“Atomic Blonde” is set just before the collapse of the Berlin Wall, and as such, Charlize Theron’s latest actioner features an ‘80s-appropriate soundtrack. Artists such as A Flock of Seagulls, David Bowie, George Michael, and ‘Til Tuesday are featured on the soundtrack, which is now available to listen to Spotify. Stream it below.
Read More‘Atomic Blonde’: How They Turned One Amazing Action Scene Into a Seven-Minute Long Take
Mondo recently announced a new 2Xlp version of the soundtrack on 180-gram blue vinyl and yellow-swirl vinyl. Here’s the tracklist:
Side A
01. “Cat People (Putting Out Fire)” — David Bowie
02. “Major Tom (Völlig Losgelöst)” — Peter Schilling
03. “Blue Monday” — Health
04. “C*cks*cker” — Tyler Bates
Side B
05. “99 Luftballons” — Nena
06. “Father Figure” — George Michael
07. “Der Kommissar” — After the Fire
08. “Cities in Dust” — Siouxsie and the Banshees
Side C
09. “The Politics of Dancing” — Re-Flex
10. “Stigmata” — Marilyn Manson & Tyler Bates
11. “Demonstration” — Tyler Bates...
Read More‘Atomic Blonde’: How They Turned One Amazing Action Scene Into a Seven-Minute Long Take
Mondo recently announced a new 2Xlp version of the soundtrack on 180-gram blue vinyl and yellow-swirl vinyl. Here’s the tracklist:
Side A
01. “Cat People (Putting Out Fire)” — David Bowie
02. “Major Tom (Völlig Losgelöst)” — Peter Schilling
03. “Blue Monday” — Health
04. “C*cks*cker” — Tyler Bates
Side B
05. “99 Luftballons” — Nena
06. “Father Figure” — George Michael
07. “Der Kommissar” — After the Fire
08. “Cities in Dust” — Siouxsie and the Banshees
Side C
09. “The Politics of Dancing” — Re-Flex
10. “Stigmata” — Marilyn Manson & Tyler Bates
11. “Demonstration” — Tyler Bates...
- 7/30/2017
- by Michael Nordine
- Indiewire
Marvel Rock Variant Covers Gallery 1 of 5
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These days, variant covers have become very serious business, effectively allowing the consumer to have alternate choices as to which pieces of dynamic artwork they can add to their respective collections. Some variants may be as common as standard covers or a few may be made available to each comic shop, thereby driving up the price tag. Heck, we’ve even seen the rise of retailer and con exclusive covers in recent years, causing certain editions of books to be sought after like the Holy Grail.
Not long ago, Marvel rolled out its hip hop variants, paying tribute to some of the great album covers the genre has had to offer over the years. Basically, they take a look at the original piece and give it a bit of a superhero spin. So, having...
Click to skip
More From The Web Click to zoom
These days, variant covers have become very serious business, effectively allowing the consumer to have alternate choices as to which pieces of dynamic artwork they can add to their respective collections. Some variants may be as common as standard covers or a few may be made available to each comic shop, thereby driving up the price tag. Heck, we’ve even seen the rise of retailer and con exclusive covers in recent years, causing certain editions of books to be sought after like the Holy Grail.
Not long ago, Marvel rolled out its hip hop variants, paying tribute to some of the great album covers the genre has had to offer over the years. Basically, they take a look at the original piece and give it a bit of a superhero spin. So, having...
- 6/20/2017
- by Eric Joseph
- We Got This Covered
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James Wan's Conjuring sequel has its moments, but it also points at a format that's coming to the end of its time...
The Conjuring felt like a breath of fresh air in 2013. Although similarly plotted to a glut of other ghost films and old-fashioned to the point of being simple, it had energy, style and jump-scares as huge as the box office receipts, perpetuating the idea that director James Wan had a golden touch. Three years and a spin-off later, its official sequel (also helmed by Wan) continues to plunder the case files of celebrated paranormal experts Ed and Lorraine Warren (played again by Patrick Wilson and Vera Farmiga), albeit to far less exciting effect.
After a confusing and unnecessary prologue in the Amityville house, the action cuts to Enfield in 1977, where the inhabitants of a damp and dingy - yet abnormally spacious - council house are being troubled by a poltergeist whose aim is to "hear them scream". Peggy Hodgson (Frances O'Connor with a Dick Van Dyke accent) is a long-suffering single mum with four kids who’ve been recently abandoned by their deadbeat dad. With no money to even buy biscuits, the last thing she needs to deal with is the ghost of a nasty old man who likes moving her furniture in an inconsiderate manner (more often than not, it breaks before reaching its destination) and possessing her youngest daughter Janet. The police, a group of psychical researchers and even some TV reporters all take a look inside the Hodgson house and raise the haunting's profile, so eventually the church calls in the Warrens in from America to stay at the house and find out if the it's real or not...
The Enfield Poltergeist is, of course, a well-documented case that's already had its share of books, documentaries and films written about it (including, loosely, Stephen Volk's immaculate Ghostwatch). It is widely believed to be a hoax but this is a studio horror picture so obviously it's going to play fast and loose with the truth and opt for a supernatural explanation. Fine in theory but it's a shame that the one it goes for is so flavourless because it actually winds up being somehow less interesting than the real story. Despite a noisy torrent of house-trashing visual FX it's an indulgent, overlong half-plot with very little meat on its bones.
While the first film was hardly subtle, it knew where to draw a line to keep its scares the right side of effective. This one, however, overplays everything and not in a fun audacious way either. It just takes its good ideas and drives them off a cliff, time and time again. For example, the Crooked Man zoetrope (this film's obligatory yet inexplicable Victorian-style toy) and the dog bell both seem like strong setups for the kind of inventive scares The Conjuring pulled off so well but the payoff is bewildering; a Burton-esque CGI dogman hybrid in a candy striped suit that stomps all over the screen like it's escaped from Night At The Museum.
Likewise, the characterisation takes a similar trajectory. There's a scene where Ed sings an Elvis song with the Hodgsons to bring everyone together and, when it starts, it's a rare moment of levity; warm, funny and tender. Then it's smothered with a string section that swells and swells until any emotion is lost beneath the heavy-handed soundtrack schmaltz. Joseph Bishara's score is irrationally bombastic throughout in fact, and the use of use of contemporary (or thereabouts!) music is so hysterically on-the-nose it's hard not to laugh. There is an opening montage of the local tourist sights set to The Clash's London Calling and then – with just a few cor blimeys in between - it cuts straight to a bus stop, while playing Bus Stop by The Hollies, in case we still weren't sure we were in Britain.
The worst offence, however, is the runtime. 133 minutes! Only the most ambitious genre films should dare to go over 90 and a simple one like this, focused as it is on scares, finds it impossible to sustain that much tension. Far too many of the shocks fall flat. At their best, the long takes of characters staring into darkness channel our universal fears of being alone in the house at night, uncertain of what we've just seen or heard. At their worst, it's literally just someone staring into space. I'd estimate there’s somewhere in the region of 40 minutes worth of staring into space in this film.
Ultimately, between the first Conjuring, the Annabelle film and three Insidious chapters (also Wan-directed or produced), this format seems exhausted. There's nothing here we've not seen done before and better. From the possessed kids to the pale-faced demons to the creepy use of a corny old vaudeville tune, what once was fresh now feels stock and predictable. Even the way that Lorraine is investigating one haunting (the Enfield Poltergeist) while having ominous visions of a different one (some kind of demon nun that looks like Marilyn Manson) is exactly what happens with Lin Shaye's character in Insidious 3. I hate to make the obvious gag but if there's going to be another Conjuring, it may be time they learned a few new tricks...
The Conjuring 2 is in UK cinemas now.
Follow our Twitter feed for faster news and bad jokes right here. And be our Facebook chum here.
Movies The Conjuring 2 The Conjuring James Wan Patrick Wilson Vera Farmiga Frances O'Connor Joseph Bishara Review Craig Lines 13 Jun 2016 - 05:56...
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James Wan's Conjuring sequel has its moments, but it also points at a format that's coming to the end of its time...
The Conjuring felt like a breath of fresh air in 2013. Although similarly plotted to a glut of other ghost films and old-fashioned to the point of being simple, it had energy, style and jump-scares as huge as the box office receipts, perpetuating the idea that director James Wan had a golden touch. Three years and a spin-off later, its official sequel (also helmed by Wan) continues to plunder the case files of celebrated paranormal experts Ed and Lorraine Warren (played again by Patrick Wilson and Vera Farmiga), albeit to far less exciting effect.
After a confusing and unnecessary prologue in the Amityville house, the action cuts to Enfield in 1977, where the inhabitants of a damp and dingy - yet abnormally spacious - council house are being troubled by a poltergeist whose aim is to "hear them scream". Peggy Hodgson (Frances O'Connor with a Dick Van Dyke accent) is a long-suffering single mum with four kids who’ve been recently abandoned by their deadbeat dad. With no money to even buy biscuits, the last thing she needs to deal with is the ghost of a nasty old man who likes moving her furniture in an inconsiderate manner (more often than not, it breaks before reaching its destination) and possessing her youngest daughter Janet. The police, a group of psychical researchers and even some TV reporters all take a look inside the Hodgson house and raise the haunting's profile, so eventually the church calls in the Warrens in from America to stay at the house and find out if the it's real or not...
The Enfield Poltergeist is, of course, a well-documented case that's already had its share of books, documentaries and films written about it (including, loosely, Stephen Volk's immaculate Ghostwatch). It is widely believed to be a hoax but this is a studio horror picture so obviously it's going to play fast and loose with the truth and opt for a supernatural explanation. Fine in theory but it's a shame that the one it goes for is so flavourless because it actually winds up being somehow less interesting than the real story. Despite a noisy torrent of house-trashing visual FX it's an indulgent, overlong half-plot with very little meat on its bones.
While the first film was hardly subtle, it knew where to draw a line to keep its scares the right side of effective. This one, however, overplays everything and not in a fun audacious way either. It just takes its good ideas and drives them off a cliff, time and time again. For example, the Crooked Man zoetrope (this film's obligatory yet inexplicable Victorian-style toy) and the dog bell both seem like strong setups for the kind of inventive scares The Conjuring pulled off so well but the payoff is bewildering; a Burton-esque CGI dogman hybrid in a candy striped suit that stomps all over the screen like it's escaped from Night At The Museum.
Likewise, the characterisation takes a similar trajectory. There's a scene where Ed sings an Elvis song with the Hodgsons to bring everyone together and, when it starts, it's a rare moment of levity; warm, funny and tender. Then it's smothered with a string section that swells and swells until any emotion is lost beneath the heavy-handed soundtrack schmaltz. Joseph Bishara's score is irrationally bombastic throughout in fact, and the use of use of contemporary (or thereabouts!) music is so hysterically on-the-nose it's hard not to laugh. There is an opening montage of the local tourist sights set to The Clash's London Calling and then – with just a few cor blimeys in between - it cuts straight to a bus stop, while playing Bus Stop by The Hollies, in case we still weren't sure we were in Britain.
The worst offence, however, is the runtime. 133 minutes! Only the most ambitious genre films should dare to go over 90 and a simple one like this, focused as it is on scares, finds it impossible to sustain that much tension. Far too many of the shocks fall flat. At their best, the long takes of characters staring into darkness channel our universal fears of being alone in the house at night, uncertain of what we've just seen or heard. At their worst, it's literally just someone staring into space. I'd estimate there’s somewhere in the region of 40 minutes worth of staring into space in this film.
Ultimately, between the first Conjuring, the Annabelle film and three Insidious chapters (also Wan-directed or produced), this format seems exhausted. There's nothing here we've not seen done before and better. From the possessed kids to the pale-faced demons to the creepy use of a corny old vaudeville tune, what once was fresh now feels stock and predictable. Even the way that Lorraine is investigating one haunting (the Enfield Poltergeist) while having ominous visions of a different one (some kind of demon nun that looks like Marilyn Manson) is exactly what happens with Lin Shaye's character in Insidious 3. I hate to make the obvious gag but if there's going to be another Conjuring, it may be time they learned a few new tricks...
The Conjuring 2 is in UK cinemas now.
Follow our Twitter feed for faster news and bad jokes right here. And be our Facebook chum here.
Movies The Conjuring 2 The Conjuring James Wan Patrick Wilson Vera Farmiga Frances O'Connor Joseph Bishara Review Craig Lines 13 Jun 2016 - 05:56...
- 6/1/2016
- Den of Geek
47 years ago today, on December 14, 1968, Marvin Gaye’s “I Heard It Through the Grapevine” hit No.1 on the U.S. singles chart. The soul classic held that top position for seven weeks. Written by Motown Records producer Norman Whitfield and Barrett Strong, the song was one of many that the label recorded with multiple acts. A year before the release of Gaye’s 1968 version, Gladys Knight & the Pips also charted with the song. The success of this 1968 recording of the song took Gaye’s career to another level, and it’s secured its place in music history — Rolling Stone placed the track high on its list of the 500 Greatest Songs of All Time, at #81. In 1998, Gaye’s “Grapevine” was inducted into the Grammy Hall of Fame. Other notable December 14 happenings in pop culture history: • 1963: The Beatles’ “I Want To Hold Your Hand” rose to #1 on the U.K. charts,...
- 12/14/2015
- by Emily Rome
- Hitfix
Here’s a first look at Jonathan Rhys Meyers as The Clash’s Joe Strummer in director Derrick Borte’s London Town.
In 1970s London, a 14 year old boy is introduced to The Clash by his estranged mother and it changes his life forever.
Strummer died suddenly at age 50 on December 22, 2002 in his home at Broomfield in Somerset, England, from an undiagnosed congenital heart defect. Rolling Stone voted London Calling, the Clash’s classic 1980 album (released in 1979 in the UK) as the best album of the Eighties. Their 1982 song Should I Stay Or Should I Go was their biggest Us hit.
The coming-of-age drama is written by Kirsten Sheridan, Sonya Gildea and Matt Brown (director of The Man Who Knew Infinity) and produced by Tom Butterfield, Sofia Sondervan and Christine Vachon.
Daniel Huttlestone (Into The Woods) also stars.
Radiant Films International and Cargo Entertainment are handling foreign rights to the...
In 1970s London, a 14 year old boy is introduced to The Clash by his estranged mother and it changes his life forever.
Strummer died suddenly at age 50 on December 22, 2002 in his home at Broomfield in Somerset, England, from an undiagnosed congenital heart defect. Rolling Stone voted London Calling, the Clash’s classic 1980 album (released in 1979 in the UK) as the best album of the Eighties. Their 1982 song Should I Stay Or Should I Go was their biggest Us hit.
The coming-of-age drama is written by Kirsten Sheridan, Sonya Gildea and Matt Brown (director of The Man Who Knew Infinity) and produced by Tom Butterfield, Sofia Sondervan and Christine Vachon.
Daniel Huttlestone (Into The Woods) also stars.
Radiant Films International and Cargo Entertainment are handling foreign rights to the...
- 11/6/2015
- by Michelle McCue
- WeAreMovieGeeks.com
It’s almost that time of the year, as the latest edition of Ubisoft’s popular Assassin’s Creed franchise is almost upon us. With the launch of Assassin’s Creed: Syndicate set for October 23rd, the publisher has debuted one more trailer for the title.
Surprisingly, for a title set in London and featuring plenty of cockney gangsters, it’s a bit of a shock that Ubisoft hadn’t already used The Clash for a trailer. Perhaps they were waiting until the bitter end, though, to unleash a trailer set to the iconic “London Calling” by the influential punk band. Even ignoring the politically-charged lyrics, it only makes sense that the song and Assassin’s Creed: Syndicate came together eventually.
Set during the Industrial Revolution in Victorian London, Syndicate centers on twin assassins, Jacob and Evie Frye. With the Assassin Brotherhood on the verge of extinction, the two must...
Surprisingly, for a title set in London and featuring plenty of cockney gangsters, it’s a bit of a shock that Ubisoft hadn’t already used The Clash for a trailer. Perhaps they were waiting until the bitter end, though, to unleash a trailer set to the iconic “London Calling” by the influential punk band. Even ignoring the politically-charged lyrics, it only makes sense that the song and Assassin’s Creed: Syndicate came together eventually.
Set during the Industrial Revolution in Victorian London, Syndicate centers on twin assassins, Jacob and Evie Frye. With the Assassin Brotherhood on the verge of extinction, the two must...
- 10/22/2015
- by Eric Hall
- We Got This Covered
Making a good mix tape takes some skill. Making a great mix tape is a work of art. In order to make a great mix you need to listen to a wide range of artists. You also need to consider the audience. In other words, who are you making the mix for? It’s always smart to select music that you are guaranteed meets the tastes of the listener, but it also good to experiment and include some tracks that they may have never heard otherwise. Creating a message with the mix is also a plus, and I personally love to add tons of movie clips as an added bonus. There has to be a specific flow as well. Pacing is essential in creating a mood (or moods), but you don’t want any of the juxtapositions to be too jarring. And as with any form of editing, you need...
- 7/17/2014
- by Ricky
- SoundOnSight
Vinyl’s back, tell a friend. After having been ousted by more compact forms of music containment, those shiny Pvc songholders are back with a polite and largely inoffensive vengeance. New vinyl sales currently stand at around 600,000 units for 2013. Ok, I admit it, 600,000 units is hardly going to strike fear into the cold, grey hearts of iTunes et al. But there’s definitely a wave of support which shows no sign of breaking any time soon.
Why’s that then? Contrary to popular belief, it has less to do with Shoreditch Hipsters and more to do with the people realising just how much they love music. And a bit to do with good old consumerism.
The record’s original enforced semi-retirement was due to its size. The smaller, far more practical, cassette bowled up and basically picked on it for carrying a bit too much timber. It was like getting changed for P.
Why’s that then? Contrary to popular belief, it has less to do with Shoreditch Hipsters and more to do with the people realising just how much they love music. And a bit to do with good old consumerism.
The record’s original enforced semi-retirement was due to its size. The smaller, far more practical, cassette bowled up and basically picked on it for carrying a bit too much timber. It was like getting changed for P.
- 11/15/2013
- by Stephen Roberts
- Obsessed with Film
To mark the BFI’s release of London: The Modern Babylon, we’re giving you the chance to win a copy of the film signed by the director Julien Temple!
Narrated through a century of music and film archive treasures, this incredibly moving and compelling film tells the story of London’s epic journey through 100 years of cultural upheaval and reinvention.
From the director of The Great Rock ‘n’ Roll Swindle (1979) and Absolute Beginners (1986), London: The Modern Babylon is a kaleidoscope of TV and film clips, photos, graffiti and paintings, poetry extracts, advertising images and album covers.
Energised by an extraordinary soundtrack including iconic tracks from the Sex Pistols, The Clash, Small Faces, Lily Allen, Pink Floyd, Roxy Music, The Kinks, Madness, Bob Marley and many more, the collage of image and sound is glued together by interviews with contemporary London characters.
“It’s essentially a hopeful film about a vibrant city forever renewing itself…...
Narrated through a century of music and film archive treasures, this incredibly moving and compelling film tells the story of London’s epic journey through 100 years of cultural upheaval and reinvention.
From the director of The Great Rock ‘n’ Roll Swindle (1979) and Absolute Beginners (1986), London: The Modern Babylon is a kaleidoscope of TV and film clips, photos, graffiti and paintings, poetry extracts, advertising images and album covers.
Energised by an extraordinary soundtrack including iconic tracks from the Sex Pistols, The Clash, Small Faces, Lily Allen, Pink Floyd, Roxy Music, The Kinks, Madness, Bob Marley and many more, the collage of image and sound is glued together by interviews with contemporary London characters.
“It’s essentially a hopeful film about a vibrant city forever renewing itself…...
- 10/30/2012
- by Competitions
- HeyUGuys.co.uk
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