The new wordpress dashboard is so goddamn cluttered 😐 No likely weird changey. What’s with all the LOOK AT THE SHINY SHINY?
Anyway, went and watched Quantum of Solace yesterday at Pindi’s Cinepax. Really liked the film. Seemed to have a loosely strung together plot, but Daniel Craig’s acting paid off in spades. This is what Bond should be like. There are comparisons here to be made with The Bourne Ultimatum; both are generally action flicks with class and, if possible, nuance in action scenes. Both are built around not-so-interesting story archs (though Ultimatum was fairly better than QoS in that dept), both have humanely violent (wha?) action sequences, both control the need to chuck in some outrageous bollocky parts. In short, remember when you watched Brosnan drive his Vanquish on ice and then make it ‘disappear’? Well that shit ain’t happenin’ here.
I absolutely love DC as Bond for the simple reason that he’s actually fearful. We get the usual sarcasm, but it’s restrained; it’s occasional, popping up only when utterly necessary and not chucked in to induce some worthless smiles.
Also, if you see this in a cinema, there’s some brilliant censorship work. Really.
QoS has been dissed a lot for Daniel Craig’s Bond not being too, Bond-like. From what I’ve read around on the internet, it would seem that DC’s Bond is more akin to Ian Fleming’s Bond than any other. I don’t know how true that is, but this Bond is better than any I’ve seen (and I haven’t seen many, to be fair). Enough of the suave, charming bullshit. It’s ridiculous, and annoying.
Anyway, enough of that. Bon Iver’s new EP, Blood Bank, has now leaked. Aside from an auto-tuned last track (seems like a mix between Kanye/T-Pain and Imogen Heap) that isn’t bad – but isn’t great either – the EP is glorious. The title track is fantastic; different in mood from For Emma, Forever Ago, in the sense that it’s warmer, more upbeat. The live version (linked to below) is even better because the dynamics are more prevalent; the simple hypnotic kicks bouncing off of Vernon’s delicately poignant voice that seems to confess while hoping for more. Even as the imagery points to a subdued, austere atmosphere his voice runs in stark contrast to it, coupled with the jangly guitar and a continously running synth that swirls at the start and then ends up in a lull only to rise again for the chorus. Babys has a lilting, circular melody that lends way to a magnificant build up at the end; a wish wash of gorgeous melody that dies down almost as soon as it hits.