Michael Caine and Geraldine Moffat in Get Carter (1971) available now on Warner Archive Instant
Trent Reznor provides commentary about what he thought of Johnny Cash’s cover of Hurt. It’s great.
(Note - if you haven’t seen the Hurt video before, you should watch it without commentary first.)
Laurence Olivier in Richard III.
I agree with British film critic Leslie Halliwell, that Laurence Olivier’s two great Shakespeare adaptations are Richard III and Henry V, and that his equally acclaimed Hamlet is less successful.
nuzz:
Alfred Hitchcock’s definition of happiness
CastleStorm DLC “From Outcast to Savior” is out today on XBLA (and some other platform called Steam). I’ve played it and it’s fun - Zen Studios really mixed up their winning level design formula and came up with some groovy new castle bombardment, tower-defense, hack-and-slash concoctions for y'all to enjoy. It adds not only new levels to progress through (and challenge yourself - they ramp up in difficulty nicely) but also a new character class, a new hero, the new nemesis Ramhorn, and, yes, more achievements.
Kudos as always to Budapest’s own Zen Studios for being a great partner to work with.
Stumbled across this high-quality video on YouTube, Pearl Jam playing most of the Ten album a few weeks before it came out, summer of ‘91. It’s surreal to watch it. Here it is, the soundtrack to the '90s, just playing it on the concrete Mural Amphitheater stage at a radio show in Seattle Center.
It’s no big thing.
The crowd likes it, sure. Pearl Jam had been playing around Seattle for a year, so people are probably somewhat familiar with the music. But not in love with it like they would be a year later. Sure, Pearl Jam got better at playing, at showmanship, but not that much better. They’re pretty damn good here. The songs are exactly the same. Eddie does his tortured singing thing that would become so trendy it’s almost a cliche now. But then it was fairly unique, at least anything else that was popular.
So why would people love it so much a year later? Time to process? Relentless radio play? The whole country suddenly decided they liked tortured alt-rock? The music’s just as good here as it would ever be. Were they afraid to love it until everyone else did too?
Taste is a funny thing.
