Spider-Man, Bruce Banner, Daredevil, The Avengers and the X-Men can all rest easy ... 'cause their fearless creator Stan Lee is alive and kickin' after getting a pacemaker implanted near his heart. The 90-year-old comic book legend just fired off an AWESOME statement to fans after undergoing pacemaker surgery in L.A. last week, in which he proudly declares that he's not yet ready to become the Grimm Reaper's bitch: "Attention, Troops! This is a dispatch sent from your beloved Generalissimo, directly from the center of Hollywood’s combat zone! Now hear this! Your leader hath not deserted thee! In an effort to be more like my fellow Avenger, Tony Stark, I have had an electronic pace-maker placed near my heart to insure that I’ll be able to lead thee for another 90 years. But fear thee not, my valiant warriors. I am in constant touch with our commanders in the field and victory shall soon be ours. Now I must end this dispatch and join my troops, for an army … [Read more...] about Comic Book Legend Stan Lee — I Got a Pacemaker … BUT I AIN’T DEAD!
Ending credits spider man far from home
W hen Steven Soderbergh began work on The Knick – his gritty, historical medical series for Cinemax, set in New York City in 1900 – he enjoyed replicating the era’s look, fashion and stomach-churning surgical practices. But one of the few things that was far too ghastly to replicate was the music. “Oh, it was horrible,” he says with a laugh. “Aesthetically, it’s a really cool period, but the music was absolutely boring and not interesting. Ragtime had just started – and there’s a tiny bit of that in the background of some scenes – but other than that, there was nothing good.” So the director turned to the only person he thought could give The Knick a unique sound: his frequent collaborator, Cliff Martinez. As the director filmed the show, he had been using shimmery EDM flourishes that Martinez had written for the 2012 teensploitation flick Spring Breakers and some of the composer’s wiry synth lines from his own 2011 pandemic disaster film, Contagion , as temporary … [Read more...] about Blood Brothers: Inside the Music of ‘The Knick’
Mark Jenkin ’s 2019 film Bait had the rare distinction of being a genuine out-of-the-blue discovery, featuring heavily on UK critics’ year-best lists after a modest arthouse release by the BFI. The black-and-white film’s experimental style was emphasized in all its press coverage, nodding to avant-garde auteurs like Stan Brakhage, Derek Jarman and Guy Maddin — all directors who are interested in the literal grain of film and video (indeed, Jenkin reportedly developed the negative with coffee and washing soda then distressed the image by hand). Throw in post-synch sound, and you have a film more likely to screen to two people and a dog at a smoky underground 1960s cine-club than win a BAFTA. For all its formal intricacies, though, Bait had a very traditional narrative, being the story of a Cornish fisherman who sees his village becoming gentrified after selling his house to a couple of rich out-of-towners. Enys Men , Jenkin’s Directors’ Fortnight entry here in … [Read more...] about Cannes Review: Mark Jenkin’s ‘Enys Men’
‘D ear heavenly Father,” someone is saying to the silent room, “please give us the ability to touch this crowd.” All thirty-six members of D’Angelo ‘s touring band and crew are stuffed into his dressing room, hands linked, heads bowed in a large prayer circle. “And when our ability fails, Lord. Please. Take over.” The room answers with a loud “ mm-hmm. “ Prayer ends, and the entire group collapses into a giant moving hug, all yelling at once in a joyous din – “ Soultronic force! My re-deeeeem-er !” It seems they’re gearing up for some high-energy smash-mouth football. Or a musical mission. As the scrum disperses, D’Angelo turns to you and slaps you five. And nearly breaks your hand. D, as they call him, gives pounds with injurious intent – stiff-handed smacks that make a firecracker pop and then meld into a tight clamp, a finger snap, two fist bumps and another clamp, or some such combination. The more he likes you, the more he uses the strength in his bulky shoulders and … [Read more...] about D’Angelo Is Holding Your Hand
D ‘Angelo is a morning person, of sorts. When he’s working in the studio, as was often the case in the 14-year interregnum between 2000’s Voodoo and 2014’s Black Messiah, he quits his all-night recording sessions just in time to greet each day’s sunrise. “I’m definitely on the night shift,” he says, drawing deep on one of a series of Newport cigarettes, not long after midnight in the midtown Manhattan studio where he recorded much of Black Messiah. He’s wearing a denim shirt unbuttoned over a white undershirt, dark jeans and leather boots. Dog tags bearing the names of his three children hang from a chain around his neck. He looks weary, though he woke up not long ago. It’s his first interview since he released one of the most universally acclaimed albums in years, an album that seemed as if it might never come out at all. D’Angelo could well be the most singular, visionary star to emerge from R&B since Prince. His music, stuffed with live instrumentation and harmonic … [Read more...] about The Second Coming of D’Angelo