Bigfooty General Metal Thread Mk.VII

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James Colorado

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Aug 25, 2014
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Motörhead - We are Motörhead. Very good album this.
Pretty much all that needs to be said for almost any Motorhead album review.

Speaking of reviews, work has started doing a newsletter to keep staff engagement during lockdown and wfh. I volunteered to do film reviews, purpose being not to review anything everyone has seen and nothing too obscure, but maybe those films you've heard of but haven't got to yet. So, I reviewed Amores Perros for the first edition, and put a lot of time and analysis into something that ran a little over 300 words. Was told today that it won't be included because it's a 'controversial' film. I've pretty much spat the dummy now. They can get someone else to review boring, safe rubbish. Maybe I'll review Salo next.
 

Dee Snider

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Pretty much all that needs to be said for almost any Motorhead album review.

Speaking of reviews, work has started doing a newsletter to keep staff engagement during lockdown and wfh. I volunteered to do film reviews, purpose being not to review anything everyone has seen and nothing too obscure, but maybe those films you've heard of but haven't got to yet. So, I reviewed Amores Perros for the first edition, and put a lot of time and analysis into something that ran a little over 300 words. Was told today that it won't be included because it's a 'controversial' film. I've pretty much spat the dummy now. They can get someone else to review boring, safe rubbish. Maybe I'll review Salo next.
Ha - Salo always makes me laugh. How about the August Underground triple-treat or Slaughtered Vomit Dolls? Work will thank you.
 

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deathevocation

Coffee. Football. Metal.
Apr 8, 2006
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Pretty much all that needs to be said for almost any Motorhead album review.

Speaking of reviews, work has started doing a newsletter to keep staff engagement during lockdown and wfh. I volunteered to do film reviews, purpose being not to review anything everyone has seen and nothing too obscure, but maybe those films you've heard of but haven't got to yet. So, I reviewed Amores Perros for the first edition, and put a lot of time and analysis into something that ran a little over 300 words. Was told today that it won't be included because it's a 'controversial' film. I've pretty much spat the dummy now. They can get someone else to review boring, safe rubbish. Maybe I'll review Salo next.
That’s cooked.
 

Ed_Gein

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Dec 17, 2003
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Pretty much all that needs to be said for almost any Motorhead album review.

Speaking of reviews, work has started doing a newsletter to keep staff engagement during lockdown and wfh. I volunteered to do film reviews, purpose being not to review anything everyone has seen and nothing too obscure, but maybe those films you've heard of but haven't got to yet. So, I reviewed Amores Perros for the first edition, and put a lot of time and analysis into something that ran a little over 300 words. Was told today that it won't be included because it's a 'controversial' film. I've pretty much spat the dummy now. They can get someone else to review boring, safe rubbish. Maybe I'll review Salo next.
Haven't heard of either of those films, but I looked them up and they sound pretty good. Will have to watch them.
 

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James Colorado

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Ok, my artist's ego has settled, but this was the review I submitted; I honestly can't see how this could be considered objectionable in a work place populated only by adults.

Amores Perros (Mexico, 2000).
Dir: Alejandro Gonzalez Inarritu.
Before making his mark in Hollywood, two-time Academy Award winning Director Inarritu (Birdman, The Revenant) debuted with Amores Perros, exploring in triptych the narratives of Octavio and Susana, Daniel and Valeria, and El Chivo and Maru. Connected by a car crash and the presence of dogs, Inarritu's debut is treated as the first film in his conceptual trilogy of death (to be followed by 21 Grams and Babel), yet is more of an elegy for how what is felt to be love is so often an ego-driven exercise in wish fulfilment. From the adultery of Octavio with his brother's wife Susana and the double-betrayal that serves as the climax of their narrative, to Daniel leaving his family for the Spanish supermodel Valeria and the tragedy that was to all but extinguish her sense of self, and finally regret for the life that could have been for the teacher turned guerrilla turned hitman El Chivo, the characters in this squalid urban drama have acted on their impulses with the recurring motif of photographs that hint at their better past adding a haunting quality to the violence of their present.
The only love that is portrayed here as pure and unconditional is that of the dogs for their masters, though they in turn are exploited by their humans, save for El Chivo, whose care for the strays of Mexico City reaches its denouement in his companionship with with Cofi the rottweiler, in whom he finds some measure of redemption. The violence committed by Cofi, the most innocent character in the film, as a fighting dog reminds us that only a few short years later the shocking explosion of it under the Calderón presidency was met with a resigned shrug by a people long since inured to it, though we are given the hopeful reminder in the credits, as in the photos throughout the film, that we are also what we have lost.

Not professional I know, but if any of that is controversial then this place is cucked.
 

deathevocation

Coffee. Football. Metal.
Apr 8, 2006
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Ok, my artist's ego has settled, but this was the review I submitted; I honestly can't see how this could be considered objectionable in a work place populated only by adults.

Amores Perros (Mexico, 2000).
Dir: Alejandro Gonzalez Inarritu.
Before making his mark in Hollywood, two-time Academy Award winning Director Inarritu (Birdman, The Revenant) debuted with Amores Perros, exploring in triptych the narratives of Octavio and Susana, Daniel and Valeria, and El Chivo and Maru. Connected by a car crash and the presence of dogs, Inarritu's debut is treated as the first film in his conceptual trilogy of death (to be followed by 21 Grams and Babel), yet is more of an elegy for how what is felt to be love is so often an ego-driven exercise in wish fulfilment. From the adultery of Octavio with his brother's wife Susana and the double-betrayal that serves as the climax of their narrative, to Daniel leaving his family for the Spanish supermodel Valeria and the tragedy that was to all but extinguish her sense of self, and finally regret for the life that could have been for the teacher turned guerrilla turned hitman El Chivo, the characters in this squalid urban drama have acted on their impulses with the recurring motif of photographs that hint at their better past adding a haunting quality to the violence of their present.
The only love that is portrayed here as pure and unconditional is that of the dogs for their masters, though they in turn are exploited by their humans, save for El Chivo, whose care for the strays of Mexico City reaches its denouement in his companionship with with Cofi the rottweiler, in whom he finds some measure of redemption. The violence committed by Cofi, the most innocent character in the film, as a fighting dog reminds us that only a few short years later the shocking explosion of it under the Calderón presidency was met with a resigned shrug by a people long since inured to it, though we are given the hopeful reminder in the credits, as in the photos throughout the film, that we are also what we have lost.

Not professional I know, but if any of that is controversial then this place is cucked.
Crikey. Even the HR person in my office (who is bordering on self parody levels) would likely say ‘I want to watch that film’.
 

Pacman82

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Ok, my artist's ego has settled, but this was the review I submitted; I honestly can't see how this could be considered objectionable in a work place populated only by adults.

Amores Perros (Mexico, 2000).
Dir: Alejandro Gonzalez Inarritu.
Before making his mark in Hollywood, two-time Academy Award winning Director Inarritu (Birdman, The Revenant) debuted with Amores Perros, exploring in triptych the narratives of Octavio and Susana, Daniel and Valeria, and El Chivo and Maru. Connected by a car crash and the presence of dogs, Inarritu's debut is treated as the first film in his conceptual trilogy of death (to be followed by 21 Grams and Babel), yet is more of an elegy for how what is felt to be love is so often an ego-driven exercise in wish fulfilment. From the adultery of Octavio with his brother's wife Susana and the double-betrayal that serves as the climax of their narrative, to Daniel leaving his family for the Spanish supermodel Valeria and the tragedy that was to all but extinguish her sense of self, and finally regret for the life that could have been for the teacher turned guerrilla turned hitman El Chivo, the characters in this squalid urban drama have acted on their impulses with the recurring motif of photographs that hint at their better past adding a haunting quality to the violence of their present.
The only love that is portrayed here as pure and unconditional is that of the dogs for their masters, though they in turn are exploited by their humans, save for El Chivo, whose care for the strays of Mexico City reaches its denouement in his companionship with with Cofi the rottweiler, in whom he finds some measure of redemption. The violence committed by Cofi, the most innocent character in the film, as a fighting dog reminds us that only a few short years later the shocking explosion of it under the Calderón presidency was met with a resigned shrug by a people long since inured to it, though we are given the hopeful reminder in the credits, as in the photos throughout the film, that we are also what we have lost.

Not professional I know, but if any of that is controversial then this place is cucked.
Roger Ebert over here.. you missed your calling as a film critic. I had a rotten tomatoes account years ago, posted about ten reviews but none to that extent, all would fit on a promo poster.. Eg House of 1000 Corpses - "Two decaying thumbs up" etc
 

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