The Great Mouse Detective OST

"The Great Mouse Detective" is a film that suffers with a slight split personality. Three fourths of the movie is typical cutesy Disney fare; the last fourth, featuring the battle between the good detective and the evil Ratigan is somewhat intense, possibly a little too intense for the very young.

Mancini's score reflects this. The main title is exciting and engaging. Vincent Price's solo turns on "The World's Greatest Criminal Mind" and "Goodbye So Soon" are hilarious and melodic, in a sinister way. As an earlier reviewer stated, the Melissa Manchester addition "Let Me Be Good to You" is quite provocative for a "G-rated" family film.

The "Big Ben Chase" is ominous and thrilling as the two rodents are involved in a deadly battle atop London's famous landmark. Mancini's music has never been more "on the mark."

Look strange...but the music is amazing!!!

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Silencio

Rita

Mulholland Dr. OST

Like every collaboration between David Lynch and Angelo Badalamenti, Mulholland Drive's soundtrack is equally eerie, elegant, and eclectic, spanning the up-tempo swing of "Jitterbug" and the haunting drones of the film's main theme in its first two tracks alone. Badalamenti's work ranges from the jazzy "Dinner Party Pool Music" to the ominous ambience of "Diner," "Silencio," and "Dwarfland/Love Theme." Lynch's own surfy, guitar-based compositions, "Mountains Falling" and "Go Get Some," aren't quite as transporting as Badalamenti's pieces, but they do offer a sonic twist on the sunny California that Lynch subverts in the film. Similarly, Linda Scott's sugary-sweet "I've Told Every Little Star" takes on a slightly disturbing edge in the context of the album, while "Llorando," Rebecca Del Rio's Spanish a cappella version of Roy Orbison's classic "Crying," only sounds more vulnerable and heart-wrenching. More focused than the Lost Highway soundtrack and more traditionally Lynchian than the score for The Straight Story, Mulholland Drive is a mysterious and affecting soundtrack from one of the most consistently creative teams working in film.

01. Jitterbug
02. Mulholland Drive
03. Rita Walks/Sunset Boulevard/Aunt Ruth
04. Diner
05. Mr. Roque/Betty's Theme
06. The Beast
07. Bring It On Home
08. I've Told Every Little Star
09. Dwarfland/Love Theme
10. Silencio
11. Llorando (Crying)
12. Pretty 50s
13. Go Get Some
14. Diane And Camilla
15. Dinner Party Pool Music
16. Mountains Falling
17. Mulholland Drive/Love

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The Manson Family (2003)

The release of “The Manson Family” marks for cult underground director Jim Van Bebber (who made a name for himself with the brutal “Deadbeat at Dawn”) the end of a struggle which, incredibly, began back in 1988 when financing ran out during the film’s principal photography. After more than a decade of false starts and botched deals, not to mention the continuity nightmare of watching his lead actors age, it is remarkable, and indeed a tribute to Van Bebber’s inhuman persistence, that the film has actually been finished at all. Made for next to nothing, and in an uncompromising visual and visceral style, “The Manson Family” is a true work of passion and self-belief, and as such represents filmmaking at its most pure, unfettered by financial or commercial considerations. Despite support from various people, including members of the band Skinny Puppy, who provided a musical score (in the form of Download's Charlie's Family album) that was released separately years before the film itself, the film remained incomplete. It screened on video as a work-in-progress at a number of film festivals during that time.

Despite not being banned in any country in the world, it is classified harshly in almost all countries of the world because of the extremely graphic nature and sexuality.

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"You've seen the story through the eyes of the law... Now see it through the eyes of The Manson Family"

Blueberry (2004)

Blueberry (Blueberry: L'expérience secrète) is a French movie adaptation of the popular Franco-Belgian comic book series Blueberry, illustrated by Jean Giraud (better known as Moebius) and scripted by Jean-Michel Charlier. It is very loosely based on the comic (so much so that the late Charlier's family disowned the film) and adds in mystical and shamanic elements not present in the source material of interest to the movie's director, Jan Kounen. The film starred the French star Vincent Cassel as the title character along with Michael Madsen and Juliette Lewis. Although the film is a French production, the language of the film is in English because the story is set in America's Wild West in the 1870s. Since the character of Blueberry remains obscure in the States, the film was released on DVD in America in November 2004 under the title Renegade and marketed very much as a conventional Western.

Trailer
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Октябрь (1928)

October: Ten Days That Shook the World (Russian: Октябрь (Десять дней, которые потрясли мир); transliteration: Oktyabr': Desyat' dney kotorye potryasli mir) is a Soviet silent film made in by Sergei Eisenstein, sometimes referred to simply as October in English. It is a dramatization praising the 1917 October Revolution.

October was one of two films commissioned by the Soviet government to honour the tenth anniversary of the October Revolution (the other was Vsevolod Pudovkin's The End of St. Petersburg). Eisenstein was chosen to head the project due to the international success he had achieved with The Battleship Potemkin in 1925 . The title is taken from John Reed's book on the Revolution, Ten Days That Shook The World. Nikolai Podvoisky, one of the troika who led the storming of the Winter Palace was responsible for the commission. The scene of the storming was based more on the 1920 re-enactment involving Lenin and a thousands of Red Guards, witnessed by 100,000 spectators, than the original occasion, which was far less photogenic.

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Стачка (1925)

Strike (Russian: Стачка, translit. Stachka) is a silent film made in the Soviet Union by Sergei Eisenstein. It was Eisenstein's first full-length feature film, and he would go on to make The Battleship Potemkin later that year. It was acted by the Proletcult Theatre, and composed of six parts. It was in turn, intended to be one part of a seven-part series, entitled Towards Dictatorship (of the proletariat), that was left unfinished. Eisenstein's influential essay, Montage of Attractions was written between Strike's production and premiere.

The film depicts a strike by the workers of a factory in pre-revolutionary Russia, and their subsequent suppression. The film is most famous for a sequence near the end in which the violent putting down of the strike is cross-cut with footage of cattle being slaughtered, although there are several other points in the movie where animals are used as metaphors for the conditions of various individuals. Another theme in the film is collectivism in opposition to individualism which was viewed as a convention of western film. Collective efforts and collectivization of characters were central to both Strike and Battleship Potemkin. Eisenstein's first film tells the story of a fictional labor strike in pre-Soviet Russia. The suicide of a worker leads to a mass walkout. The bosses and political authorities employ spies and a gang of street thugs to sabotage the strike. When that fails, they bring in armed Cossacks to crush the rebellion by force.

The film shows the young director already in command of the elements of montage to an astonishing degree. The sense of precision, the instinct for combining editing rhythm with drama and the movements of people, practically assault the viewer with the force of a revelation. Along with this power over the image comes a vaguely oppressive feeling - everything we see is so exactly determined by the director's vision that the viewer's eye and mind can feel hampered - a common characteristic of Eisenstein's early masterpieces.

The weak points of Strike are the acting (most of the performers show evidence of their stage backgrounds by being overly theatrical in their gestures) and the propagandistic caricatures of the capitalist bosses. Eisenstein stacks the deck by depicting the bosses as overweight, cigar-puffing villains wearing top hats. That was a stereotype even then. Now it tends to puncture the film's seriousness.

Strike ends with two amazing set pieces. The first shows the fire brigade turning its hoses on the protesting workers. Never have I seen anything so realistic. Those people are really getting blasted by the water, and the dynamic cutting and sense of detail create a riveting immediacy which is a model for any sequence of its kind. The second set piece is the invasion by the mounted Cossacks on the workers' tenement housing. A sort of precursor to the Odessa Steps scene in Potemkin, this long and blisteringly violent tour de force is almost as great and certainly as horrifying as that celebrated sequence.

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Guinea Pig: Mermaid in the Manhole (1988)

Ginî piggu 4: Manhôru no naka no ningyo

Based on a manga by Hideshi Hino and directed by the mangaka himself, the next installment of the Guineapig series, Za ginipiggu 4: Manhoru no naka no ningyo is about an artist who is trying to cope with the recent death of his wife. One day while being in the sewers beneath the streets of Okinawa, he comes across a mermaid that he had met before when he was a kid, when the sewers used to be a big river. He sits down to paint her, but soon she starts crying in agony, and the painter notices that she has some kind of sores on her body. She has been stuck in the sewers for a long time and she must have been infected by the environment down there. The artist takes her back to his house, and after a brief period of time, the mermaid develops lacerations and begins to bleed. The artist uses the blood and pus from the wounds to paint her portrait, but as he paints, her condition worsens and she dies.

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Die Abenteuer des Prinzen Achmed (1926)

The Adventures of Prince Achmed is a feature-length animated film by the german animator Lotte Reiniger. It is the oldest surviving animated feature film (two earlier ones were made in Argentina by Quirino Cristiani, but they are considered lost, and it featured a silhouette animation technique Reiniger had invented which involved manipulated cutouts made from cardboard and thin sheets of lead under a camera. The technique she used for the camera is similar to Wayang shadow puppets (though hers were animated frame by frame, not manipulated in live action). The original prints featured color tinting. The story is based on the elements taken from the collection 1001 Arabian Nights, specifically The Story of Prince Ahmed and the Fairy Paribanou featured in Andrew Lang's The Blue Fairy Book. With the assistance of Aladdin, the Witch of the Fiery Mountain, and a magic horse, the title character battles the evil African sorcerer to win the hand of Princess Pari Banou.

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Onibaba (1964)

Onibaba (literally Demon Woman) is a japanese horror film based on a Buddhist parable. Directed by Kaneto Shindō, the film is set in rural Japan in the fourteenth century and features Nobuko Otowa and Jitsuko Yoshimura as a woman and her daughter-in-law who attack and kill passing samurai, strip them of their valuable armor and possessions, and dispose of the bodies in a deep pit.

Deep within the wind-swept marshes of war-torn medieval Japan, an impoverished mother and her daughter-in-law eke out a lonely, desperate existence. Forced to murder lost samurai and sell their belongings for grain, they dump the corpses down a deep, dark hole and live off of their meager spoils. When a bedraggled neighbor returns from the skirmishes, lust, jealousy, and rage threaten to destroy the trio’s tenuous existence, before an ominous, ill-gotten demon mask seals the trio’s horrifying fate. Driven by primal emotions, dark eroticism, a frenzied score by Hikaru Hayashi, and stunning images both lyrical and macabre, Kaneto Shindo’s chilling folktale Onibaba is a singular cinematic experience.

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1984

Spalovac mrtvol (1969)

The Cremator

A blend of horror and political allegory, with plenty of black humor. Rudolf Hrusínský gives a fantastic performance playing the demented lead role. Everything in the film is filtered through him, and the use of fish eye lens, close-up POV montages, and these weird invisible cut (where a new scene begins with what appears to be a close up of the previous scene, and zooms out to reveal the new scene) all characterizes his his twisted perspective. The film draw a connection between cremation/death and the Nazi racial cleansing. It's interesting how Herz makes the lead into a Tibet/Dali Lama nutcase, since the Nazis perverted the Buddhist swastika. Kopfrkingl enjoys his job at a crematorium in Czechoslovakia in the late 1930s. He likes reading the Tibetan book of the dead, and espouses the view that cremation relieves earthly suffering. At a reception, he meets Reineke, with whom he fought for Austria in the first World War. Reineke convinces Kopfrkingl to emphasize his supposedly German heritage, including sending his timid son to the German school. Reineke then suggests that Kopfrkingl's half-Jewish wife is holding back his advancement in his job.

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Passchendaele

Dead Man OST - Neil Young (1996)

Neil Young recorded the soundtrack by improvising (mostly on his electric guitar, with some acoustic guitar, piano and an) as he watched the newly edited film alone in a recording studio -of course, Young did compose the main body of the soundtrack before improvising the entire work. The soundtrack album consists of seven instrumental tracks by Young, with dialog excerpts from the film and Johnny Depp reading the poetry of William Blake interspersed between the music.

Dead Man is the soundtrack to the 1995 Jim Jarmusch western-themed film of the same name starring Gary Farmer and Johnny Depp as William Blake. Neil Young recorded the soundtrack by improvising (mostly on his electric guitar, with some acoustic guitar, piano and an) as he watched the newly edited film alone in a recording studio. The soundtrack album consists of seven instrumental tracks by Young, with dialog excerpts from the film and Johnny Depp reading the poetry of William Blake interspersed between the music. The version of the main theme used over the film’s beginning and end credits is not included, but was released as a promo single.

Track Linsting:
1. Guitar Solo, No. 1 5:17
2. The Round Stones Beneath the Earth 3:31
3. Guitar Solo, No. 2 2:03
4. Why Does Thou Hide Thyself, Clouds 2:24
5. Organ Solo 1:33
6. Do You Know How to Use This Weapon? 4:24
7. Guitar Solo, No. 3 4:31
8. Nobody’s Story 6:35
9. Guitar Solo, No. 4 4:22
10. Stupid White Men 8:45
11. Guitar Solo, No. 5 14:40
12. Time for You to Leave, William Blake :51
13. Guitar Solo, No. 6 3:22

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Doomsday Gun

Nineteen Eighty-Four (1984)

1984 is based on the classic science fiction novel by George Orwell, which offered a bleak vision of a dystopic future where one’s thoughts and actions were controlled by a totalitarian government ruled by an entity known simply as “Big Brother”. The film has undergone a bit of changes over the years on video, as the theatrical release features a washed-out color scheme and a Eurythmics soundtrack that has been mostly removed in more current releases (probably because director Radford was never keen on them). As for how this affects the overall feel of the film, I can no longer say, having only seen a recent DVD release, but the overall story remains intact. Orwell’s book is one that leaves such an indelible impression, that it might be impossible to truly capture the scope and feeling of it in a two hour film, but writer-director Radford does a fine job in extracting the core elements and filling in the blanks with a more cinematic feel. It may not quite be Orwell’s 1984, but it’s an effective piece all on its own. More...

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01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 SFV

Pi x Brain = ?

Kika

Le voyage dans la lune (1902)

A Trip to the Moon (French: Le Voyage dans la lune) is a French black and white silent science fiction film. It is loosely based on two popular novels of the time: From the Earth to the Moon by Jules Verne and The First Men in the Moon by H. G. Wells. The film was written and directed by Georges Méliès, assisted by his brother Gaston. The film runs 14 minutes if projected at 16 frames per second, which was the standard frame rate at the time the film was produced. It was extremely popular at the time of its release and is the best-known of the hundreds of fantasy films made by Méliès. A Trip to the Moon is the first science fiction film, and utilizes innovative animation and special effects, including the iconic shot of the rocketship landing in the moon's eye. It was named one of the 100 greatest films of the 20th century by The Village Voice, ranking in at #84.

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(89 MB)DivX

Begotten (1990)

Begotten is a experimental horror film, directed and written by E. Elias Merhige. The film heavily deals with religion and the biblical story of earth creation. But as Merhige revealed during Q&A sessions, its primary inspiration was a near death experience he had when he was 19, after a car crash. The film features no dialogue, but rather uses harsh and uncompromising images of human pain and suffering to tell its tale.
The film was shot on black and white reversal film, and then every frame was rephotographed for the look that is seen. The only colors are black and white. There are no half-tones. This is intended to add to the eerie atmosphere of the movie, as sometimes the viewer cannot always exactly make out what it is being shown, but can still infer a sense of suffering. The look of the film has been described as "a Rorschach test for the eye". Merhige said that for each minute of original film, it took up to 10 hours to rephotograph it for the look desired.

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The Thing OST - Ennio Morricone

Ennio Morricone made a few disgruntled comments about Carpenter's use of his score in The Thing. Mainly he was disappointed that Carpenter, after publicly stating he wanted a European sound to the music, simply used the music that sounded most like his own compositions. Further insult was added when Carpenter created several cues to mix in with Morricone's (even as a youngster I could clearly recognize Carpenter's work when I heard it in the film on its opening weekend).

Despite that, like the soundtrack for Dawn of the Dead, this soundtrack release contains all the music Morricone composed for the film and none of Carpenter's work. How well some of the tracks would have fit into the film, and where, is anybody's guess.

Morricone's score is, in the end, a superb effort that captures the tone and mood of the film beautifully and achieves the same level of excellence as Goldmsith's score for Alien and Williams's score for Jaws. An essential soundtrack in any library.

01 Humanity (Part I)
02 Shape
03 Contamination
04 Bestiality
05 Solitude
06 Eternity
07 Wait
08 Humanity (Part II)
09 Sterilization
10 Despair
11 Humanity (Movie Version)

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Mona Lisa (1973)

Toshio Matsumoto

Toshio Matsumoto (born March 25, 1932) is a Japanese film director and video artist. He was born in Nagoya, Aichi, Japan and graduated from Tokyo University in 1955.
His first short was Ginrin, which he made in 1955, however his most famous film is Funeral Parade of Roses (aka Bara no soretsu). Funeral Parade of Roses influenced Stanley Kubrick's film A Clockwork Orange heavily. The film was a retelling of Oedipus Rex, featuring a transsexual (portrayed by Peter (actor)) trying to move up in the world of the Japanese gay bars.
Matsumoto has published many books of photography and is currently a professor and dean of Arts at the Kyoto University of Art and Design. He is also the President of the Japan Society of Image Arts and Sciences.

The first two shorts are clearly related to the Funeral Parade of Roses. For the Damaged Right Eye is a montage piece on a split screen (with a third screen occasionally appearing in overlay). The subjects touched upon are (predictably) political unrest, sexuality and pop-culture. Extasis makes an actual appearance inside the Funeral Parade of Roses: it is nothing else than the minimalist short that the group of underground youths watches before they proclaim that "all definitions of cinema have been erased".

Metastasis and Mona Lisa build upon the various color manipulations and substitutions. In Metastasis, a static shot of a toilet bowl serves as the raw material. I will leave it for you to guess what serves as the raw material in Mona Lisa.

Phanton and Atman should probably be thought of as preparatory exercises for Shura, as they both extensively feature imagery related to the oriental religions. Make sure to hold on to your chairs as you watch the opening sequence of Atman - or else I cannot be held responsible for the consequences.

Finally, White hole presents a wide variety of explosions, both recorded and simulated, and Ki or Breathing is a spare concoction assembled from low motion shots of nature and set to a score by the much-acclaimed Tohru Takemitsu.

Experimental Film Works (1961-1987)

The Weavers of Nishijin (1961)
The Song of Stone (1963)
Mothers (1967)
For the Damaged Right Eye (1968)
Ecstasis (1969)
Metastasis (1971)
Expansion (1972)
Mona Lisa (1973)
Andy Warhol - Re-production (1974)
Atman (1975)
Phantom (1975)
Everything Visible Is Empty (1975)
Enigma (1978)
White hole (1979)
Ki or Breathing (1980)
Connection (1981)
Relation (1982)
Sway (1985)
Engram (1987)

Thx to Merzboy Goes Conceptual

The Dark Half

Bakuretsu toshi (1982)

Burst City is a japanese science fiction punk rock musical / action film. Released in 1982, the film was directed by Sogo Ishii. Primarily a showcase for both various specific punk rock bands of the time, such as The Roosters, The Rockers, and The Stalin, the film is also purely demonstrative of the culture and attitude of the punk rock community of Japan in the mid-to-late 1970s and the early 1980s. The film was distributed by the Toei studio.

The plot is not very complex, as much of the action and drama of the film relies on musical interludes, character interactions, and commentary on the class system in the film's fictional universe. What plot there is follows groups of rival biker gangs in a dystopian future who are attempting to rebel against the construction of a massive power plant in "their" part of Tokyo.

The film is highly regarded among critics and audiences alike. Its hyperkinetic, unrelentingly high energy style was wildly different from other films of the period and extremely innovative. The film is also regarded for being purely inspired from music, and the way the punk aesthetic, culture, and music exerts its influence over every element, scene, and character in the film. It has been called one of the "starting points in contemporary Japanese cinema", along with Shuffle, Panic High School, and Ishii's own Crazy Thunder Road.

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Desu pawuda (1986)

DEATH POWDER (Shigeru Izumiya; 1986)
Fans of hallucinatory head-movies will enjoy this bizarre sci-fi film from Japanese director Izumiya. Putting his experience as a '70s protest-music pioneer to work, Izumiya creates a frightening world where a super-robot poisons the air with a deadly psychedelic drug, enslaving the populace under the Scar People in the world of their hallucinations. Eventually, their bodies begin to meld and change into a giant blob. Using computer graphics, black-and-white narrative, and stock footage interpolated in strange and grotesque ways, Izumiya creates an unforgettably
odd film, in many ways the progenitor of such cult classics as Tetsuo, the Iron Man. Orig: Desu Pawuda. Death Powder-Far out Japanese film directed by Shigeru Izumiysa that has been called the ultimate acid trip! Cyborgs are given a substance that pollute their minds known as "Death Powder" that causes them to go crazy and kill others. This is a really strange cyberpunk film!! Lots of weirdness!! In Japanese only. LBX. Ok quality.This movie's visual effects are stunning.Presented in Black and White AND Color. There isn't much information on this experiemental Horror Sci Fi film. Wild, insane imagery and some of the coolest effects I've seen in a while. Wonderful use of B & W and a bit of color to heighten the movie beyond the norm. From what I can gather a drug takes people beyond the flesh and can manipulate it a bit into a wild array of special effects that is reminiscent of The Beyond but being from Japan it has a crazy hard to find story line that leaves me guessing a bit but with this much gore and special effects. Who in the hell cares. In fact we think this movie was made for Nitrous Oxide. You can only guess how we know. More at Cuberpunk Review

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Sorry guys ...no RS links ( this is really rare stuff)

Stop it! Stop IT! STOP IT!

Faust - Eine deutsche Volkssage (1926)

Faust is a classic silent film produced by UFA, directed by F.W. Murnau, starring Gösta Ekman as Faust, Emil Jannings as Mephisto, Camilla Horn as Gretchen/Marguerite, Frida Richard as her mother, Wilhelm Dieterle as her brother and Yvette Guilbert as Marthe Schwerdtlein, her aunt. Murnau's film draws on older traditions of the legendary tale of Faust as well as on Goethe's classic version.

This carefully composed and innovative feature contains many memorable images and special effects, with careful attention paid to contrasts of light and dark. Particularly striking is the sequence in which the giant, horned and black winged figure of Mephisto (Jannings) hovers over a town sowing the seeds of plague. The acting by Ekman (who miraculously transforms, in the course of the film, from a bearded old man to a handsome youth) and the sinister, scowling, demonic Jannings is first rate and the virtually unknown actress Camilla Horn gives a memorable performance as the tragic figure of Gretchen.

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(699 MB)DivX

Bad Lieutenant (1992)

Bad Lieutenant is a crime-drama film directed by Abel Ferrara and starring Harvey Keitel as the eponymous "bad lieutenant". The screenplay was co-written by actress-model Zoë Tamerlis Lund (credited as Zoë Lund). She also played a small role in the film. Lund had been discovered by Ferrara and had starred in his earlier film, Ms. 45.

Keitel's nameless character is a corrupt police lieutenant who, throughout the movie, is spiralling rapidly into various drug addictions, including cocaine and heroin. The "Bad Lieutenant" is also a gambler who finds himself plunged into debt when the New York Mets win the National League Championship Series after trailing the Los Angeles Dodgers and former Met Darryl Strawberry 3-0. The Mets' comeback is a sort of "minor miracle" that defies the Lieutenant's lack of faith and parallels his eventual redemption. The Lieutenant is also regularly linked with the prodigal Strawberry. The turning point in the film arrives when the Lieutenant investigates the rape of a nun and uses this as a chance to confront his inner demons and perhaps achieve redemption.

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Escape From NY

Yellow Submarine (1968)

Yellow Submarine is a animated feature film based on the music of the Beatles. It is also the title for the soundtrack album to the feature film, released as part of the Beatles' music catalogue. The film was directed by animation producer George Dunning, and produced by United Artists (UA) and King Features Syndicate. The Beatles themselves appear only in the closing scene of the film, with the Beatles characters in the film voiced by other actors.

The Beatles are spirited away in the eponymous yellow submarine to save Pepperland from the dreaded Blue Meanies. Along the way, the singing saviors encounter a surreal feast for both the eyes and ears: phantasmagorical creatures, outrageous landscapes, and colors that throb and vibrate to each and every Beatle song on the soundtrack. It's a drug-free, hallucinogenic journey for the armchair tripper, the peak of which is undoubtedly (and not surprisingly) the "Lucy in the Sky with Diamonds" sequence. An incredible film experience at all levels, "Yellow Submarine" manages to capture exquisitely and in visual form the beauty and madness of the incomparable Beatles. And to think 1968 also included Kubrick's "2001!"

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Paul's Past

Naked Lunch