Overly Sarcastic Productions
Published on 13 Aug 2019“I’ve seen The Rock act before and he’s really fun and charismatic! Surely this movie starring him will be a Good Time!” I thought, foolishly.
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At Mark Steyn’s site, guest movie reviewer Kathy Shaidle lovingly reviews the cult classic — and one of my all-time favourite movies — Galaxy Quest:
In a just world, O.J. Simpson would currently be serving the 24th year of a double life sentence; Ronald Reagan would have been president during America’s bicentennial instead of Jimmy Carter — and Galaxy Quest would’ve earned half-a-billion bucks at the box office when it came out in 1999.
But inept and indifferent studio marketing (plus competition from another “sci-fi” comedy, Ghostbusters) relegated Galaxy Quest to semi-cult status. Which is ironically appropriate, given its plot:
At a science fiction convention, fans await an appearance by the cast of Galaxy Quest, a hokey interstellar TV adventure series unceremoniously cancelled in the early 1980s. The show’s fatally typecast has-been “stars” (played by Tim Allen, Alan Rickman, Sigourney Weaver, Tony Shalhoub and Daryl Mitchell) are reduced to reluctantly signing autographs at tacky gatherings like this one, when they’re not cutting ribbons (in full costume) at supermarket openings.
That is, until genuine aliens — who, in cargo cult fashion, have based their civilization on Galaxy Quest re-runs transmitted through space — touch down and beg “the crew of the NSEA-Protector” to help them defeat the villain bent on destroying their planet. The adorable Thermians innocently believe the program’s “crew” are fearless, intrepid space warriors and technological geniuses, not just washed-up actors in laughable uniforms. Their language has no word for “pretend”…
Lazily calling this movie “a Star Trek spoof” unfairly slots it alongside broad, coarse parodies like Blazing Saddles or the soulless Mars Attacks! In truth, Galaxy Quest is a tender, big hearted valentine — more My Favorite Year than Airplane.
That the film’s jokes and, more incredibly, its special effects, hold up so well twenty years later is a testament to the loving care with which Galaxy Quest was crafted. Obeying the first (yet often ignored) commandment of movie comedy, all the actors “play it straight”
TheSnakeCharmer
Published on 30 Aug 2017The Godfather Main theme song is a highly requested cover that i had to play on my bagpipes. This is “Speak softly love” and some bits from The Waltz & love theme. Here is the bagpipe cover of the Godfather theme.
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Extra Credits
Published on 18 Jun 2019Go to https://NordVPN.com/ExtraCredits to get 75% off a 3 year plan and use code
ExtraCreditsto get an extra month free. Protect yourself online today!A Clockwork Orange reflects a cultural fear of society’s moral decay in the 1960s. Its usage of a mashup slang language known as “nadsat” illustrates the complexities of rebellious youth culture. Ultimately, Anthony Burgess’s work asks us to think about if or when free will should ever be suppressed, but the major differences between the book and the film version of this story present contrasting takeaways.
Where the dystopias of Brave New World and 1984 warned against the easy slide into totalitarianism, and painted for us worlds in which freedom is nearly a forgotten thing… A Clockwork Orange presents us with a protagonist who has almost an excess of freedom, and in doing so it shows us the shift in societal fears.
When Saving Private Ryan was released in America, I made a mild observation to the effect that its premise was a lot of hooey, and received in response several indignant letters pointing out that it was “based on a true story”, that of the Sullivan brothers. Er, not quite. The Sullivans’ story is stirringly told in The Fighting Sullivans (1942, directed by 42nd Street’s Lloyd Bacon): after Pearl Harbor, all five brothers enlist — and all five die aboard the [cruiser] Juneau at Guadalcanal. As a result, to avoid the recurrence of such a freakish tragedy, the United States changed its policy on family members serving together. Steven Spielberg’s film is not “based” on the Sullivans, except insofar as General George C. Marshall, the US Army’s chief of staff, mentions their fate to explain his decision.
Rather, the film is a kind of extension of the thinking behind the policy change: when three out of four Ryan brothers are killed in action, General Marshall orders a rescue mission to retrieve the sole surviving sibling, whose general whereabouts are somewhere behind enemy lines in Normandy — and all this a couple of days after D-Day. No such incident took place: no Allied commander would have thought it worth the risk in lives to assuage one distraught mother’s potential further bereavement.
Spielberg’s mistake is that, as one of the last remaining hardcore Clinton groupies, he’s thinking in Clintonian terms — about publicity, image, spin: the death of another Ryan brother would not “look good”. When Spielberg has General Marshall read out a letter from Lincoln to a mother whose sons all died in the Civil War, we’re certainly meant to find his consoling words — that they gave their lives in a great and noble cause — inadequate. It’s a measure of the gulf between 1944 and 1998 that The Fighting Sullivans was released during the war because it was thought the supreme sacrifice of one family would be inspiring. Alas, not to baby boomers.
So much has been written about the unprecedented “realism” of this film’s war scenes that the equally unprecedented unrealism of its thinking has passed virtually unnoticed. You’ve probably seen a zillion articles about the film’s prologue — a recreation of D-Day which lasts almost as long and doubtless cost a lot more — so I’ll say only this: yes, it’s impressive; yes, every shot of blood and tissue and body parts is underlined by adroit effects; yes, every moment is a testament to Spielberg’s command of cinematic technique; but that’s the problem — you react to it as technique, as showmanship. There’s one perfect shot after another: the silence underwater, with its dangerous illusion of respite; the pitterpatter of rain on leaves gradually blurring into rifle fire. The whole thing is oddly pointless: you’re not engaged by the predicament of the troops because you’re so busy admiring the great film-maker behind them. A film cannot really be “authentic” if all you notice is the authenticity.
Mark Steyn, The Spectator, 1998-09-12 (linked from SteynOnline).
History Buffs
Published on 18 Sep 2016History Buffs is back! To thank you all for your patience while I’ve been away on holiday, I’m starting off with Master and Commander!
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Master and Commander: The Far Side of the World is a 2003 American epic historical drama film written, produced and directed by Peter Weir. The film stars Russell Crowe as Captain Jack Aubrey and Paul Bettany as Dr. Stephen Maturin. The film, which cost $150 million to make, was a co-production of 20th Century Fox, Miramax Films, Universal Pictures, and Samuel Goldwyn Films, and released on November 14, 2003 to critical acclaim. The film’s plot and characters are adapted from three novels in author Patrick O’Brian’s Aubrey–Maturin series, which includes 20 completed novels of Jack Aubrey’s naval career.
At the 76th Academy Awards, the film was nominated for 10 Oscars, including Best Picture. It won in two categories, Best Cinematography and Best Sound Editing and lost in all other categories to The Lord of the Rings: The Return of the King.
Mark Steyn on the 2017 movie Victoria & Abdul:
As I mentioned on the radio yesterday, May 24th 2019 marks the bicentennial of Queen Victoria. So it would seem appropriate to have a bit of cinematic Victoriana for our Saturday movie date. Her Majesty was an important and consequential figure in almost every corner of the world, and once upon a time the biopics reflected that. But she was to a degree unknown and unknowable, which offers great opportunities to the contemporary biographical sensibility. And so the most notable films of the last two decades belong to a sub-genre of their own: the Queen-Empress and the men who caught the eye of a lonely and isolated woman in the long decades of her widowhood. John Madden’s Mrs Brown (1997) is about the Queen’s relationship with her ghillie; Stephen Frears’ Victoria & Abdul (exactly twenty years later, 2017) is about the Queen’s relationship with her munshi.
Queen Victoria (1819-1901) portrait by Bassano, 1882.
Photo via Wikimedia CommonsIf you don’t know what a ghillie is, well, it’s a Scots Gaelic word for a Highland chief’s attendant on a fishing or hunting trip. If you don’t know what a munshi is, hey, relax: Nobody in the Royal Household does either, and so they’re a little taken aback to find that a Hindu waiter brought over to add a bit of imperial exotica to the Golden Jubilee in 1887 has suddenly been promoted to the hitherto unknown position of “Munshi and Indian Clerk to the Queen-Empress”.
A court favorite is always resented by less-favored courtiers – for whatever reason suffices. In Mrs Brown (the below-stairs mocking name for her ghillie-smitten Majesty), the favorite, John Brown, is resented for being a big brawny bit of Highland rough. In Victoria & Abdul, which begins four years after the Highland fling’s sudden death, the new favorite, Abdul Karim, is resented because his insinuating Moghul and Persian airs are regarded as ludicrously above his station.
Yet they all get what’s going on: As one lady-in-waiting at Balmoral titters, Abdul is “the brown John Brown”.
To confirm that we are in the realm of sequel, the Queen in both films is played, splendidly and sympathetically, by Judi Dench, and the supporting characters are largely identical, too – from Henry Ponsonby, the Queen’s Private Secretary, to her long-serving Lady of the Bedchamber, Lady Churchill. As in Mrs Brown, the latter screenplay is disfigured by solecisms. In the earlier film, the script cannot quite decide whether the Private Secretary is “Sir Henry” or “Mr Ponsonby”. In the sequel, Judi Dench sighs that, “I have almost a billion citizens” – not a sentence she would ever have uttered: she had almost a billion subjects – and, as wily old Éamon de Valera would later remark in another context, the concept of “citizenship” was all but unknown in the British Empire. One of her last major legislative acts was to give Royal Assent to the Australian constitution – which she found to be in very poor taste, as the word “Commonwealth” reminded her of Oliver Cromwell.
… sometimes Mark Steyn seems like the only conservative you can discuss these issues with, because most Republicans think popular culture is beside the point, if not downright dangerous. Steyn, on the other hand, has performed “Kung Fu Fighting” before thousands of people in civic auditoria more accustomed to Mary Kay Cosmetics conventions, so he gets it.
“Social conservatives are always editing pop culture,” says Steyn, “and it’s completely pathetic. Conservatives play to the caricature. Mention a French movie and the crowd turns on you. It’s a reductive view of the world. There are ideological enforcers casting aside works of art because they contain bad words or uncomfortable associations. It’s one of the biggest abdications of the American right. Who gives a crap about who gets elected to the Congressional district in Ohio? — that’s not going to change the culture. It’s movies that move the culture. And if you abdicate that space, you lose. Jeb Bush spent a billion dollars to get 2.8 per cent of the vote in Iowa. Mitt Romney and people like him who have a billion dollars — don’t spend it on politics, buy a TV network! Theatre, movies, music, that’s where the battles are fought. They’ve abdicated that space in the schools. As a result, my kid had to sit through Al Gore’s lousy movie three times. All effective storytelling is inherently conservative — because your choices have consequences. For the Left, nothing has consequences. But the trends are all in the Left’s direction, because the Right got out of the game — they chose to make themselves culturally irrelevant. If you’re not in the same room, having the conversation, there’s not gonna be a solution.”
Mark Steyn, interviewed by John Bloom, “Mark Steyn, Cole Porter and Free Speech”, Quadrant, 2017-05-11.
PeriscopeFilm
Published on 20 Sep 2017Support Our Channel : https://www.patreon.com/PeriscopeFilm
Made in 1945, THE BROAD FOURTEENS is one of the excellent, dramatized accounts of WWII made by the Ministry of Information for morale purposes. The film shows the first posting, and eventual first action, of a newly-trained motor torpedo boat (MTB) crew. (‘The Broad Fourteens’ is the name given to a patrol area of the North Sea off the Dutch coast.) The film joins the boat and crew at the end of their training (probably HMS Bee, the Coastal Force working up base at Weymouth). The boats featured include 70’ Vosper 1942 class boats, 70’ British Power Boat motor gunboats and MTB 210 — a J Samuel White-built 70’ Vosper which later joined the 13th MTB Flotilla at Dover. The fictional MTB 181 is probably MTB 352, commanded by Lieutenant John M Moore RNVR which joined the 11th MTB Flotilla at Felixstowe after completing her work up. Also featured is MTB 354, commanded by Lieutenant Roland Plugge RN which was the SO’s boat, 5th MTB Flotilla, at Dover. The German flak trawler is in fact an RN Isles Class trawler standing in.
(0:48) Introduces the viewer to how the “broad fourteens” came to exist. Navy training is depicted (2:15). At the training commander’s office (2:25) the film shows the commander and the captain conversing about torpedo and battle experiences and strategies. [Note that they emphasize that Lieutenant Howard is Canadian, although clearly serving in the Royal Navy, as he doesn’t have a “Canada” patch on the shoulder of his uniform.] The crew is shown going through their regular activities. They discuss the previous battles as they are called together. The commander and the captain (5:10) discuss the boat’s impending departure. 5:40 shows the operational base as crews and the commander busily arrive the base. (6:48) operation room as a crew brings a report to the commander. The captain talks about his crew alongside another (7:28). At mark 8:00 the film shows the crew’s residential life. The crew are shown prepping for the first operation as their boats head offshore (9:15) and into the deep sea. The captain is shown calculating the boat’s navigation on his map (10:20). A communication link is established (11:18) and the captain discusses how much longer it is till they get to the operation site. Back at the base (12:20) the crews left converse. The crews are seen at the starmouth arms (14:30), they enjoyed listening to their music at (15:00). The crew takes care of their ship (16:05).
The commander converses with the captain (16:45). The crew are shown in their rooms (17:18). (17:27) is the Starmouth Arms where the crew talk among themselves. The Starmouth Arms manager receives a call which got all crews back to their base (18:40). The commander gives a report (19:20) on the mission and key targets. The meeting closes (20:00) as all crew member are set as they start their engine and move on (21:15). On the deep sea is the navigation map (21:50). At mark 22:20, the crews stops for awhile and takes a break. They move on (22:53). The key target is seen (23:10) and the troops get ready for firing. All crew on set as they wait on the captain to give the go ahead to shoot (23:50). The captain makes the key calculations as the crew stands by for the torpedo release. He gives the go (24:47) and the torpedo is launched out. The torpedo engages the target (25:06). Reports about the operation are documented (25:30) as they proceed to rendezvous point. Two German gun boats are sighted (25:47) as they appear and fire at the crew (26:03). Firing continues till 26:45. There is alarm about fire at the cargo base as a crew is injured (27:00). The fire is attended to as firing continues (27:50). The report about the casualty and the op is documented (28:30). Explosives are launched across the sea towards the enemy gun boats (29:15) as they cool down the heat on them.
Meanwhile back at the base, the film shows the commander (30:00) receiving a visit from his superior, who asks about the mission report as he looks towards the map (30:40). At the battle front, the captain asks about news on the gun boats (31:11) as his underlings all wait in anxiety. The gun boats are sighted (31:38) as they closes on fast towards the crew. At mark 31:53, they opened fire against the boat. A crew is hit (32:15). A gun boat comes in their rescue (33:00) and defeats the enemy boat. Gregory and Johnny are shown wounded. The gun boat (34:00) makes reports and request the course as they depart for home port.
This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com
Dune (1982) is a Lawrence of Arabia pastiche with a mad bucket of half-baked science fiction tropes bolted onto it. It includes so much extraneous, confusing detail from the novel’s world, but when you think of all the things it omits you really get a good sense of why Lynch (or anyone?) could not form it in 2 or 3-hours.
I think there are two things that could be done to fix it. Firstly, remove all the speaking and turn the whole thing into a hallucinatory Lynchean nightmare, perhaps to be accompanied by Brian Eno’s mythic 45-minute album of Dune music. […]
Secondly, use Lynch’s movie as the basis for a full-length animated TV miniseries by rotoscoping it and bringing back the original actors for several hours or so of newly-animated scenes.
Rob Beschizza, “Sorry, David Lynch’s Dune sucks (or does it?)”, Boing Boing, 2017-04-21.
… it is not widely realized (nor will this film tell you) how much violence was associated with Gandhi’s so-called “nonviolent” movement from the very beginning. India’s Nobel Prize-winning poet, Rabindranath Tagore, had sensed a strong current of nihilism in Gandhi almost from his first days, and as early as 1920 wrote of Gandhi’s “fierce joy of annihilation,” which Tagore feared would lead India into hideous orgies of devastation — which ultimately proved to be the case. Robert Payne has said that there was unquestionably an “unhealthy atmosphere” among many of Gandhi’s fanatic followers, and that Gandhi’s habit of going to the edge of violence and then suddenly retreating was fraught with danger. “In matters of conscience I am uncompromising,” proclaimed Gandhi proudly. “Nobody can make me yield.” The judgment of Tagore was categorical. Much as he might revere Gandhi as a holy man, he quite detested him as a politician and considered that his campaigns were almost always so close to violence that it was utterly disingenuous to call them nonviolent.
For every satyagraha true believer, moreover, sworn not to harm the adversary or even to lift a finger in his own defense, there were sometimes thousands of incensed freebooters and skirmishers bound by no such vow. Gandhi, to be fair, was aware of this, and nominally deplored it — but with nothing like the consistency shown in the movie. The film leads the audience to believe that Gandhi’s first “fast unto death,” for example, was in protest against an act of barbarous violence, the slaughter by an Indian crowd of a detachment of police constables. But in actual fact Gandhi reserved this “ultimate weapon” of his to interdict a 1931 British proposal to grant Untouchables a “separate electorate” in the Indian national legislature — in effect a kind of affirmative-action program for Untouchables. For reasons I have not been able to decrypt, Gandhi was dead set against the project, but I confess it is another scene I would like to have seen in the movie: Gandhi almost starving himself to death to block affirmative action for Untouchables.
From what I have been able to decipher, Gandhi’s main preoccupation in this particular struggle was not even the British. Benefiting from the immense publicity, he wanted to induce Hindus, overnight, ecstatically, and without any of these British legalisms, to “open their hearts” to Untouchables. For a whole week Hindu India was caught up in a joyous delirium. No more would the Untouchables be scavengers and sweepers! No more would they be banned from Hindu temples! No more would they pollute at 64 feet! It lasted just a week. Then the temple doors swung shut again, and all was as before. Meanwhile, on the passionate subject of swaraj, Gandhi was crying, “I would not flinch from sacrificing a million lives for India’s liberty!” The million Indian lives were indeed sacrificed, and in full. They fell, however, not to the bullets of British soldiers but to the knives and clubs of their fellow Indians in savage butcheries when the British finally withdrew.
Richard Grenier, “The Gandhi Nobody Knows”, Commentary, 1983-03-01.
Skallagrim
Published on 16 Feb 2019Support My Channel! Download Free ⚔️ Vikings War Of Clans Here
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And Get 200 💰 Gold, And a ⛨ Protective Shield for FREEHave you ever wondered what Inigo Montoya and Westley chatter about while dueling with swords? What is Bonetti’s Defense? Does Thibault really cancel out Capo Ferro? And how realistic is the fighting overall?
You’ll find out in this video.
From the comments:
Skallagrim
2 days agoYes, you caught me… Should have said Thibault’s treatise was published in 1630. He did not write it after his death…
Although that would be pretty badass. Imagine you’re so dedicated to the art of fencing that you become a lich just to finish your work.
TimeGhost History
Published on 13 Mar 2019The rise of the media superstar and the rise of Naziism had a lot to do with each other. The early death of one of the first media superstars, Rudolph Valentino in 1926 shows us exactly how and why.
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Hosted by: Indy Neidell
Directed by: Astrid Deinhard
Written by: Spartacus Olsson
Produced by: Astrid Deinhard
Executive Producers: Bodo Rittenauer, Astrid Deinhard, Indy Neidell, Spartacus Olsson
Creative Producer: Joram Appel
Post Production Director: Wieke Kapteijns
Edited by: Wieke Kapteijns
Research by: Spartacus OlssonColorized Pictures by Olga Shirnina
https://klimbim2014.wordpress.comVideo Archive by Screenocean/Reuters http://www.screenocean.com
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
TimeGhost History
2 hours ago
After a week of radio silence, we’re back with another Between Two Wars episodes. We’re continuing in the spirit of where we left off, and enter the crazy and hyped-up world of superstars. We hope that you like our video! If you do, please consider supporting us on Patreon or via our website timeghost.tv. We are still only just managing to cover the minimum that is required to produce this content. Every dollar truly counts. -> https://www.patreon.com/TimeGhostHistory
The Rubin Report
Published on 4 Apr 2016Stephen Fry (actor and comedian) joins Dave Rubin for a quick discussion about political correctness, clear thinking, V for Vendetta, free speech, and his decision to quit Twitter.
This is a bonus edition of ‘The Sit Down’ on The Rubin Report, filmed on the set of Larry King Now.
What are your thoughts? Comment below or tweet to Dave: https://twitter.com/RubinReport
Watch more on Ora TV: http://www.ora.tv/rubinreport
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Stephen Fry
Actor, Author, and Comedian
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Care about free speech? Tired of political correctness? Like discussions about big ideas? Watch Dave Rubin on The Rubin Report. Real conversations, unfiltered rants, and one on one interviews with some of the most interesting names in news and entertainment. Comedians, authors, and influencers join Dave each week to break down the latest in politics and current events. Real people, real issues, real talk.
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