and musicians. Engraved in Austin, in a hotel that is called just "Saint Cecilia", the EP contains 20 minutes slow music-style Foo Fighters, from rock, hard, ballad - 5 songs straighter than "Sonic highway ": recorded music on the fly, ready and on.

It was a way to thank fans. E 'became a way to riaffarmare the power of music in difficult times. Here is the EP, song by song


Saint Cecilia
Electric guitar and voice, then the song opens in style Foo Fighters: "Bring me some healing, Saint Cecilia, carry me on to your house of broken bones." Words written months ago, but now talk about the healing power of music. And 'far the best song of the EP, destined to become a minor classic of the repertoire of the band.

Sean
He gets up the pace: the song straight part, guitar and drums - and remains so for the two minutes that lasts. Pure power-rock old-fashioned, almost reminiscent of an old passion Grohl, the Husker Du, with that union of charge and melody. But we have lost count of how many songs by the Foo Fighters, cite the band Bob Mould ...

Savior Breath
The rhythms are raised even more: a riff granite, now supported by a short guitar solo, before the voice of Grohl, very much back in the mix and shouted: "Save your breath, 'cause it's mine", screams - a pun on the title - but certainly Grohl not save your breath. Here the reference is to the world of hard rock, one of the passions of historical Grohl. Almost a fun, as they carved many Foo Fighters.

Iron Rooster
It slows to a ballad that Iniza with acoustic guitar, and then opens on the chorus. Grohl's voice is again in the foreground, while the central part is a guitar solo and almost psychedelic '60s, which could come out of a disk of Jonathan Wilson. Superb piece.

The Neverending Sigh
The song that recalls the atmospheres "Sonic HIGWAYS" guitars that cross, tempo changes. Almost five minutes - is the longest song and complex of an EP that has so far staked everything on arriving straight in the face.


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The Hateful Eight (Original Motion Picture Soundtrack) [Explicit] review

Posted : 1 month ago on 10 January 2016 08:08 (A review of The Hateful Eight (Original Motion Picture Soundtrack) [Explicit])

A melodic theme vague menacing in the air, cut counterpoints increasingly alarming. Short vocalizing without words appear and disappear like lightning, while the strings climb up on the higher register. The orchestration becomes charged, tense, grim. It's the sound of a tragedy that is ensuing. It is the world of "The hateful eight", the soundtrack by Ennio Morricone and performed by the Czech National Symphony Orchestra for the western Quentin Tarantino, in Italian cinemas on February 4th (and in those overseas on Christmas Day). Do not look for Sergio Leone, in here, rather the sound of scary controfagotti advancing menacingly, themes circular, large detached, low vibrations and gloomy representing the subtext of songs that create a strong sense of anticipation.
Set a few years after the end of the Civil War, the film tells the story of two bounty hunters (Kurt Russell and Samuel Jackson), a prisoner to be taken at Red Rock (Jennifer Jason Leigh) and an alleged sheriff (Walton Goggins) who are refuge in a cabin during a snowstorm. There they meet a former Confederate general (Bruce Dern) and three others recorded (Tim Roth, Demian Bichir, Michael Madsen). Already the setting - a mountain pass in Wyoming instead of sunny views of Monument Valley - makes it a western singular. Morricone plays this anomaly with a soundtrack full of tension, austere and dark colors, of which the full version of "The last coach of Red Rock" is the most significant moment, seven minutes of great turmoil sound.
"It's a soundtrack spaghetti western", writes enthusiastically Quentin Tarantino in the liner notes. It's not true. It is something more sinister and disturbing, with a recurring theme of eight notes that creeps into my head like a worm or an omen, a "Overture" anxiety-provoking, a fleeting moment of peace ("rays of sun on the mountain"), a theme solemn trumpet ("The letter of Lincoln") and a short growing dread as final. Music is claustrophobic and gloomy as the rest being announced the film, shot mostly indoors, with the characters undergo a stressful game of mutual suspicion.
Fruit of the encounter between artists from two different generations who s'annusavano long, a collaboration that has sparked a lot of hype and the fantasies of many music fans & cinema, "The hateful eight" has already earned a Golden Globe nomination. It is the first original soundtrack that Tarantino commissions and simultaneously demystifies the process of composing for the screen, not a work of music synchronization with the images, but a group of scores composed on the basis of only the script and a chat with director.
With just one month to hand to write, Morricone has fished out some new compounds to the John Carpenter movie "The thing" (1982) and wrote arrangements and variations of a handful of themes designed specifically for the film by Tarantino. The result was a tense and eerie soundtrack, with brass and wood used in their darker colors. Apart from one notable exception - the 12-minute "Snow", the other key piece of the disc that captures the static character, vaguely hypnotic - the music conveys the pathos of a thriller and the panoramic views of a Western. Frightening, has called Tarantino.
More than the value of the individual compositions, the soundtrack has its charm in color and atmosphere. The music is cohesive, coherent, consistent, but more variety in the topics would be beneficial to listen already fragmented by the introduction of dialogue from the film and four songs, three of which are published. This is not pieces of small value in the context of the film will have a reason to exist, but incorporated into the fabric of the orchestral soundtrack work by anticlimax. It is "Apple blossom" White Stripes of the second album, "Now you're all alone" David Hess and "There will not be many coming home" by Roy Orbison, the latter two linked to other films, respectively " The Last House on the Left "in 1972 and" The fastest guitar alive "in 1967. The actress Jennifer Jason Leigh sings in a rudimentary way the traditional" Jim Jones at Botany Bay "which tells a story similar to that of his character. It is interrupted by the gruff voice of the bounty hunter Kurt Russell takes her guitar and smashes: "Music time's over!".
Surpassed by time the controversy sparked by statements of the Master about the use of his music out of context by the American director, Morricone could go work with Tarantino for his next film. Meanwhile, he gathered at the Abbey Road Studios in London the Czech National Symphony Orchestra for an incision direct-to-vinyl soundtrack that will be printed soon in limited edition. It is already available in stores, in addition to the CD, the version recorded in studio on double vinyl, and the United States comes to the Third Man Records of Jack White. In 2016 Morricone will tour to celebrate sixty years of activity and will be the subject of the documentary film by Giuseppe Tornatore "The look of the music." Meanwhile, with "The hateful eight," he writes one of his darkest and strengthens its role in the imaginary pop.




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Star Wars: The Force Awakens (Original Motion Picture Soundtrack) review

Posted : 1 month ago on 10 January 2016 03:15 (A review of Star Wars: The Force Awakens (Original Motion Picture Soundtrack))


It consists of 23 tracks, for a total of an hour and a quarter of music, the soundtrack of the last installment of the "Star Wars", "The awakening of force"; composed by John Williams, the soundtrack of "The awakening of force" it contains songs whose performances were directed by the same John Williams with William Ross - special guest - Gustavo Dudamel. The album reaches the market for Walt Disney Records, since Disney bought all rights related to the series.

For the soundtrack of "The awakening of the force," John Williams decided to dredge up material is already contained in the soundtracks of previous film "Star Wars", is new material. The recordings began on 1 June 2015 at the studios of Sony Pictures in Culver City and ended last November.
TRACKLIST
Main title and the attack on the village Jakku
The scavenger
I can fly anything
Rey meets BB-8
Follow me
Rey's theme
The Falcon
That girl with the staff
The Rathatars!
Finn's confession
Maz's counsel
The Starkiller
Kylo Ren arrives at the battle
The abduction
Han and Leia
March of the Resistance
Snoke
On the inside
Torn apart
The ways of the Force
Scherzo for X-Wings
Farewell and the trip
The Jedi and the final steps


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50: Musica Senza Padrone review

Posted : 1 month, 1 week ago on 6 January 2016 10:56 (A review of 50: Musica Senza Padrone)

It starts "Drum dream", the first of 56 pieces spread over three CDs, and one wonders: is it possible that you either had to wait until 2015 to get their hands on an object anthology that would represent more than worthy Tullio De Piscopo? Mysteries of the discography and its strategies, but so be it. Warner has finally filled a void that no collection or poorly engraved hastily compiled, meant no alternative to baskets of the motorway, has never been able to vaguely fill.

It 'been a weird year, what you are going to conclude, by Tullio De Piscopo. Before the enterprising (and independent) Archeo Recordings vinyl reissue that absolute gem that is "Playing drums modern" (1974!), Then Warner reinterprets the musical adventures of one of the greatest drummers alive through its many (and often curious) exploits. Three CD from which emerge different truth, but two above all: if the pop vein of De Piscopo has experienced the ups and downs of an artist sometimes "loaned" to the song form of immediate enjoyment ("slow performance", here in this version "remix 2015" remains a wild card memorable, not the rule), the instrumentalist De Piscopo has instead always had an extraordinary sense of smell, by genuine connoisseur, for the right partnership.

His drumming, now powerful, now sinuous, always absolutely class, featured songs of Mina, Battiato, De Andrè. Tracks like "Our dear angel", "The era of the white boar" and "Turn the paper", however, are not sure diffcult to find, so the real added value of this box lies in songs like "Cages" ( 1979), "Black Star" (1978) or "one Rio" (1975), valuable goodies ethno-disco-funk that never deserved oblivion.
De Piscopo virtuoso who never pulls back before the possibility of a good jam, De Piscopo the Allegrone participating in Sanremo, De Piscopo who for 15 years lends his "The stadium" to the historical transmission "Sunday Sprint". Here there is everything and even more. The "more", specifically, is perhaps the third album, consisting of only instrumentals and genuine parade of flavors, arrangementi rhythms. And 'here that the good Tullio becomes more serious, almost intimidating in his wallow between genders with immaculate technical expertise and without embarrassment.
Many live versions of the songs in the lineup. DJs Balearics last generation they might have enjoyed the full in the study, the most classic "Stop bajon", but the live version here included scontenterà few.
Discrete three unpublished ("Fate and hope", with the great James Senese, a song dedicated to Pino Daniele, who also sings in "Toledo", taken from "Beautiful 'mbriana", "Song of the East", with Rocco Hunt; and "Funky virus", together with Randy Brecker and Ada Rovatti), rather than stimulating the songs composed in the current century ("It will be who knows," among many others).

50 years of "music without a master" states, but not blatantly lie, the title of this box. A career extraordinarily nomadic wandering, counterpointed by acute powerful and silent pauses. A box, perhaps belatedly, center fully the objective that every similar operation should aim: better represent the art of a musician difficult to "fill", "synthesize", "collect

Disco 1 “Drum dream”

Disco 2 “Destino e speranza”

Disco 3 “Toledo” (canta Pino Daniele)


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