2017 in Movies

2017 was a decent year for movies. Certainly not as impressive as 2016 (the popular Arrival, Zootopia... and the critically acclaimed bunch that included Manchester By The Sea, La La Land, Moonlight, and Hacksaw Ridge), but sprinkled with gems. 2017 seemed more like the year of the blockbuster sequels: new chapters in the franchises of Alien, King Kong, John Wick, Spidey, Logan, Guardians, and more from the comic book franchises. The trouble was that some of these failed to meet expectations. Like the Alien and Kong installments (though I enjoyed them at a low level) and John Wick 2 met with some criticism (I liked it just fine). 

Greta Gerwig added directing to her resume with Lady Bird

(pictured is Saoirse Ronan)

But a few Oscar-worthy entries found their place in the year's cinematic output. Lady Bird is at the top of the heap for me... first time director Greta Gerwig showed us she is more than just a Frances Ha kinda gal. It Comes At Night is a cool, low-key creeper. Baby Driver is a fun, stylish crime thriller. Logan thoroughly impressed this non-fan of the comic book movie deluge... fine dramatic acting and a taut, engaging story. Wonder Woman brought a more restrained and tasteful superhero interpretation to the big screen... again, I was pleasantly surprised by this sort of genre picture. 

A strong year for the ladies... including Wonder Woman director

Patty Jenkins, and actress Gal Gadot as Diana Prince

Seeing as I rarely attend theatrical screenings anymore, I always find myself playing catch-up. If it's a movie I'm very interested in, I'll rent it online as soon as it's available. If I'm content to wait for it "free" on Netflix, then I'll do that. Here's a list of all the 2017 releases that I watched. Believe me, I saw a lot more films than this, but the rest were not recent releases. I've even listed these - roughly - in order of best to worst (well, favourite to least favourite):

2017 Movies:

Lady Bird
Baby Driver
John Wick: Chapter 2
Logan
Wonder Woman
Gerald's Game
Shimmer Lake
Ghost in the Shell
Alien: Covenant
The Babysitter
Kong: Skull Island
It Comes At Night
Aftermath
1922
Guardians of the Galaxy: Vol. 2
Spider-Man: Homecoming
Running Wild
Band Aid 
Security
The Meyerwitz Stories (New and Selected)


Gotta Catch Up (2017 Movies to See):

The Killing of a Sacred Deer
Star Wars: The Last Jedi
Get Out
Blade Runner 2049
War for the Planet of the Apes
The Shape of Water
Mother!
The Beguiled
Life

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Addendum: 

2017 Movies I Finally Saw:

The Killing of a Sacred Deer - okay, but too weird for me... meh
Blade Runner 2049 - really really cool, and I need to re-watch it to fully appreciate it
Life - I think I kinda love this Alien-meets-2001 hybrid... beautifully frightful

A New Breed of Christmas Songs

"Ubiquity breeds contempt". I read that line recently, and it was used in reference to the constant rotation of the same set of Christmas songs playing in every store, mall, and public place imaginable. I'm not trying to be a Grinch about this; it's just that nobody puts any real thought into their establishment's musical backdrop. They all just click on the same satellite station they did last year, and away we go.

 Over and over and over. Hey, the traditional Christmas songbook isn't really all that big, so when you work in retail, which I do, you get the same handful of songs on repeat all day long, for a whole month. Sometimes you even hear two different versions of the same song back to back. Too much!

Plus the really old-timey songs are kinda wearing thin on me. Sorry, but Bing Crosby and others from that bygone era really aren't cutting it with the younger crowd today... are they? Having said that, I do like some Dean Martin and Tony Bennett renditions of the classics. But there are some truly horrific versions of the oldies, both instrumental and vocal. I don't know what people were thinking back in the 50's or 60's when they thought it was a good idea to get screechy, brassy vocalists to belt out noisy, irritating travesties of the classics - and record them. Some of those tunes sound terrible and inappropriate... very un-Christmas-y. I wish I could name those artists who sullied the reputations of the originals, but I don't even know who they were. There's a cover of I Saw Mommy Kissing Santa Claus that feels like a drill going into my brain bone. And what about that psychotic-sounding choir screaming out Rudolf and other songs? Ugh.

Anyway, when I get frazzled by that unimaginative playlist, I try to think of seasonal tunes that aren't overplayed and overwrought, and which are actually pretty good. Fun even. The ones that come to mind happen to be more modern (though some go back as far as the 1950's), often by pop artists, and they are originals. Well, there a couple of covers there, but they are still of not so old-timey pieces. Lively and sometimes downright rockin', these songs are much more listenable. Or at least more tastefully performed. We really need a new Christmas songbook for this millennium. Maybe hang onto a few of the most enduring 20th century tracks.

I posted about this same topic at Christmas 2016 - you can read it here. I assembled a list of festive tracks that I happen to like... even stuff by artists I'm not normally fond of (Mariah Carey, to name the only one). This year I've actually assembled a playlist (above) of those same songs, so you can punch this up while you're opening gifts on Christmas morning. Enjoy!

Honourable mention goes to Twisted Sister for their amplified versions of several seasonal classics, including Oh Come All Ye Faithful and Silver Bells, on their A Twisted Christmas album. Though these aren't originals, their Sister treatment makes them fun and heavy and cool. The accompanying videos, which can be found on YouTube, are the best part.

Oh, and by the way... Merry Christmas, dear readers!

Rockin' Around The Christmas Tree

December is quite the month for birthdays in the world of rock music. Several notable artists share the month with the most famous birthday boy of all (JC, of course, on Christmas). Here's a quick run-down:

Shocking? Hey, it's Nikki of the Crue.

Dear old Ozzy Osbourne (of Black Sabbath, his solo music career, and reality TV fame) celebrated his birthday on December 3rd. 

Little Richard, one of the founding fathers of rock'n'roll back in the 50's, had his day on the 5th.

Doors' singer/lyricist Jim Morrison, infamous for more than just his psychedelic rock music, was born on the 8th.

Nikki Sixx, bassist and songwriter for L.A. glam-rockers Motley Crue, celebrated on December 11th.

Rock guitarist and Motor City madman - and hunting enthusiast/Republican - Ted Nugent entered this world on the 13th.

Six-string attack in the seventies... The Nuge

Legendary mummified rock guitar icon Keith Richards, of the Rolling Stones, of course, will have his day on the 18th. 

Eddie Vedder, most notable for his commanding vocals with grunge rockers Pearl Jam, will blow out the candles on December 23rd. 

Metallica drummer Lars Ulrich will set aside his sticks to celebrate on Boxing Day - the 26th.

Patti Smith, influential punk rock singer-songwriter, marks another year on December 30th. 


Happy birthday to all, and to all a good night!

Winter Horror Movies

'Til the season to be frightened.

The snowy, chilly, wintry and even Christmas-y season is upon us. At least here in the Great White North (a.k.a. Canada, eh). I'm no fan of this frostbite-inducing time of the year, but when I'm cozy in my darkened TV room, I often gravitate to horror films set in a similar teeth-chattering environment. There's something about a snowstorm and snowdrifts that paints a picture of isolation and fear, especially for the poor (fictional) victims of a mad killer or a bloodthirsty monster. Not only are the people involved dealing with an evil being or force, but they must also face nature's wrath. The weather is more than just the setting; it often plays an important role as the story's characters fight to survive. Gotta keep warm!

Kurt Russell's lookin' a might bit chilly there

(The Thing, 1982)

I love a good horror movie, and it's an added bonus when one is set in winter-time. Done properly, a film can put you right there in the biting cold alongside the protagonists. I've compiled a little list of the most notable scary movies that I enjoy. Most of my favourites are older movies, and there's a reason for that: in decades past, film-makers tended to focus on quality... a good story and good acting... those could buoy even a low-budget production. So we got more solid movies back then. There are exceptions to the rule, though, and we do get the odd modern gem. Now bundle up, and read on... then check out these must-see cold-weather horrors:

The Thing From Another World (1951): the unknown was never so terrifying... a classic!
The Thing (1982): as creepy as the original '51 flick was, JC kicked it up a few notches here
The Shining (1980): the original, not the underwhelming TV remake. Here's Johnny....
Let The Right One In (2008): Sweden's stark cold sets the stage for a tender vampire tale
30 Days of Night (2007): surprisingly good for a modern horror - bloody, freaky monsters!
Black Christmas (1974): ignore the remake; this Canadian shocker kicked off the slasher genre
Silent Night Deadly Night (1984): gruesome and disturbing, a frightful Santa slay-ride
Ghost Story (1981): the all-star cast did their best with a flawed script... still, some scares
The Abominable Snowman (1957): great Peter Cushing mystery/horror from Hammer studios
Snowbeast (1977): a childhood favourite that I watched every time it aired on TV. Cheesy today, but still...

James Bond Movie Theme Songs - Part 1

I've talked a bit in the past about the music of the James Bond movies. Today I'd like to focus more specifically on the movie theme songs, the pieces that introduce each film as the opening credits roll. I have to say that Bond movies are just as famous for their excellent musical themes as they are for their outrageous stunts and dramatic spy stories. 

Let's begin with the very first Bond film, Dr. No, which presented to the world in 1962 Mr. Sean Connery as the fictional super spy. As I've said elsewhere on the blog, this musical intro is the now-famous James Bond Theme, as created by one Monty Norman. Norman was riled by newcomer John Barry, who stepped in to tweak the music and went on to take credit for it for many years. But Norman won the lawsuits and regained his baby. The James Bond Theme, in one form or another, appeared in every official 007 movie since. And we love it every time.

That distinctive electric guitar riff plays over the quietly throbbing brass section. The full orchestra kicks in, promising us an action-packed movie... then that final guitar "twang". Oh, and here's a fun fact: at the beginning of the song, the guitar starts at 0:07. Really!

From Russia With Love, the second in the spy series, boasts what I feel is among the best of the movie theme songs. The piece we hear over the opening credits is actually an instrumental - and slightly different - version. The vocal version of FRWL, which plays over the end credits, is the one I really rave about. Sung by Matt Munro, this is one of the most memorable Bond songs for me. Munro's strong yet controlled delivery suit the bit perfectly. The European flourishes and lush orchestration set the tone for the international intrigue which is to follow on-screen.

Next up, the most famous Bond movie and theme song of them all, Goldfinger. Over the years, I've grown less fond of this tune. As important as it is in the history of Bond, I feel there are 007 songs far easier on the ears. Shirley Bassey's throaty, brash vocals just seem like overkill for me. Too shout-y for my tastes these days. I prefer smoother, more sensual vocals, whether male or female. 

Then there was Thunderball. The opening trumpet blasts are so Bond that it's crazy. That sound became standard fare in future outings. 60's idol Tom Jones belts out his vocals here, maybe a little cheesy by today's standards, but man, the guy could really sing. And he certainly established himself as a key contributor to the Bond sound. 

You Only Live Twice is at least my second favourite Bond song (after Nobody Does It Better from the film The Spy Who Loved Me). Nancy Sinatra's soft feminine vocals are melodic, occasionally soaring, perfectly complementing the moody orchestral piece. This song evokes a sense of the exotic, the faraway locations where Agent 007 will fight his battles and woo his women. 

As you may or may not have noticed, I'm following the chronological order of the Bond films. I think this will help distinguish the eras of Bond... the 60's Connery years, the 70's and early 80's Moore years, and so on. Something like that. This will allow me to more easily break my discussion of the long history of Bond music into digestible blog instalments.

That cool cat on the horn is young John Barry, before his

illustrious years composing music for the James Bond films

The sixth 007 film, On Her Majesty's Secret Service, was a departure in more than one way: for starters, fans saw a brand new Bond actor, Australian George Lazenby enter the picture. While different, he did offer an exciting new take on the character. He was more charming, more of a ladies' man... and he was far more physical in the action/fight scenes. But the music... well, On Her Majesty's Secret Service took a page from the earlier films' soundtracks and developed brand new, exciting background sounds. The title track/main theme instrumental became perhaps the coolest and best-known (and most re-used) song in the Bond series. So many distinctive and catchy motifs sprinkled throughout the piece... all re-purposed for future Bond music. 

On Her Majesty's Secret Service, the movie, is loaded with great tunes, including We Have All The Time In the World, sung by jazz great Louis Armstrong. Composer John Barry continued his string of hits as he collaborated on this now-famous song. The track appears mid-movie, though, and isn't truly a theme song per se... yet its importance mustn't be diminished. 

Sean Connery returned to the 007 role in Diamonds Are Forever. Not one of the better Bond films, it does boast some exceptional musical accompaniment. And that theme song! Yes, Shirley Bassey is back and she sings in a mode that I not only appreciate, but really like a lot. Maybe age tamed her vocal chords a bit. Not that her performance isn't electric... it's expressive and sultry and builds to impressive crescendos. Just a little more contained. Very appropriate.

I think this would be a logical point to wrap up part one of my examination of the Bond movie themes. We've seen the classic 60's entries and 1971's Diamonds are Forever, Connery's final "official" (for he later played Bond in Never Say Never Again, a non-Eon Productions film) appearance as 007. 

Now strap on your Walther PPK, shake (don't stir) that vodka martini, and settle in for some timeless spy music.