#im a vile behemoth

[d3m0n1c-cl0wn3ry]

the werewolf urge to bite someone so hard that you tear flesh from bone

[defjux]

100 of my favorite modern metal releases, from 2010 to now. i stuck to death, black, doom, post, blackgaze, stoner, sludge, etc for this just to make it easier but there’s a few i threw on here just because it felt like they fit. i did make another one of these lists recently for the more punk/hardcore influenced stuff though which you can find here if you’re interested. i’ve also listed all of the albums below. Chart with album names included Spotify Playlist

1. Ne Obliviscaris - Portal Of I 2. Panopticon - Autumn Eternal 3. Krallice - Years Past Matter 4. Blood Incantation - Hidden History Of The Human Race 5. Alcest - Écailles de lune 6. Agalloch - Marrow of the Spirit 7. Pallbearer - Sorrow and Extinction 8. Mgła - Exercises in futility 9. Imperial Triumphant - Vile Luxury 10. Deafheaven - New Bermuda 11. Vektor - Terminal Redux 12. NEPTUNIAN MAXIMALISM - Éons 13. Ulcerate - Stare Into Death And Be Still 14. Gorguts - Colored Sands 15. Thou - Summit 16. Deathspell Omega - Paracletus 17. YOB - Clearing the Path to Ascend 18. Oranssi Pazuzu - Värähtelijä 19. Kayo Dot - Hubardo 20. Altar of Plagues - Teethed Glory and Injury 21. Hell - Hell III 22. Oathbreaker - Rheia 23. Batushka - Litourgiya 24. Cult of Luna - Vertikal 25. Saor - Aura 26. Serpent Column - Kathodos 27. Mare Cognitum - Solar Paroxysm 28. Ethereal Shroud - Trisagion 29. Warforged - I: Voice 30. Rivers of Nihil - Monarchy 31. Zeal & Ardor - Devil Is Fine 32. White Ward - Futility Report 33. Leviathan - Scar Sighted 34. Bell Witch - Mirror Reaper 35. Thou - Magus 36. Sleep - The Sciences 37. Panopticon - Kentucky 38. The Ruins of Beverast - Exuvia 39. Amenra - Mass VI 40. Ne Obliviscaris - Citadel 41. Cult Of Luna & Julie Christmas - Mariner 42. Pallbearer - Foundations of Burden 43. Primitive Man - Caustic 44. Blood Incantation - Starspawn 45. growth - The Smothering Arms of Mercy 46. Yellow Eyes - Immersion Trench Reverie 47. Baroness - Purple 48. Imperial Triumphant - Alphaville 49. Misþyrming - Söngvar elds og óreiðu 50. Wake - Devouring Ruin 51. Ştiu Nu Ştiu - Fake End 52. Wolves in the Throne Room - Thrice Woven 53. SubRosa - More Constant Than The Gods 54. Tómarúm - Ash In Realms Of Stone Icons 55. Chelsea Wolfe - Hiss Spun 56. Cult of Fire - Ascetic Meditation Of Death 57. Elder - Dead Roots Stirring 58. Rosetta - A Determinism of Morality 59. Howls of Ebb - Cursus Impasse: The Pendlomic Vows 60. Portal - ION 61. Spectral Lore - III 62. Paysage d'Hiver - Im Wald 63. Alcest - Les voyages de l'Âme 64. Behemoth - The Satanist 65. Deafheaven - Sunbather 66. Messa - Close 67. Spectral Lore & Mare Cognitum - Wanderers: Astrology of the Nine 68. Cattle Decapitation - The Anthropocene Extinction 69. VRTRA - My Bones Hold A Stillness 70. Oranssi Pazuzu - Mestarin Kynsi 71. Ash Borer - Ash Borer 72. Ferriterium - Calvaire 73. The Sword - Warp Riders 74. Morbus Chron - Sweven 75. Gojira - L'Enfant Sauvage 76. Mare Cognitum - Luminiferous Aether 77. Darkspace - Dark Space III I 78. Bestia Arcana - Holókauston 79. Woods of Desolation - Torn Beyond Reason 80. Cormorant - Diaspora 81. Serpent Column - Mirror in Darkness 82. The Ocean - Pelagial 83. Meshuggah - Koloss 84. Krallice - Diotima 85. SPECTRAL WOUND - Infernal Decadence 86. EX EYE - Ex Eye 87. Akhlys - The Dreaming I 88. Tomb Mold - Planetary Clairvoyance 89. Artificial Brain - Infrared Horizon 90. Inter Arma - Paradise Gallows 91. Gris - À l'Âme Enflammée, l'Äme Constellée... 92. Tchornobog - Tchornobog 93. Murmuüre - Murmuüre 94. Sumac - Love In Shadow 95. Funereal Presence - Achatius 96. Flourishing - The Sum of All Fossils 97. papangu - Holoceno 98. Ophis - Spew Forth Odium 99. Blut aus Nord - Hallucinogen 100. Kaatayra - Só Quem Viu o Relâmpago à Sua Direita Sabe

[abitterlifethroughcinema]

The Five (+1) Movies To Catch For the New Year

WOKE! 2020 Film Awards PReviews  

by Lucas Avram Cavazos

It is a mighty and yet daunting task this ‘2020 thing’ that is upon us. I think inherently we all know that some things are going to shift, others will change, some will expand and a lot more are likely to im/explode. Despite the factuality of it all, one constant I will always turn to, and recommend to you my lovelies, is cinematherapy. It goes without saying that some upcoming movies, which are either now or soon to be at our local VOS movie theatres, are also about to sweep some awards and with Oscar nominations going live this second week of January, I believe the movies below will soon be water cooler twawk, so me here at A Bitter Life brings you a BCN in VOSE look at the five (PLUS ONE!) films to catch before awards season intensifies.

In fact, it was a rather decent year for some great fare and not such a hodgepodge of Marvel and Disney movies forced down our throats every other week. The film I must start off with on this 2020 Film Awards Preview would be the excellent South Korean film Parasite ####-1/2, unanimously chosen as the winner of this year’s Palme d’ Or at Cannes and easily gracing the top or near-top of most film critic’s lists this year, as well it should. Telling the story of a South Korean family, the Kims, who slowly become interlopers within the confines of the uber-wealthy Park family. Starting off with one of them acting as a tutor, they slowly find a way to fill a need for the Park family, all while acting as non-related good Samaritans…that is until a botched getaway vacation and an underground bunker with a tale to tell reveal themselves and send the two families into a quagmire that must be seen and lived to be believed. (Now playing all over BCN/CAT/ESP)

Next up would be my personal favourite this year, though very closely followed by the aforementioned film! Once Upon a Time in Hollywood ####-1/2 became, at least for myself, a redeeming factor in the oeuvre of Quentin Tarantino after the meh! feelings given off by his last big screen outing a couple of years ago. Taking the tragic, real-life story of the Manson Murders that ended the life of Roman Polanski’s then-wife Sharon Tate, director Tarantino buckles his audience into their seats and sends them into a time zone tunnel to 1969 Los Angeles. One of the things that has always revolved around a Tarantino movie is the element of revenge. Here, we have a different take on a true event, but the concept is widened by the director using actors Brad Pitt, Leonardo di Caprio and even Margot Robbie as conduits of a bygone era that give a peek into a mindset and time that usually must be lived to be remembered. The fact that we, the viewing audience, feel like we were actually there in ’69 and then also given the chance to make up our own mind as to a possible different ending to the Manson family murders is mere evidence of a great director/writer who seamlessly gives us a choose-your-own-adventure saga with superb cameos. Excellent cinema once again.��(Soon on DVD/Blu-ray & VOD)

The next big film that has increased the star power and respectability factor of Happy Gilmore, uh I mean, Adam Sandler is the ever-loved and heralded film Uncut Gems ####.  If we have to put some truth to power, it must be noted that part of the film’s appeal is that it is such a New York City film. When you then throw in the elements of a thriller mixed with the Diamond District of Manhattan AND a run-around plot that also includes ballers and entertainers like Kevin Garnett and The Weeknd playing themselves, what you get is a peek into  what feels like a true-life crime show playing out in front of your eyes. Add in the ever-excellent Tilda Swinton and Natasha Lyonne, as well, and even despite the long 2-1/4 hour running time, what you get is Adam Sandler, under the direction of the Safdie brothers and along with the good graces of Netflix (who will also be distributing the film in Europe), becoming the new Comeback Kid. (To be released in BCN/CAT/ESP via Netflix on Jan.31)

While we’re on the subject…Netflix. Whatever your thoughts may be on the streaming site service (and others like it), it goes without saying that VOD services have become the wave of the future. Home cinema and entertainment centres/systems are what make for the latest in silver screen viewing. For the last three-plus years, the world cinema system (not to mention film academies and award outlets) have had to adapt to a new reality few probably ever even thought of before this new digital age. Just a few days ago, perhaps showing a bit of wane after receiving the most nominations, only two actress winners took home trophies, Olivia Colman as The Queen in The Crown and Laura Dern for A Marriage Story, reviewed below. With that said, famed director/ writer/ producer Marty Scorcese decided to go the Netflix route for his (likely) last mafia opus The Irishman ####, detailing the life story and inner workings of the Philly mob, while also detailing intricacies of the Teamster unions, Jimmy Hoffa, the Kennedys and the inner workings of the US mafia and its many minions. Financed by Mexican firm Fabrica de Cine (mad side-eye and furrowed brow) amongst Netflix and other studios for international rights, the production of the film apparently ballooned up to (and some reports even say, well beyond) $160 million. With just under 8€ million reaped at the worldwide box office (taquilla) coffers, it’s fair to say that this film in all its glory should have been edited to a slightly shorter length and intended for movie theatres. It has had a fairly great response by viewers on the streaming site du jour, but even Sandra Bullock garnered hella more viewers with her formulaic thriller Bird Box earlier in the year. As a student and tutor of history, the elements of the film that stood out to me went beyond the impeccable performances, specifically by Pacino as Jimmy Hoffa, but of course De Niro and Pesci as Frank Sheeran and Russell Bufalino, as well, but it was Scorcese’s capturing of that forgotten time around which we find so many Trump supporters harkening to, and it details the trials and tribulations of the working class then…and perhaps, even now. That aside, I abhorred the expensive de-ageing CGI process to make the Italian acting kings look younger…just vile. It was like they suddenly became animated secondary characters from a dropped scene in Spielberg’s Tin Tin film a few years ago…bloody odd for a live-action mafioso epic. Still…Scorcese is the only working director who can capture that essence of a time gone by and dress it in Hollywood’s finest if overly-priced storytelling. Which brings us to the other Netflix gem to catch…but only when emotionally prepared.  (Now streaming on Netflix and select screens)

Marriage Story ####, a.k.a. that likely Oscar-nominated film that will require too many tissue moments, also makes its way to this list. Trust, I can get my heart strings pulled quite easily if the right sentiments abound, so I was non-plussed going into this because I had already heard from my film fest peops that it was a bit of a tearjerker. Undeniably, there is a brutally-displayed realness that envelops the main characters of this film, particularly actresses Scarlett Johansson and Laura Dern. Helmed by the wonderful Noah Baumbach, Johansson gives a near-best performance as former teen actress turned TV actress Nicole Barber, who separates from her NYC theatre-directing husband played by Kylo Ren himself, Adam Driver. When she takes a role and moves to LA, along with their child, things become even more real. There is a gutsy bravado that clearly makes itself beyond relevant, as the melancholy yet funny film continues, and I, for one, could hardly keep the sobs at bay with the ending of the film. This is the stuff that ‘rom-drams’ need last their heart, not that paltry shite fed to too many simpletons by Nicholas Sparks. (Now streaming on Netflix and select screens)

Aaaaaaaaand…lastly, Knives Out ####-1/2 rightly fixes itself into a final slot on this list because it is one of those long-lost wonders of vintage cinema…a star-studded quasi-whodunnit with wit and thrills and superb, serio-comedic acting by everyone involved. A mere smattering of those actors would be Daniel Craig, Chris Evans, Jamie Lee Curtis, Spanish actress and Golden Globe nominee Ana de Armas, Michael Shannon, Toni Collette and even Don friggin’ Johnson! Following an investigation into the sudden death of famed mystery writer Harlan Thrombey (Christopher Plummer), who had just invited main members of his family to his mansion for his birthday celebration, we see the touches of a perfectly poised ensemble film. Director/writer Rian Johnson has really stepped up to the plate with the best of the new directors and fresh off his box-office behemoth Star Wars: The Last Jedi from a couple of years back, his helming a film like Knives Out really plays his hand heavily in his diversity and directing tenacity. The fact that he also wrote this fine piece of script and dialogue makes him even more worthy of a possible director nod and it goes without saying that the cast is undoubtedly the finest ensemble piece made and released in the last year, and if you’ve been seeking a classic feel of a film with a smart, sharp modern twist, this film will satiate any of those olskie-olskie longings of a nostalgic murder mystery that makes you feel good after you leave the cinema. (Now playing in BCN/CAT/ESP)