Tuesday, January 14, 2014

100 Favorite Singers - Part Two

100 FAVORITE SINGERS - PART TWO

75.  Nate Dogg

Nate Dogg just has to be in here.  When appearing on numerous g-funk jams with the likes of Snoop Dogg, Dr. Dre, Tu Pac, or Warren G, Nate Dogg still always managed to drop the most memorable part of any song that he was a part of.
74.  Gary Lightbody

Certainly one of the least "showy" voices on this list, Snow Patrol's mainman Gary Lightbody is plenty unique.  Mostly it is his outstanding knack for vocal melody that is almost second to none as far as contemporary bands are concerned.
73.  Geoff Tate

Geoff Tate is a legendary progressive metal vocalist, though Queensryche was never the most progressive or metal of bands.  Up until and including Promised Land though, they had never done a weak album and Tate's soaring vocals have never, ever been weak.
72.  Art Garfunkel

Speaking of soaring vocals, one is hard-pressed to find a more beautifully sounding male voice out there then Art Garfunkel's.  His and Paul Simon's harmonies may be the most pleasant to the ear that have ever been performed, but Garfunkel's solo take on "Bridge Over Troubled Water"?  Shit, how much more hyperbole can you toss at that one?
71.  Joni Mitchell

Here is something fun.  Try keeping up with Joni Mitchell's singing when listening to one of the greatest things ever made, Blue or any of her other albums really.  Impossible?  You bet.
70.  Ann Wilson

I do not own any Heart albums, though I have been meaning to fix that.  I have heard all of the same jams that you have though and yeah, Ann Wilson's voice has never been short of amazing.  Easily the best hard rock female vocalist of all time.
69.  Frank Sinatra

Another one who obviously had to be represented, I am not just throwing Frank Sinatra in for predictability.  I own six of his albums, (not that big of a deal really, he put out like a hundred), and yeah, he falls under the "I can listen to this shit anytime, anywhere, for any length of time" category.  Ideal to bump while making pasta.  True story.
68.  Van Morrison

A little low placement some would say and for that I apologize.  I do love Van Morrison.  I mean Astral Weeks is a must have for every musician on earth.  I have heard both Jeff Buckley and Ray LaMontagne compared to him but really, no one does or will ever sound anything quite like the man.
67.  Ian Anderson

Yes the flute and the leprechaun dancing have always gotten most of the attention, but I have always just straight up loved Ian Anderson's voice. Another guy who nobody at all sounds like, dude nails blues, hard rock, folk, (and "heavy metal" at least once), with equal ease.

66.  Ian Gillan

The only reason that Ian Gillan is so low here is because he has noticably slipped in the last few decades.  Perfect Strangers is awesome, but from that moment on, Gillan's voice and vocal arrangements started to get increasingly lazy sounding.  Which is not all his fault really, since how the fuck could you still expect a man in his sixties to hit "Child In Time"?  That being said, nobody could touch Ian Gillan or mark II Deep Purple back in their prime.

65.  Bobby Hatfield

I have to admit that I do not really listen to the Righteous Brothers.  Yet I have cheated with some of the rules I set with this list for this one, simply because their version of "Unchained Melody", for my money, is the finest vocal performance of all time.  Bobby Hatfield sang it solo, so no way could I not include him based on that song alone.
64.  Micky Dolenz

The Monkees have been one of my favorite bands since the beginning of time and though Mike Nesmith is probably my favorite member, it was always Micky Dolenz while growing up.  Ironic perhaps that he was a child actor, not really a singer, before getting the gig, since Mr. Dolenz has by far the best voice in the group.
63.  Stevie Ray Vaughan

I have never seen Stevie Ray Vaughan on anyone's favorite or greatest singers lists, but fuck that noise; Stevie's vocals rule.  His guitar playing understandably gets all of the attention all of the time, which is hard to argue.  Maybe just spending years and years as a huge SRV fan has made me just as huge of a fan of the voice behind the guitar licks as well.
62.  Little Richard

How can you not fucking love this guy?  A gay black man living and growing up in Georgia in the 1950s who clearly did not give a fuck who just started screaming and howling on stage?  It certainly took some balls.  Now in his eighties, he is still doing the same damn thing.  Little Richard has always claimed to have invented rock and roll and I certainly am not going to argue with the man.
61.  Joe Cocker

Like most people, I think my introduction to Joe Cocker was from watching Woodstock and just thinking "woah, who the fuck is THIS guy?".  Cocker has made every single song he has ever covered his own, and there have been many of them.  You also many not be able to get a more passionate performer on stage?  John Belushi's loving tribute on SNL was certainly fitting.
60.  Roy Orbison

Yet another guy whose albums I really need to make a point of getting, hence his criminally low ranking here.  Like most of you I assume, I have been exposed to Roy Orbison's music since infancy and it is impossible to deny the man's voice was incredible.  Right up until the end it was stronger than ever, which is truly unreal.
59.  Chris Cornell

I have zero friends out there who do not bow down to the awesome that is Chris Cornell's voice.  Soundgarden rules besides, but an enormous and perhaps even dominant reason for that is Cornell.  I always likened his vocals to a more blues-tinged Rob Halford myself.
58.  John Lawton

Uriah Heep have had no less than three excellent vocalists in their many decades as a band.  John Lawton lasted for a mere three albums, (plus one still unreleased one, damn it all).  Not only was he completely different than founder David Byron, but completely better.  Also the singer for Lucifer's Friend, Lawton wears his rhythm and blues influences on his sleeve and that with the soaring high notes, (that he can still hit BTW), is a powerful combo to say the least.

57.  Ingrid Michaelson

After blindly picking up Ingrid Michaelson's Girls and Boys from an old coworker's recomendation she has become a bona fide favorite of mine.  Kind of a contemporary Joni Mitchell in some respects, Michaelson's range is just incredible.
56.  Al Green

Another legend that is far too low, I know.  Pretty much every R&B singer since who goes for high notes owes a debt to Al Green.  I love the ache in Green's voice though, one that usually shines through during the ballads.  Panty moistening stuff.
55.  Gregg Allman

Another bluesy white boy who can out-sing almost anybody in that field, Gregg Allman is the goddamn man.  I have not heard anything he has done in years, but "Midnight Rider", "Whipping Post", "One Way Out", etc. Cannot beat any of that shit right there.
54.  Christine McVie

I pretty much love all of the Fleetwood Mac that I have heard and I certainly love anything Christine McVie sings.  A low, soft, almost raspy croon, McVie out-sung a band full of memorable singers, (though South Park was kind of right, Stevie Nicks though awesome, does sound like a goat).  "Songbird" is utterly gorgeous, but there are plenty more Christine McVie sung gems out there as well.
53.  Dee Snider

You goddamn right.  I have never actually looked up if Dee Snider gets the vocal accolades that he deserves, but have you actually listened to this guy?  What a voice.  Besides single-handedly writing one of the greatest heavy metal albums of all time in Stay Hungry, Snider consistently wiped the floor with every other hair metal clown out there with his ass-shredding roar.
52.  Jame LaBrie

James LaBrie is one of the many reasons that Dream Theater has been one of my favorite bands for more than ten plus years now.  Along with Geoff Tate, he is basically the prog-metal vocalist to judge all others by.  LaBrie's range is insane and in his prime, he could hit any note his bandmate's threw at him.  His voice has matured nicely over the years as well, (though his vocal melodies are not quite as flawless as they once were).
51.  John Mayer

Haters gonna hate.  John Mayer makes his guitar his bitch every time he plays it and does get mad props for his abilities as an axe slinger, but I absolutely love his voice as well.  Dude can straight-up sing the blues as good as any white boy ever did.

Sunday, January 12, 2014

100 Favorite Singers - Part One

100 FAVORITE SINGERS - PART ONE

100.  Paul Simon

Art Garfunkel, who shows up later, may possess more chops, but Paul Simon's voice is most soothing indeed. Pretty good songwriter too actually.  Who knew?
99.  Michael McDonald

I have actually heard very little from "The greatest backing vocalist ever" Michael McDonald.  Yet the little that I do know, as well as his work on Steely Dan's Aja alone, is enough to warrant inclusion.
98.  Neil Diamond

The Jewish Elvis Neil Diamond has always sounded great, perhaps now more than ever.  The Rick Rubin produced stuff further proves this plenty.

97.  Johnny Winter

As well-respected of a white blues guitarist as there has ever been, I was actually surprised when I got into Johnny Winter to find out just how glorious his Texan falsetto bellowing truly is.
96.  Steve Winwood

I am a sucker for blue-eyed soul, so Steve Winwood's 80s stuff as well as late 60s/early 70s Traffic, (and let us not forget Blind Faith), is plenty tasty as the man has never lost his chops.
95.  Arthur Brown

Shock-rock pioneer, (and a god to Bruce Dickinson), Arthur Brown's utter bonkersness on stage could have cemented his legacy just fine.  Yet on top of all the fire helmets, terrifying make-up, and being on all of the drugs, this dude has a powerful as hell voice.
94.  Jonsi Birgisson

Certainly one of the most unconventional vocalists on this list, Sigur Ros' Jonsi Birgisson uses his voice solely as an instrument, wailing a never ending and haunting falsetto of made-up language over slow, gorgeously building chord progressions for ten plus minutes at a time.
93.  Levon Helm

Besides being one of the best drummers ever, Levon Helm managed to stand out vocally in a band, (ha get it), with two other fantastic voices in it besides, (Richard Manuel and Rick Danko respectively).  A yodeling master as well.
92.  David Bowie

Being a huge Bowie fan as much as the next mentally-sound individual, I have also always dug his rater unique voice.  "Heroes" particularly stands out with some of the finest full-on vocal shredding ever.
91.  Leigh Nash

Sixpence None the Richer's Leigh Nash has such a sweet and lovely voice that it even manages to make the band's old Jesus-flavored songs sound rather fantastic.
90.  Mick Jagger

One may not think of Jagger as a technically proficient vocalist, but how many decades have The Rolling Stones and Mick been putting out records?  Also, how many songs has he sung in all of those years?  More to the point, how many different types of songs has he guy sung in all of those years?  Jagger can do anything is what I am getting at.  If anything else, one has to love a British guy who prefers to sing in an American southern accent.

89.  Mark Sandman 

Morphine, (the band not the drug), was fronted by the late Mark Sandman who infamously died on stage and had one of the most unique vocal stylings possible.   Imaging Lou Reed as a crooner gives one a solid idea to go by.

88.  Aimee Mann

Ever since Magnolia entered my life, I have made it a point to check out as much Aimee Mann as possible.  Her distinct voice was exactly the same back in the Till Tuesday days as it is now.  Can only hope the decades continue to be as kind.
87.  Daryl Hall

Another blue-eyed soul legend, Daryl Hall has always had a reputation as one of the most impassioned white boys to ever serenade us.  I have been a Hall & Oats fan since always, so no way was their first half not showing up on here.
86.  Rob Halford

Is there a finer screamer in all of metal?  Arguably no and there is really not much more I can say about the legend that is Rob Halford which has not already been said many times before.  The dude fucking (still) rips, all there is to it.
85.  Brandon Boyd

This guy gets better and better.  The latest Incubus album at this writing, If Not Now When?, is their masterpiece and good god, Brandon Boyd delivers the performance of his career on it.
84.  Feist

Feist's music is all over the place, which is one of the things that makes that and her voice so splendid.  Her singing manages to make every style she tackles warm and inviting and her version of the Bee Gees "Inside and Out" is easily one of my favorite covers of all time.
83.  Don Henley

Most people do not go bananas over Don Henley's drumming, which is plenty competent mind you.  Yet as a singer, well that has always been a different story.  No matter how burnt out I can get on any particular Eagles song that classic rock radio continues to enjoy ruining, all is never lost as Henley's voice always sounds amazing.
82.  Ian Astbury

I have always thought of Ian Astbury as a less-Elvisy Glenn Danzig.  I have also been a Cult fan for years now so it is impossible to ignore Astbury's ass-whooping vocal delivery.
81.  David Coverdale

David Coverdale oddly started to sound and look more and more like Robert Plant over the years, which is odd because his powerful bluesy croon in the Deep Purple days certainly did not resemble Mr. Plant at all.  "Mistreated" is and will always be a vocal tour de force to be reckoned with.
80.  Brad Delp

I honestly never kept up with what Boston or the late Brad Delp kept busy with after their self-titled debut and Don't Look Back, but man did this guy wail on said albums.  Soaring arena rock vocals right here, astonishingly so.
79.  Geddy Lee

I can understand how Mr. Geddy Lee could be a little grating in the early days.  He certainly had that "my testicles have been permanently removed" painful banshee wail on the first three or four Rush albums.  Certainly by the time Permanent Waves and Moving Pictures came along though, Lee began to settle into his more low key and mature voice which is equally unique and excellent.
78.  Doug Pinnick

Out of King's X's two frontmen, Ty Tabor is sufficient and good with the harmonies, but Doug Pinnick's soulful wail stands-out so, so much more.  He even managed to steal the mighty James LaBrie's thunder on his DT cameo in "Lines In the Sand", which is no small feat.
77.  Jim Morrison

Everything and everyone in the Doors were awesome, making for one of the most unique bands in history.  Chief among the ingredients was Jim Morrison's devilish, bluesy croon.  The man may have considered himself more of a poet than a singer, but his effortless vocal delivery has influenced just as many as his words have.
76.  Salif Keita

I had never heard of this Albino, afro-pop singer until I saw him in the first part of Martin Scorsese's Blues documentary.  Just a clip of the man sitting on a couch with an acoustic guitar singing something in his native French language that I could not understand was more than enough to hook me.  I have since checked out a few albums and the man's voice is spellbinding to say the least.

100 Favorite Singers


100 FAVORITE SINGERS


In keeping with my "every list has nothing to do with each other" theme, this time it is my "100 Favorite Singers".  I actually took a crack at this one several years ago, but the results of my labors went down with a crashed hard drive and until now, I have simply been too lazy to give it another go.  Thankfully, the time since then has allowed me to "discover" several vocalist that I had not familiarized myself with before.  So all has improved with time I guess.

As is mostly if not always, the case, I was originally inspired to make this list from a rather abysmal one by a professional establishment.  This time it was good ole Rolling Stone's "100 Greatest Singers of All Time" back in 2008, which I share only thirty-four entries with I believe.  Besides just being grossly missed-ranked, (uh, B.B. King number 96 and Ray Charles number 2?), it was really just boring.  I would much rather recommend Q Magazine's "100 Greatest Singers List", from the year before, as it at least had some "alternative" people present and was not overtly dominated by musicians who hit their peak before the sixties were over, (not that I do not love a great deal of that music myself mind you).

The point is of course that everybody's lists suck but mine.  Ha.  Now I once again had to set some rules up for this one, as is the norm.  First off, I excluded extreme metal vocalists simply because my initial list had over one-hundred and twenty "normal" singers and I just decided to stick with the conventional ones.  Now that being said, I plan to quickly follow this list up with a mini one of just screamers and cookie monsters who I greatly enjoy.  It will not be a hundred of them, good Satan.  Though I reckon twenty or so will suffice.  I also excluded a number of singers who make and/or top nearly any list like this that you are likely to see out there simply on the fact that I honestly do not really listen to them.  Aretha Franklin, Ray Charles, Sam Cooke, Patsy Cline, etc.  I do like all of these people, but I am unfortunately ignorant to most of what they have done which is not on the radio.  So, I can hardly count myself a fan and therefor, I stuck to the vocalists whose work I am far more familiar with, let alone into.

Also just to clarify, this is a "singers" list, not an "artists" list.  Bob Dylan, Lou Reed, Kurt Cobain, Tom Waits, Ozzy Osbourne, etc.  All have done some of the best music ever, but I would not label any of them as outstanding vocalists.  Now I do dig everyone on this list obviously, but some I would not even consider some of the best artists of all time.  They all got sexy-ass vocal abilities though, which is exclusively what we are rating up in here. 

I have a link up for each entry, (in my opinion, said individual's stand-out performance), plus a few words of me kissing their ass.  Also, if any singer ever rocked a mullet, I tried to use a picture from that era, as would be presumable.  Some of these choices might be kind of surprising, some maybe kind of funny, and some very much expected for anyone who knows me.  Anyway, let the nerding commence...

Thursday, July 11, 2013

2013 Horror Part One

V/H/S/2
Dir - Simon Barrett/Adam Windgard/Eduardo Sánchez/Gregg Hale/Gareth Huw Evans/Timo Tjanjanto/Jason Eisener
Overall: GOOD

2012’s V/H/S was a mostly decent, hand-held camera, anthology horror film and it got enough good buzz to generate a hastily put together sequel V/H/S/2 earlier this year.  Some of the same problems persist, (the “frame narrative” story is very weak and the question of “Who is editing all this found footage?” is still the big elephant in the room), and of course there will be weaker entries here than others.  Overall though, all four stories besides the linking one are tighter than in the previous entry.  Adam Wingard's “Phase 1 Clinical Trials” is a definite improvement from his "Tape 56" from the first V/H/S and Jason Eisner's “Slumber Party Alien Abduction” is equally on par.  The Blair Witch Project's Eduardo Sánchez and Gregg Hale wonderfully reunite with the rather amusing “A Ride In the Park”, but the show stopper is by far the gleefully demonic and over the top “Safe Haven” by Indonesian based directors Timo Tjahjanto and Gareth Evans.  A steady improvement from top to bottom with the lesser moments much fewer and farther between, this is as solid of a follow-up as one could hope for.

EVIL DEAD
Dir - Fede Alvarez
Overall: WOOF

Especially after last year’s outstanding Cabin In the Woods turned the entire premise here upside-down, revisiting The Evil Dead in a comparatively straight as well as a pointless manner results in an abysmal affair.  Ignoring those flames in the opening scene, the “no CGI” gimmick is admirable enough and the gore is rather prominent to say the least.  The real problem though is a familiar one for modern remakes which is taking a grittier, darker, more depressing, and serious approach while at the same time having your characters behave with all the tired, logic-less clichés, unload the goofy during the finale, and bust out the groan inducing one-liners.  It is impossible not to compare this updated, overblown, jarringly tone-clashing version unfavorably on every level with the DIY, legendary original.  Ugly and obnoxious with none of the charm of any of Sam Raimi's previous three films in the franchise, this is also completely trite by its very design.  So in other words, just another misguided remake.

THE SACRAMENT
Dir - Ti West
Overall: MEH

With The Sacrament, flawed filmmaker Ti West at least deserves some credit for changing up his game and going for something conceptually left-field from his previous works.  Forgoing any supernatural horror aspects entirely and presenting itself as an original, faux-documentary, the movie in fact borrows nearly every plot detail from the real life Johnstown Massacre of 1978.  Besides the unmistakable familiarity, it is also loaded with all the other problems that West's films have thus far all had.  That is the massive jumps in logic taken upon by the characters that swiftly and absolutely take the viewer out of the proceedings.  Plenty is handled very well here, particularly the tone and performances and West is a very good director who is quite skilled at building unease and dread.  That said, his scripts never, ever deliver on the promise otherwise seen and it is unfortunate that his trademark seems to be making one frustratingly auspicious though ultimately disastrous work after the other.  It all comes down to the writing in his case and the writing is thus far always perplexingly bad considering how much everything else otherwise works.

Sunday, July 7, 2013

2000s American Horror Part One

BELOW
(2002)
Dir - David Twohy
Overall: MEH

Co-penned by none other than Darren Aronofsky and directed by David Twohy who handled the Riddick trilogy amongst many other popcorn sci-fi action films, Below is kind of a mess with the potential not to be.  For one, the film's B-movie style presentation, (including very sub-par CGI, Dutch angles, dramatic slow motion shots, and schlocky acting), makes it impossible to take anything as seriously as intended.  That is when Zach Galifianakis is not doing what he seems incapable of not doing, meaning being a goofy weirdo for almost every opportunity he has to deliver his lines.  Everywhere else though, it is deadpan business.  The script is very busy with a confusing mystery and questionably resolved reveal as well as underwritten characters that further befuddle things.  There are also far too many boo scares of course but complaining about them is practically a given for modern day horror movies.  The premise of a haunted submarine would appear to be ideal in a better, overall setting and yes there is certainly nothing terrible going on in Below, but also nothing memorable enough to endorse it.
 
THE GRAVEDANCERS

(2006)
Dir - Mike Mendez
Overall:  WOOF

Yikes.  There are two things that make Mike Mendez' abomination The Gravedancers worse than it otherwise would have been.  A criminally inexplicable 100% on Rotten Tomatoes for one thing acts as a sure fire warning to never trust anything with only seven reviews tallied.  In addition to that though, things go along rather generically while not necessarily horribly here for a good long while, pretty much the whole first and second acts.  It is played conventionally with your standard jump scares and grey depressing filters and what not.  For who knows why though, the finale takes a dive into almost Loony Tunes territory.  If the whole film would have established the comedic, popcorn horror vibe to its fullest, then this could have been just a dumb exertion in camp, but the tone change just spirals and ping-pongs into absurdity.  An extra and detrimental faux pas is that Marcus Thomas delivers one of the worst performances anyone could contemplate.  Imagine if Keanu Reeves was a hundred times shittier at emoting than people used to think he was at his worst and you get an idea.

I CAN SEE YOU
(2008)
Dir - Graham Reznick
Overall:  MEH
 
The full-length debut I Can See You from writer/director Graham Reznick is a very confused bit of filmaking.  One or two frames in and it is clear that we are not dealing with high-end equipment here as it bizarrely looks as awful as most SOV horror films from two decades prior didThe special effects likewise do not come off far beyond student film level from over two decades prior.  One can look past sub-par technical aspects of course and the Lynchian-esque style that Reznick is very obviously going for is if anything else, admirable.  There is no closure to be found since literally every door in the plot department is left abandoned and wide open, but ambition alone does not make for an overall splendid viewing experience.  In this regard, I Can See You falls apart, blunderingly so by the time the credits roll.  After an hour long build-up of some annoying characters fucking about in the woods, terrible looking, “weird for the sake of weird” nonsense is really all we get.  

Saturday, July 6, 2013

New Format = more reviews!


Sooooo, changing it up a bit and basically I shall no longer be using this blog solely for posting lists.  Instead, I figure that I can get far more mileage out of posting reviews for basically whatever I have been watching as of late.  It is not like I have stopped watching horror movies since the completion of my "100 Favorite Horror Films" last year and yeah, I have ranked up quite a few more to cross off my "to see" list.  Since this will go on and on until seemingly always, shit, I might as well throw my two-cents into the online pool of nerds talking about nerdy things.

I will primarily be focusing on film reviews, primarily again horror film reviews.  Yet I do occasionally like to see what Arnold and Sly are putting out, check out some "real movies" that I have been meaning to get to or re-watch again, and of course, I am not missing any major comic book movies that are hitting the screen.  So I shall break out of the horror stuff from time to time I am sure.  Of course more album lists and non-film stuff will creep its way on here before too long as well.  The long-short of it is that I am just going to post whatever I feel like on here and hopefully it is nerdy and silly enough for a few people to get a kick out of.

I do not really have a schedule to adhere to or any kind of scheme with how I will put all of this stuff on here.  Yet I do have a few ideas.  I am going to try and group my reviews into some categories as I am posting them, ala a couple of new films all at once, a couple of classics, some non-horror stuff, etc.  I do not really care for throwing out star ratings, so instead I will have some self -xplanatory, one-word ratings that should get the job done.  Optimistically I will not repeat myself too much or toss around too much hyperbole from review to review.  We shall see what happens though.  So as Heath Ledger would say, "And here...we...go..."

2012 Horror Part One

THE ABC'S OF DEATH
Dir - multiple
Overall: MEH

The ABCs of Death was the big anthology horror release from 2012 along with the similarly themed V/H/S.  Similar in that both movies feature several independent filmmakers given a small budget and complete creative control to make a bunch of horror shorts, there are twenty-six here with each one named after a letter in the alphabet.  Lingering around five minutes in length each, the sheer number of ideas here means that it is basically impossible for them all to knock it out of the park.  Not surprisingly, the two strongest stories are from Timo Tjahjanto and Ben Wheatley, both of whom have done outstanding work elsewhere in the horror genre, (the former with the best segment in this year’s V/H/S/2 and the later with last year's Kill List).  Most disappointing is Ti West's “M”, topped only by the complete waste of time that is Andrew Traucki's “G”.  Nearly all of the shorts are incredibly gory or disgusting in other, far stranger ways, (the almost unwatchable “F” segment per example).  It is admirably ambitious, but far too uneven by design to remain engaging from front to back.

THE LORDS OF SALEM
Dir - Rob Zombie
Overall: WOOF

Rob Zombie's Lords of Salem barely had a theatrical release and made the least amount of money out of his five feature films thus far.  One of the most readily apparent issues is Sheri Moon Zombie being cast in the lead.  Having to run the gamut of emotions in such a setting, Moon is noticeably out of her range here.  She spends probably sixty-five percent of her scenes staring off into space, though this is admittingly intentional to create a very un-Zombie, trance-like mood.  What is very Zombie-like is the awful script.  If there was ever an active filmmaker out there who desperately needs a collaborator to insert some logic and help fine-tune his ideas, (ideas that on paper one could certainly make something out of), Zombie is that filmmaker.  With an almost non-stop barrage of unintentionally silly moments and a rambling, embarrassingly pretentious climax, it is a mess to be sure.  Zombie is clearly challenging himself here as it is unmistakably different in tone than his usual work, but his unchecked vision is almost fascinatingly disastrous.

V/H/S
Dir - Adam Wingard/David Bruckner/Ti West/Glenn McQuaid/Joe Swanberg/Radio Silence
Overall: GOOD 

The found footage anthology film V/H/S is typically uneven as such projects often are, though fortunately more on the decent side than not.  On the negative end of things, the linking segment by Adam Wingard is quite poor and not the least bit compelling, as is Ti West's “Second Honeymoon”.  Gleenn McQuaid's “Tuesday the 17th” and Joe Swanberg's “The Sick Thing That Happened To Emily When She Was Younger” fair a little better, though still end up being mediocre.  The three aforementioned stories all run in the middle which unfortunately diminish the overall flow.  Thankfully, the bookending stories from Radio Silence's, (“10/31/98”), and David Bruckner, (“Amateur Night”), are very well done.  The latter makes excellent use out of one of the horror film's less-utilized monsters and “10/31/98", though shorter in length, cuts quickly to the chase and delivers some genuinely skin-crawling visuals.  These better segments are excellent enough to make the others more tolerable and to give the entire collection a solid recommendation.