Last Week’S Review: ‘Preacher’ Gets Gross As It Emulates The Alamo
In The Beginning
Time to check back in with The Cowboy, because the show’s got big plans for him. He returns to Ratwater seeking revenge, and lives up to his sterling murder reputation by killing every single person in a crowded bar in about 60 seconds. He even insists on musical accompaniment, and concludes his slaughter by decapitating the singer, proving he’s a one-of-a-kind homicide showman. “Preacher’s” at its best in its action sequences, and this one’s no exception. The goal was to show how dangerous The Cowboy can be when he chooses, and it delivered.
Send Me An Angel
Fiore and DeBlanc, meanwhile, are looking to go to Hell. With their heaven phone stolen (by Cassidy, it turns out) they’re forced to turn to an underground angel tourism service. The bit where they...
In The Beginning
Time to check back in with The Cowboy, because the show’s got big plans for him. He returns to Ratwater seeking revenge, and lives up to his sterling murder reputation by killing every single person in a crowded bar in about 60 seconds. He even insists on musical accompaniment, and concludes his slaughter by decapitating the singer, proving he’s a one-of-a-kind homicide showman. “Preacher’s” at its best in its action sequences, and this one’s no exception. The goal was to show how dangerous The Cowboy can be when he chooses, and it delivered.
Send Me An Angel
Fiore and DeBlanc, meanwhile, are looking to go to Hell. With their heaven phone stolen (by Cassidy, it turns out) they’re forced to turn to an underground angel tourism service. The bit where they...
- 7/25/2016
- by Jeff Stone
- Indiewire
Read More: ‘Preacher’ Demands Our Faith in ‘Monster Swamp’
In The Beginning
Hey, it’s the Cowboy again! Yes, the inscrutable cold open from episode 2 finally gets some narrative meat on its bones as the Cowboy’s sense of morality gets the better of him, costing him first his horse, then his family, whom he failed to deliver medicine to in time. This causes the Cowboy to take up his guns again, sort of like “Unforgiven” in miniature. Sure, it’s not clear what any of this has to do with what’s going on in the present day, but it at least has the decency to move at a good clip. Unfortunately, the rest of the episode isn’t so fleet-footed.
Say The Word
I know that last time I guessed (hoped) that the stranger aspects of the show would become more prominent this time around, but that doesn...
In The Beginning
Hey, it’s the Cowboy again! Yes, the inscrutable cold open from episode 2 finally gets some narrative meat on its bones as the Cowboy’s sense of morality gets the better of him, costing him first his horse, then his family, whom he failed to deliver medicine to in time. This causes the Cowboy to take up his guns again, sort of like “Unforgiven” in miniature. Sure, it’s not clear what any of this has to do with what’s going on in the present day, but it at least has the decency to move at a good clip. Unfortunately, the rest of the episode isn’t so fleet-footed.
Say The Word
I know that last time I guessed (hoped) that the stranger aspects of the show would become more prominent this time around, but that doesn...
- 6/27/2016
- by Jeff Stone
- Indiewire
Last Week’S Review: ‘Preacher’ Builds Its Mysteries In a Low-Key Episode (By Comparison)
In The Beginning
You know the old trope of how when small Texas towns are dominated by a single business, that business lets its employees hunt down prostitutes with paintball guns in the dead of night? We open with that classic scenario, as the Quincannon men chase down and corner a girl named Lacey. She gives up, but Clive, the guy Tulip beat at cards last episode, shoots her anyway. She takes a step back and vanishes into a sinkhole. Just another typical night in Annville!
Tulip Does Cool Stuff
Despite the rather out-there beginning, this is a pretty sedate episode, but Tulip does get a chance to raise some hell. After Lacey’s dead body has to be pulled out of the hole by a crane, Odin Quincannon, ever the picture of tact, takes a...
In The Beginning
You know the old trope of how when small Texas towns are dominated by a single business, that business lets its employees hunt down prostitutes with paintball guns in the dead of night? We open with that classic scenario, as the Quincannon men chase down and corner a girl named Lacey. She gives up, but Clive, the guy Tulip beat at cards last episode, shoots her anyway. She takes a step back and vanishes into a sinkhole. Just another typical night in Annville!
Tulip Does Cool Stuff
Despite the rather out-there beginning, this is a pretty sedate episode, but Tulip does get a chance to raise some hell. After Lacey’s dead body has to be pulled out of the hole by a crane, Odin Quincannon, ever the picture of tact, takes a...
- 6/20/2016
- by Liz Shannon Miller
- Indiewire
Twenty-five years ago this week, the Fred Savage movie The Wizard hit theaters. For many '80s babies, this was required viewing - either to see a first glimpse of the yet-to-be-released Super Mario Bros. 3 or to see what the Wonder Years star looked like in contemporary clothes. Critics, however, dismissed this video-gaming, road trip movie as a showcase for Nintendo products. Roger Ebert's review began on a sharply sarcastic note: "This is a movie that has everything going for it, except for a good script, a believable premise and common sense." Today, The Wizard stands as a reminder...
- 12/18/2014
- by Drew Mackie, @drewgmackie
- PEOPLE.com
Rad
Directed by Hal Needham
Written by Sam Bernard and Geoffrey Edwards
1986, USA
It’s going to take a lot more than skill for Cru Jones to conquer the toughest BMX challenge in the world. It’s going to take a miracle.
Rad, made three years after Nicole Kidman’s BMX Bandits, remains the most popular BMX film to date; which isn’t saying much since there have only been a handful of BMX films ever made. A product of the 80′s, Rad seems more interested in ramping up as much product placement as it could squeeze in, than in character development or plot – but longtime Stuntman-turned-director Hal Needham (Smokey and the Bandit, Cannonball Run) does the best he can with the script given to him. In fact, Rad fits so well into Needham’s oeuvre that it’s no wonder he offers a stunning opening 8 minute BMX montage and...
Directed by Hal Needham
Written by Sam Bernard and Geoffrey Edwards
1986, USA
It’s going to take a lot more than skill for Cru Jones to conquer the toughest BMX challenge in the world. It’s going to take a miracle.
Rad, made three years after Nicole Kidman’s BMX Bandits, remains the most popular BMX film to date; which isn’t saying much since there have only been a handful of BMX films ever made. A product of the 80′s, Rad seems more interested in ramping up as much product placement as it could squeeze in, than in character development or plot – but longtime Stuntman-turned-director Hal Needham (Smokey and the Bandit, Cannonball Run) does the best he can with the script given to him. In fact, Rad fits so well into Needham’s oeuvre that it’s no wonder he offers a stunning opening 8 minute BMX montage and...
- 5/12/2013
- by Ricky da Conceição
- SoundOnSight
Alicia Keys takes the place of Aretha Franklin and many other stars attend, including R Kelly, Kevin Costner and Stevie Wonder
For those of us who had long admired her work, it would have felt rude not to look in on Whitney Houston's funeral, or "Homecoming", as it was dubbed, held at the place where she first sang gospel as a girl – New Hope Baptist church in Newark, New Jersey; although maybe not as rude as allowing the world's cameras into the church, while cordoning off the roads to keep her fans away.
Before the ceremony, the roads were festooned with balloons, flowers and messages, while commentators suddenly stopped babbling about hotel death-baths, the notorious Diane Sawyer interview ("Crack is whack!"), and ex-husbands, and instead started talking more quietly about gold coffins, half-mast flags, and Houston's devastated loved ones, daughter Bobbi Kristina, mother Cissy, cousin, Dionne et al.
Still,...
For those of us who had long admired her work, it would have felt rude not to look in on Whitney Houston's funeral, or "Homecoming", as it was dubbed, held at the place where she first sang gospel as a girl – New Hope Baptist church in Newark, New Jersey; although maybe not as rude as allowing the world's cameras into the church, while cordoning off the roads to keep her fans away.
Before the ceremony, the roads were festooned with balloons, flowers and messages, while commentators suddenly stopped babbling about hotel death-baths, the notorious Diane Sawyer interview ("Crack is whack!"), and ex-husbands, and instead started talking more quietly about gold coffins, half-mast flags, and Houston's devastated loved ones, daughter Bobbi Kristina, mother Cissy, cousin, Dionne et al.
Still,...
- 2/19/2012
- by Barbara Ellen
- The Guardian - Film News
Whitney Houston's funeral brought the singer back to where it all began - the New Hope Baptist Church in Newark, N.J., where she performed as a child in the choir. On Saturday, those same walls were filled with music and stories of the star who touched so many lives in her 48 years. With tears and laughter, BeBe Winans shared memories of sitting with Houston - in her closet - preparing for her first tour. "We weren't crowded," he joked of the space. "It was as big as this church." Photos: Whitney: Mourning an IconTyler Perry passionately shared glimpses of the Whitney he knew,...
- 2/18/2012
- by Danielle Anderson
- PEOPLE.com
Keys, who shared a mentor with Houston in Clive Davis, performs 'Send Me an Angel' during Saturday's funeral in New Jersey.
By Rebecca Thomas
Alicia Keys, Clive Davis and Swizz Beatz (file)
Photo: Jason Merritt/ Getty Images
After a stormy 14-year marriage to bad-boy singer Bobby Brown, Whitney Houston decided to end that chapter in 2006. Three years later, Houston had aligned again with mentor Clive Davis, the music industry impresario who first discovered a teenage Whitney belting out tunes in a nightclub and signed her to his Arista Records. Their final collaboration, I Look to You, was set to launch her on a "comeback" trail.
Like so many young singers, Alicia Keys — also a Davis acolyte — had long looked up to Houston. But the gifted songwriter cemented her connection to Houston, who was found dead at 48 a week ago, by writing the album's hit single, "Million Dollar Bill.
By Rebecca Thomas
Alicia Keys, Clive Davis and Swizz Beatz (file)
Photo: Jason Merritt/ Getty Images
After a stormy 14-year marriage to bad-boy singer Bobby Brown, Whitney Houston decided to end that chapter in 2006. Three years later, Houston had aligned again with mentor Clive Davis, the music industry impresario who first discovered a teenage Whitney belting out tunes in a nightclub and signed her to his Arista Records. Their final collaboration, I Look to You, was set to launch her on a "comeback" trail.
Like so many young singers, Alicia Keys — also a Davis acolyte — had long looked up to Houston. But the gifted songwriter cemented her connection to Houston, who was found dead at 48 a week ago, by writing the album's hit single, "Million Dollar Bill.
- 2/18/2012
- MTV Music News
David Lynch released an uncharacteristically electronic single called "Good Day Today" on iTunes. It's not as pleasing to my ear as his film soundtrack work with Angelo Badalamenti or Julee Cruise, nor as cool as the kind of hazy oldies sounds he created with Dangermouse & Sparklehorse on Dark Night Of The Soul. Still, as electronic music goes this is brilliant. Lynch manages to tap into some kind of spiritual succession to Ice Cube's "It Was A Good Day" in this beat driven reverie about having a good day in a treacherous world.
"So tired of fire, so tired of smoke / Send me an angel, save me / I wanna have a good day today," sings an android Lynch who sounds like his battery is dying out. The song's only real variance from the linear beat it rocks along on comes when he starts repeating the line "So tired of..." which is echoed by gunfire.
"So tired of fire, so tired of smoke / Send me an angel, save me / I wanna have a good day today," sings an android Lynch who sounds like his battery is dying out. The song's only real variance from the linear beat it rocks along on comes when he starts repeating the line "So tired of..." which is echoed by gunfire.
- 11/30/2010
- by Brandon Kim
- ifc.com
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