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KK

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About KK

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    Karl Ulrich Nikolaus Traeger
  • Birthday June 13

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  1. KK

    BETTER CALL SAUL

    I've felt the same way actually. It's all well produced, and well-written but it feels like we're running in circles. Episode 7 was no exception for me. I suppose its setup for something big for episode 8 (perhaps this season's equivalent of the third season's courtroom episode). But the whole season feels a bit like its "much ado about nothing".
  2. It's a very fine and moving film!
  3. Speaking of Reich, my current muse:
  4. Castle Rock by Thomas Newman It's only really a handful of cues, and it's largely meandering underscore, but he does seem to channel an edgier sound than the usual brand of "blah" Newman we've been getting in recent years. Though I guess that shouldn't necessarily be mistaken for interesting music.
  5. The Witch Finally caught this on Netflix last night. Good film. A fine portrait of early New England life and the commonplace religious fanaticism of the time. There's a certain stillness and simplicity to all of it that leads to a wonderful payoff. This is a family period drama first, a horror film second and that definitely benefits the work.
  6. Yea, it was a little on the nose. But:
  7. Mandy by Johann Johannsson Good stuff. It's essentially a dreamy synth-scape with touches of 80s industrial grunge, guitar and drumkit calling cards. Maybe the album is a little longer than it needs to be, but still a treat and a reminder of how singular a voice we lost with Johannsson. Oh, and this is pretty much an anti-JWFan score.
  8. Meet your new Joker (Arthur Fleck): https://www.rollingstone.com/movies/movie-news/joaquin-phoenix-joker-photo-724860/
  9. If Beale Street Could Talk Barry Jenkin's follow-up to his Best Picture-winning Moonlight preserves his flair for a strong visual language, but with a much more uneven execution. Although it's carried well enough by a strong cast, the film is just kind of all over the place. Britell's score serves as the more interesting attempt at what he did with Moonlight (dry string quartet renditions of melancholic chords). I came out disappointed, but the crowd loved it.
  10. I've started it. So far it's great and seems as intelligent as ever.
  11. That must be the only rational explanation!
  12. First Man Gone is the glitz and glamour of La La Land. Chazelle wants to show that he's grown up with plenty of shaky cam and intense close-ups for 2 hours. And it works. First Man is a solid film that explores the pressures on Armstrong and his wife during the development of the Apollo mission. It has a nice rhythm and 60s flair with a nice mix of 16mm and 35mm film with solid performances from Gosling and Foy. Chazelle channels the claustrophobia and intensity of space flight well. But at the end of the day, I don't think I can really get excited about it. Good stuff, not sure if it's great. Hurwitz's score also has nice moments. There's a Desplat-esque harp idea that gets expanded into a full-blown ensemble piece that sounds like it came straight from Trevor Jones' The Last of the Mohicans. The theremin use is subtle, and there's a nice bass riff for the NASA stuff. The Leftovers!! One of her best.
  13. Even then, I didn't think the FX was particularly exceptional, or innovative.
  14. Doctor Strange is such a bore. But that seems to be exactly what audiences love these days.
  15. Agreed Alex. I enjoyed that film quite a bit, even though it's very much in the mould of Rosemary's Baby. Collette is great in it too.
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