#jack karaszewski

[90smovies]

[f00dcourt]

Dijon - Many Times (dir. Jack Karaszewski) (2021)

[loverboybitch]

Absolutely a Film Directed by Jack Karaszewski, songs Performed by Dijon;.//.

https://vimeo.com/659183081

[theinputmagazine]

3. “Under/Over” by Gracie Abrams.

Under/Over is the shorter song in the EP, and it’s also my favorite. 

NME wrote that this is one of those songs that are easily forgotten, but I don’t think so. For me, Under/Over is a minimalistic work of art. A production that doesn’t yell “Hear me!”, but instead, it says “Listen to me carefully, and appreciate the sounds within,” which include a simple but beautiful piano progression, different percussions, a distorted 808 bass, vocal harmonies, at least two synth pads (one which rises and disappears, and another that seems to be in reverse) and ringing bells. 

This song goes straight to the point: Gracie starts singing and playing her Wurlitzer electric piano from the first phrase and until her very last one. In the first verse she tells us the story of a forgotten love, reminiscing the days when she could hardly function from a broken heart. She still remembers everything, and, like in “Friend”, she’s still able to access those feelings, even if she’s way over them. 

The chorus also starts early, with just the one verse before it. The distorted 808 bass is introduced, giving the song more depth. The vocals turn into rhythmically playful words and a falsetto that couldn’t fit better, giving the song more sense of dimension and spectrum. The piano chords change a bit, but they always come home to a sweet resolution. Here, we get Gracie doesn’t quite understand her feelings, which is normal for a teen: A wave of emotions is enough to make you do or not do certain things. We tend to overthink and make mistakes, to do things we think are right for us, just to realize they aren’t, as she so states in the second verse: “Thought that I’d be good the day I took down all your pictures in my room”. As if it were that easy; Emotions and feelings are way much more complex than that, and, at the end of the second verse, she seems to understand this. (“Maybe I’m just getting confused”) Exactly. 

The chorus repeats, with just a few production-wise variations (We now hear layers of delayed and echoed vocals, and a pad, which rises at the end and takes us towards the outro) and one BIG-LITTLE change in the lyrics. Now, instead of saying “I’m underwater, but I’m over you”, she sings “I’m underwater, am I over you?” She’s still confused, and rightfully so, as she’s been digging on past emotions, and most of us well know what happens when you do that: You might get stuck in the mud again. Unfortunately, we don’t get that answer from Gracie. 

Next and quickly enough, is the outro, which to me is just perfect. It’s what makes me want to repeat the song all over again and get to that part yet again— although I hate that it happens to be the end. There are chopped vocal samples along with the ongoing percussive sounds that are put here and there in a clever rhythmical pattern all around my head, different kind of synth pads that work together in harmony, an airy synth that I can’t really name (be it a bubbly trumpet or a sax), and a bell-ish hit that reminds me of a sound from Super Smash Bros. It’s just all too much and too good. It certainly gives me Owl City’s “Fireflies” vibes, which adds to why this song is my favorite. 

Personal Favorite Phrase: “I'm not chasing feelings that I don't understand"

Objective Findings:  

Key: E

Instruments: Wurlitzer electro piano, vocals, 808 bass, different percussions, at least two synth pads, bells, that airy/bubbly trumpet (which I think is also a virtual instrument) and I’m really thinking there’s a Super Smash Bros sample there or something lol.

Chord Progression: III - VII - I three times, then VII - I - II

Effects: Reverb, delay, echo, stereo imaging, a chain of compressors, equalizers and limiters. Panning (which is not an effect, but boy did they panned away!) 

Note: I’m sure they worked with more effects, but these are the ones that are more noticeable to me.

What do you think of “Under/Over”?

[01sentencereviews]

2010-2019

top 25, by release date:

Halloween II [Director’s Cut] (2010, Rob Zombie)

Black Swan (2010, Darren Aronofsky)

4:44 Last Day on Earth (2011, Abel Ferrara)

It’s Such a Beautiful Day (2012, Don Hertzfeldt)*

Frances Ha (2012, Noah Baumbach)

Spring Breakers (2012, Harmony Korine)

The Bling Ring (2013, Sofia Coppola)*

Stranger by the Lake (2013, Alain Guiraudie)

Under the Skin (2013, Jonathan Glazer)

Maps to the Stars (2014, David Cronenberg)*

Unfriended (2014, Levan Gabriadze)

88:88 (2015, Isiah Medina)*

Happy Hour (2015, Ryūsuke Hamaguchi)*

Personal Shopper (2016, Olivier Assayas)*

Elle (2016, Paul Verhoeven)

Moonlight (2016, Barry Jenkins)*

The OA, TV Series (2016, 2019; Brit Marling + Zal Batmanglij)

24 Frames (2017, Abbas Kiarostami)*

Twin Peaks: The Return (2017, David Lynch)*

Assassination Nation (2018, Sam Levinson)

An Elephant Sitting Still (2018, Hu Bo)

“Beychella - Coachella Live Stream” (2018, Beyoncé Knowles-Carter)*

Vox Lux (2018, Brady Corbet)

“Fleabag” @ Soho Playhouse Theater (2019, Vicky Jones)

“The Irishman” @ Belasco Theatre (2019, Martin Scorsese)

+++, in alphabetical order:

“Adele - Hello” (2015, Xavier Dolan)

American Honey (2016, Andrea Arnold)

Annihilation (2018, Alex Garland)

The Assassination of Gianni Versace: American Crime Story (2018; Scott Alexander + Larry Karaszewski + Brad Falchuk + Nina Jacobson + Ryan Murphy + and Brad Simpson)

Big Little Lies, Season 1 (2017, Jean-Marc Vallée)

Blade Runner 2049 (2017, Denis Villeneuve)

Boyhood (2014, Richard Linklater)

Breaking and Entering (2017, Kelley Dong)

Call Me by Your Name (2017, Luca Guadagnino)

Cameraperson (2016, Kirsten Johnson)

Carol (2015, Todd Haynes)

Certain Women (2016, Kelly Reichardt)

Citzenfour (2014, Laura Poitras)

Climax (2018, Gaspar Noé)

Cosmopolis (2012, David Cronenberg)

End of the Century (2019, Lucio Castro)

Everybody Wants Some!! (2016, Richard Linklater)

First Reformed (2017, Paul Schrader)

The Gay and Wondrous Life of Caleb Gallo, Web series (2016, Brian Jordan Alvarez)

The Girlfriend Experience, TV Series (2016-17; Lodge Kerrigan + Amy Seimetz)

Girlhood (2014, Céline Sciamma)

Girls, TV Series (2012-2017; Lena Dunham)

God’s Own Country (2017, Francis Lee)

Gone Girl (2014, David Fincher)

"Grimes - Oblivion" (2012, Emily Kai Bock + Claire Boucher)

Heaven Is Still Far Away (2016, Ryūsuke Hamaguchi)

High Life (2018, Claire Denis)

Holy Motors (2012, Leos Carax)

The House That Jack Built (2018, Lars von Trier)

If Beale Street Could Talk (2018, Barry Jenkins)

In Chris Marker’s Studio (2011, Agnès Varda)

Interstellar (2014, Christopher Nolan)

Inside Llewyn Davis (2013, Ethan Coen + Joel Coen)

"Kelela - Frontline" (2018, Claudia Matè + Kelela + Mischa Notcutt)

The Knick, TV Series (2014-15; Jack Amiel + Michael Begler)

Knife+Heart (2018, Yann Gonzalez)

Lady Bird (2017, Greta Gerwig)

“Lady Gaga - Telephone ft. Beyoncé” (2010, Jonas Åkerlund)

The Leftovers, TV Series (2014-15, 2017; Damon Lindelof + Tom Perrotta)

Lemonade (2016, Kahlil Joseph + Beyoncé Knowles-Carter)

The Love Witch (2016, Anna Biller)

Mad Max: Fury Road (2015, George Miller)

Magic Mike XXL (2015, Gregory Jacobs)

Margaret (2011, Kenneth Lonergan)

Martha Marcy May Marlene (2011, Sean Durkin)

The Master (2012, Paul Thomas Anderson)

Melancholia (2011, Lars von Trier)

Mistress America (2015, Noah Baumbach)

mother! (2017, Darren Aronofsky)

Mountains May Depart (2015, Jia Zhangke)

“My First Film” @ Metrograph (2018, Zia Anger)

Nasty Baby (2015, Sebastián Silva)

Neon Bull (2015, Gabriel Mascaro)

The Neon Demon (2016, Nicolas Winding Refn)

No Home Movie (2015, Chantal Akerman)

Nocturama (2016, Bertrand Bonello)

The Ornithologist (2016, João Pedro Rodrigues)

Pain and Glory (2019, Pedro Almodóvar)

Palo Alto (2013, Gia Coppola)

Paterson (2016, Jim Jarmusch)

Phantom Thread (2017, Paul Thomas Anderson)

Post Tenebras Lux (2012, Carlos Reygadas)

The Real Housewives of New York City, TV Series (2008-present; Andy Cohen + Megan Estrada + Pam Healey + Lisa Shannon)

“Robyn ‘Call Your Girlfriend’ Official Video” (2011, Max Vitali)

RuPaul's Drag Race All Stars, Season 2 (2016; RuPaul)

Scott Pilgrim vs. the World (2010, Edgar Wright)

Shoplifters (2018, Hirokazu Kore-eda)

The Social Network (2010, David Fincher)

A Star Is Born (2018, Bradley Cooper)

"Star Wars: The Force Awakens Trailer (Official)" (2015)

Stray Dogs (2013, Tsai Ming-liang)

Sucker Punch (2011, Zack Snyder)

Support the Girls (2018, Andrew Bujalski)

Tangerine (2015, Sean Baker)

The Tree of Life (2011, Terrence Malick)

Uncle Boonmee Who Can Recall His Past Lives (2010, Apichatpong Weerasethakul)

Under the Silver Lake (2018, David Robert Mitchell)

World of Tomorrow (2015, Don Hertzfeldt) 

World of Tomorrow Episode 2: The Burden of Other People’s Thoughts (2018, Don Hertzfeldt)

Young Adult (2011, Jason Reitman)

[ohgeephoto]

CRYBABY from jack karaszewski on Vimeo.

directed and edited by me director of photography: david molle camera assistant: graham kennedy producer: john cerrito assistant director: stephen heleker gaffer: jerod nawrocki g&e swing: brian morataya key grip: adam x makeup: joanie del santo custom overalls: cleola associate producer: deker daily fonts: parker loris underkoffler

frog man: me the baby: delilah grace ng hands: lauren de mauregne

music by dijon with me n henry + two inch punch

[vm4vm0]

CRYBABY from jack karaszewski on Vimeo.

directed and edited by me director of photography: david molle camera assistant: graham kennedy producer: john cerrito assistant director: stephen heleker gaffer: jerod nawrocki g&e swing: brian morataya key grip: adam x makeup: joanie del santo custom overalls: cleola associate producer: deker daily fonts: parker loris underkoffler

frog man: me the baby: delilah grace ng hands: lauren de mauregne

music by dijon with me n henry + two inch punch

[artwalktv]

the new musical truth! Directed By: Jack Karaszewski Director of Photography: Christopher Ripley Producer: Stephen Heleker Unit Production Manager: Ivy Liao Associate Producer: Deker Daily Production Designer: Miranda Lorenz Stylists: Joanie Del Santo & Blake Hardy Camera Operator: Adam Hull Sony Venice and Ronin Tech: Andrew Brinkhaus 1st AC: Mario Garciduenas 2nd AC: Bruno Pescina, Michelle Alanis Gaffer: Mathias Peralta Key Grip: JP Bennett Best Boy Electric: Jerod Nawrocki Best Boy Grip: Evan Croker Sound Mixer: Alex Thompson Sound Mixer Assistant: Leo Greene Art Director: Xavier Martinez Leadman: Leo Arroyo Set Dresser: Victoria Ainza Styling Assistant: Rachael Buley Production Assistant: Amali Dunmore with: dijon mike on guitar henry on drums and odd device ryan on geetar gabe on bass brad on keys

[deadcactuswalking]

REVIEWING THE CHARTS: 12/12/2020

For the first time ever after being released in 1994, Mariah Carey’s “All I Want for Christmas is You” has hit #1 on the UK Singles Chart, like it did on the US Billboard Hot 100 last year and will probably do so this year. This is a really short week full of nothing so that might be the biggest story here, and the song deserves it. It’s a great song and it’s genuinely massive. I wonder how newer songs like Kelly Clarkson’s “Underneath the Tree” will be able to enter themselves into the Christmas canon after Mariah Carey proved that it can be done with modern pop. Well, that’s not for us to find out today, because this is REVIEWING THE CHARTS.

Rundown

Like I said in the introduction, this is far from a busy week, which almost surprises me. Sure, nothing important was released – except that Shawn Mendes album which flopped remarkably and debuted at #12 on the Albums Chart this week – but I did expect another festive flood of holiday tunes. To my surprise, this didn’t happen or at least not to the extent that I assumed it would. Sure, we still have a lot of Christmas songs replacing newer pop songs that had already been in the charts, ‘tis the season, but this week only had five notable drop-outs from the UK Top 75, and none of those are that notable. I guess “Ain’t it Different” by Headie One featuring AJ Tracey and Stormzy, one of the biggest hip-hop hits of the year, dropping out is a pretty big deal, but otherwise we just have “Diamonds” by Sam Smith, “UFO” by D-Block Europe and Aitch, “Come Over” by Jorja Smith and Popcaan, and I guess “Chingy (It’s Whatever)” by Digga D. All of these songs are recent and might have a rebound after the Christmas season is over, but I do have my concerns about the longevity of these songs, particularly because of how, you know, none of them are actually good. I guess now we could discuss some of our biggest fallers, which are of some quantity considering the season, so I’ll run these off quickly: “Midnight Sky” by Miley Cyrus at #15, “Therefore I Am” by Billie Eilish at #18, “Levitating” by Dua Lipa at #20, “you broke me first” by Tate McRae at #21 (these last four songs were all in the top 10 last week, by the way), “Prisoner” by Miley Cyrus featuring Dua Lipa at #22, “Really Love” by KSI featuring Craig David and Digital Farm Animals at #31, “Monster” by Shawn Mendes and Justin Bieber continuing to free-fall to #33, “Train Wreck” by James Arthur at #35, “Get Out My Head” by Shane Codd at #37, “Mood” by 24kGoldn and iann dior at #38, “Head & Heart” by Joel Corry and MNEK at #40, “Lemonade” by Internet Money and Gunna featuring NAV and Don Toliver at #45, “Dynamite” by BTS at #46, “Lonely” by Justin Bieber and benny blanco at #52, “See Nobody” by Wes Nelson and Hardy Caprio at #54, “i miss u” by Jax Jones and Au/Ra at #56, “What You Know Bout Love” by the late Pop Smoke at #57, “Sunflower (Spider-Man: Into the Spider-Verse)” by Post Malone and Swae Lee at #61, “All You’re Dreaming Of” by Liam Gallagher off the debut at #62 (our biggest fall this week), same goes for “No Time for Tears” by Nathan Dawe and Little Mix at #71 and some long-lasting hits right at the tail end of the chart: “Princess Cuts” by Headie One featuring Young T & Bugsey at #72, “WAP” by Cardi B and Megan Thee Stallion at #73, and “Looking for Me” by Diplo, Paul Woodford and Kareen Lomax at #74. We do have a lot of Christmas gains and returning entries, so before we get to anything non-Christmas, let’s round off those real quick. Returning to the chart are “Santa’s Coming for Us” by Sia at #69, “Let it Snow! Let it Snow! Let it Snow!” by Frank Sinatra at #66 and “White Christmas” by Bing Crosby at #63. There are a lot more of our notable gains though: “Have Yourself a Merry Little Christmas” by Sam Smith at #65, “Cozy Little Christmas” by Katy Perry at #58, “Love is a Compass” by Griff at #53, “Feliz Navidad” by José Feliciano at #51, “Christmas Lights” by Coldplay at #49 (the biggest gain and deservedly so), “Santa Baby” by Kylie Minogue at #44, “Let it Snow! Let it Snow! Let it Snow!” by Dean Martin at #43, “Sleigh Ride” by the Ronettes at #41, “Mistletoe” by Justin Bieber at #36, “Wonderful Christmastime” by Paul McCartney at #32, “Holly Jolly Christmas” by Michael Bublé at #30, “Happy Xmas (War is Over)” by John Lennon and Yoko Ono with the Plastic Ono Band featuring the Harlem Community Choir at #29, “It’s the Most Wonderful Time of the Year” by Andy Williams at #28, “Merry Xmas Everybody” by Slade at #26, “One More Sleep” by Leona Lewis at #25, “Driving Home for Christmas” by Chris Rea at #17, “This Christmas” by Jess Glynne at #13, “Santa Tell Me” by Ariana Grande at #11, “Step into Christmas” by Elton John at #10, “Do They Know it’s Christmas?” by Band Aid at #8, “It’s Beginning to Look a Lot Like Christmas” by Michael Bublé at #7 and finally, “Merry Christmas Everyone” by Shakin’ Stevens at #6. That’s not all of our gains and returning entries though, as we do have some peculiar events outside of the Christmas singles. First of all, “Blinding Lights” by The Weeknd is up to #39 thanks to a remix with ROSALIA, and secondly, “WITHOUT YOU” by The Kid LAROI returns to the chart at #23. I have no idea why or how this happened but I want it gone as quickly as possible. Anyway, we have three new arrivals to talk about, none of which are particularly interesting, so let’s get on with those.

NEW ARRIVALS

#75 – “Real Stuff” – Juice WRLD and benny blanco

Produced by Dylan Brady, Jack Karaszewski, Henry Kwapis, Cashmere Cat and benny blanco

The song’s not called “Real Stuff”, but come on, this is a family show. About a year ago, Jarad Higgins, or Juice WRLD, died tragically at age 21 of a substance abuse-related seizure. Naturally, since it’s Juice and his label we’re talking about, they’re still pumping out unreleased content. Two songs of this nature were released around this time, one with Kid LAROI and Kim Petras we’ll probably see next week and even higher on the chart, but first of all, an emo rap anthem produced by benny blanco and Dylan Brady of 100 gecs. I mean, okay, sure, it is 2020 after all. Blanco posted on social media about how this was his first ever recorded song with Juice when they had a studio session before Juice was that recognised, and before he was signed, they cooked up a lot of music. This makes it surprising how it didn’t leak after all this time but it shouldn’t matter. What’s important is the quality of the song and since this is a genuine song from a real-life studio session, it’s not nearly as insincere and cynical as some of the other posthumous projects from Juice. Sadly, I don’t this makes it any good. The clicking, stuttering trap beat doesn’t sound bad with his bumping 808s but doesn’t complement the acoustic guitar strumming or even Juice as much as it should – and this is really early Juice, so it’s not like he’s mastered his style of emo-reminiscent self-loathing and painful, drug-induced relationship ramblings. It’s not even as catchy as Juice would start to be later on, so it is just a primitive version of whatever Juice’s sound would end up being. Sadly, we won’t get more development from the guy other than these cheap releases, and if benny blanco guided Juice more into a lane he’s comfortable with and more importantly, Juice was still alive, this could be an example of something great yet to flourish but since his incomplete discography of disposable output is all we have to evaluate, it makes Juice’s work much more difficult to appreciate, especially posthumously, where every throwaway bar about substance abuse has this haunting, unnerving impact it didn’t have before. Oh, and I really like the first verse, which is just aimless flexing but with more charm than he usually has, and with some promises of extra detail he could have gone into, before of course, it switches onto a different topic, an issue plaguing much of the man’s work. In conclusion, the song is fine but I don’t think I can listen to Juice’s work, complete or incomplete, released when he was alive or scrambled posthumously, without feeling sad or just having this contempt for the yes-men who surrounded him. Rest in peace, Juice.

#67 – “Oh Santa!” – Mariah Carey

Remixed by Ariana Grande and Jennifer Hudson

Produced by Scott M. Riesett, Marc Shaiman and Daniel Moore II

“Oh Santa!” is an original Christmas tune Mariah Carey wrote and released with Jermaine Dupri in 2010, for her second Christmas album, aptly titled Merry Christmas II You. The song wasn’t a success, and it couldn’t live up to “All I Want for Christmas is You”, which is fine. We don’t need more Mariah Carey songs in the Christmas canon if we already have an absolutely perfect one at the top of the charts, but if she wants to start flooding the market, I guess it’s best to do it with two experts at vocals, because for her little Apple TV Christmas special, she’s bought along Jennifer Hudson and Ariana Grande for whatever the triple version of a duet is. I assumed this would have been a returning entry because it’s a remix but the original never charted in the UK so I’ll have to talk about both here, and, well, there’s a reason “All I Want for Christmas is You” has never been replicated in terms of success and just sheer quality. I talked about this on my best list but there’s never been a song I feel is so ubiquitous of modern Christmas in the current millennium than “All I Want for Christmas is You”, an outright rejection of festive commercialism in preference of just having her significant other around for the holidays. “Oh Santa!” has a similar presence, but in this one, Mariah Carey’s asking for Santa Claus himself to wrap her crush in wrapping paper and gift it to her for Christmas, with a lot less of the warm intimacy of the classic song and without any of the charm. The 2010 version has this really gross drum machine and a lot of cheerleader-type chanting and clapping that starts off as really ugly – and the chanting still is – but honestly makes a pretty good backing for Mariah sliding over the beat with vocals that may not be as impressive as her best but are just as smooth as they should be over a more coy, low-key festive instrumental. My main issue with it is pace because whilst it is a short song, and she does treat us to some whistle notes and runs by the end, it just fades out and the instrumental doesn’t feel like it goes anywhere, making this song sound slow as all hell. If anything, this remix sounds dated, especially with the more modern vocal production with Ariana Grande and Jennifer Hudson, both in a constant struggle with Mariah for getting a word in, to the point where Hudson over-sells her belting and Grande is the only voice recognisable enough here that actually works. Half way in, the song completely devolves into a bridge of aimless runs and “harmonising” from everyone with that ugly chanting, seemingly unchanged from the original. Yeah, this isn’t pretty, and if anything is a remix of an older song that needed a lot more updates to make it work in a 2020 context and fits all of these incredible vocalists in. This could have been great with an original song that was completed to flatter everyone, but there’s too many cooks in the Christmas kitchen here and the cookies being made are being overcooked. Sure, let’s go with that analogy. Next.

#59 – “Daily Duppy – Part 1” – Digga D

Produced by AceBeatz

It’s not uncommon for freestyles to chart in the UK, particularly important British hip-hop tastemaker GRM Daily and their “Daily Duppy” freestyles, which have been the break-out moment for many rappers like Aitch or DIgDat because they reach a level of viral fame and attention that music videos can’t do as well, mostly because of the platform just letting them spit bars over usually decent beats. Digga D was actually opposed to doing one and even sparked some kind of feud with GRM Daily but that dried up soon enough for him to provide them with two “Daily Duppy” freestyles on two different beats but with one cold verse each. Only the first part charted here, as you’d expect, but I’ll cover both. The first part, produced by Ace Beats, has a pretty nice pitch-shifted vocal sample quickly abandoned for the same sample pitched differently, and then it comes back, under a pretty messy drill beat, and whilst Digga D’s riding it really well, I find it hard to be convinced by his delivery here, which is either checked-out or edited so heavily it’s bizarre. I mean, I thought this was a freestyle, right? He can just spit bars over the beat and it’ll be fine, but they add all these stuttering effects, ad-libs and censors that censor pointless words like “juice” but keep actual vulgarities completely intact, as well as censoring some locations but not others. It takes me out of the whole verse, honestly, even if some of it is some pretty slick and nice wordplay, with some funny punchlines and the typical pop culture references you can expect from the more lighthearted of UK drill. I know that people like to make references to their guns in ways that make them even more threatening and eerie, but just like 21 Savage calling his Draco a paedophile, I don’t think Digga D saying that he grooms young ethnic minority boys to sell drugs is “hard” or even enjoyable. I just think it’s pretty awful. I said I’d talk about the second part here, but honestly, it’s a lot less interesting, with a more trap-adjacent beat and boring synths instead of the cool vocal sample. Admittedly, it sounds more like a “freestyle”, but he wastes the moment where the beat cuts out by just rapping filler, and the quarantine references are going to date this, so, yeah, whilst I’m impressed by Digga D’s flow switches here, I’m not a fan of really anything else.

Conclusion

There’s not enough here to give an Honourable or Dishonourable Mention, so I’ll just have to give out the big ones... but everything here is mediocre, so I’m left with not a lot of content at all. I guess Best of the Week can go to the late Juice WRLD and benny blanco for “Real Stuff”, almost purely out of respect, even if the song is just listenable. Worst of the Week was really a toss-up, but I think I’ll give it to “Oh Santa!” by Mariah Carey featuring Ariana Grande and Jennifer Hudson for being such a waste of talent and potential. Only time will tell what comes next week, but I predict a busy one with Christmas music, Taylor Swift and hopefully Kid Cudi, but we’ll see really. I’m going to hazard a guess that we’ll get at least two songs from Taylor and only the Skepta track from Cudi, but I think we could easily have three from each. Here’s this week’s top 10:

You can follow me on Twitter @cactusinthebank for Imanbek fan-girling and thank you for reading, I’ll see you next week!

[90smovies]

Problem Child

[stenka-razin]

Happy New Year, Here’s Every Movie I Watched In 2017!

Bold = First Viewing

Dracula (1958, dir. Terence Fisher) Hot Fuzz (2007, dir. Edgar Wright) Heavy Metal Parking Lot (1986, dir. John Heyn & Jeff Krulik) Obvious Child (2014, dir. Gillian Robespierre) Star Trek: The Motion Picture (1979, dir. Robert Wise) Barbarella (1968, dir. Roger Vadim) Kagemusha (1980, dir. Akira Kurosawa) The Last Samurai (2003, dir. Edward Zwick) Red Desert (1964, dir. Michelangelo Antonioni) 07/27/1978 (2017, dir. lasagnacat) The Mind’s Eye: A Computer Animation Odyssey (1990, dir. Jan Nickman) Godzilla Vs. Mechagodzilla II (1993, dir. Takao Okawara) Captain America: Civil War (2016, dir. Anthony & Joe Russo) The Secret Life of Pets (2016, dir. Chris Renaud & Yarrow Cheney) Godzilla Vs. Spacegodzilla (1994, dir. Kensho Yamashita) Zaat (1971, dir. Don Barton) Legend of the Drunken Master (1994, dir. Lau Kar-leung & Jackie Chan) Mike and Dave Need Wedding Dates (2016, dir. Jake Szymanski) Ghidorah, the Three Headed Monster (1964, dir. Ishiro Honda) Ikiru (1952, dir. Akira Kurosawa) Get Out (2017, dir. Jordan Peele) A Girl Walks Home Alone at Night (2014, dir. Ana Lily Amirpour) Silent Running (1972, dir. Douglas Trumbull) Heavy Metal Picnic (2010, dir. Jeff Krulik) Heavy Metal Parking Lot (1986, dir. John Heyn & Jeff Krulik) Deadpool (2016, dir. Tim Miller) Keanu (2016, dir. Peter Atencio) The Rocky Horror Picture Show (1975, dir. Jim Sharman) Godzilla Vs. Destoroyah (1995, dir. Takao Okawara) Doctor Strange (2016, dir. Scott Derrickson) Independence Day (1996, dir. Roland Emmerich) Creature From The Black Lagoon (1954, dir. Jack Arnold) Star Trek Beyond (2016, dir. Justin Lin) The Heat (2013, dir. Paul Feig) The Exorcist (1973, dir. William Peter Blatty) Godzilla (1998, dir. Roland Emmerich) Day of the Dead (1985, dir. George Romero) Ashik Kerib (1988, dir. Sergei Parajanov) Eyes Without A Face (1959, dir. Georges Franju) Monty Python and the Holy Grail (1975, dir. Terry Gilliam & Terry Jones) Versus (2000, dir. Ryuhei Kitamura) Godzilla 2000 (1999, dir. Takao Okawara) Invasion of Astro-Monster (1965, dir. Ishiro Honda) Stenka Razin (1908, dir. Vladimir Romashkov) Queen of Spades (1910, dir. Pyotr Chardynin) Airplane! (1980, dir. Jim Abrahams, David Zucker, & Jerry Zucker) Star Trek II: The Wrath of Khan (1982, dir. Nicholas Meyer) The Big Sick (2017, dir. Michael Showalter) Godzilla Vs. Megaguirus (2000, dir. Masaaki Tezuka) Steamboat Willie (1928, dir. Walt Disney & Ub Iwerks) Stalker (1979, dir. Andrei Tarkovsky) The Cabinet of Dr. Caligari (1920, dir. Robert Wiene) The Wizard of Oz (1939, dir. Victor Fleming, King Vidor, George Cukor, and Norman Taurog) Final Destination (2000, dir. James Wong) Final Destination 2 (2003, dir. David Ellis) Pocahontas II: Journey to a New World (1998, dir. Tom Ellery & Bradley Raymond) Star Wars Episode IV: A New Hope, Special Edition w/ Red Letter Media Commentary Track (1977, dir. George Lucas) Scream (1996, dir. Wes Craven) Hellraiser (1987, dir. Clive Barker) Logan (2017, dir. James Mangold) The Rage: Carrie 2 (1999, dir. Katt Shea) Francis Ford Coppola's Bram Stoker’s Dracula (1992, dir. Francis Ford Coppola) Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001, dir. Shusuke Kaneko) Popstar: Never Stop Stopping (2016, dir. Akiva Schaffer & Jorma Taccone) Cube (1997, dir. Vincenzo Natali) Screwed (2000, dir. Scott Alexander & Larry Karaszewski) The Ascent (1977, dir. Larisa Shepitko) Landline (2017, dir. Gillian Robespierre) Get Smart (2008, dir. Peter Segal) Chemicals Like God (2017, dir. Matthew Roe & Kat Parker) Pirates of the Caribbean: The Curse of the Black Pearl (2003, dir. Gore Verbinski) Godzilla Against Mechagodzilla (2002, dir. Masaaki Tezuka) Lady Bird (2017, dir. Greta Gerwig) The Giant Claw (1957, dir. Fred F. Sears) The Stranger (1946, dir. Orson Welles) The Arrival of a Train at La Ciotat Station (1896, dir. Auguste Lumière & Louis Lumière) Dragon Ball: Curse of the Blood Rubies (1986, dir. Daisuke Nishio) Star Wars Episode I: The Phantom Menace w/ Rifftrax Commentary Track (1999, dir. George Lucas) Primary (1960, dir. Robert Drew) Too Funny to Fail: The Life & Death of The Dana Carvey Show (2017, dir. Josh Greenbaum) 12 Dates of Christmas (2011, dir. James Hayman) Star Wars Episode VII: The Force Awakens (2015, dir. J.J. Abrams) Adventures on the New Frontier (1961, dir. Richard Leacock, Albert Maysles, D.A. Pennebaker, & Kenneth Stilson) A Christmas Prince (2017, dir. Alex Zamm) Christmas Inheritance (2017, dir. Ernie Barbarash) La Chambre (1972, dir. Chantal Akerman) Hotel Monterey (1972, dir. Chantal Akerman) Pearls of the Deep (1966, dir. Jiří Menzel, Jan Němec, Evald Schorm, Věra Chytilová, & Jaromil Jireš) Catch Me If You Can (2002, dir. Steven Spielberg) News From Home (1976, dir. Chantal Akerman) Daisies (1966, dir. Věra Chytilová)

[vhspartyireland]

Problem Child (1990)

A young boy is just short of a monster. He is adopted by a loving man and his wacky wife. The laughs keep coming as the boy pushes them to the limits. Director: Dennis Dugan Writers: Scott Alexander, Larry Karaszewski Stars: Michael Oliver, John Ritter, Jack Warden

More Information: https://www.imdb.com/title/tt0100419/

Trailer: 

Available On (Ireland):

YouTube Rental / https://www.justwatch.com/ie/movie/problem-child-1990

[drvinyl]

Dijon Releases Latest Track: CRYBABY :*(

Dijon by Jack Karaszewski.

An inspection through my Spotify Daily Mix lead me to discover Los Angeles-based, singer-songwriter, Dijon. The first track I heard from the 26-year-old’s discography was “Skin” and I instantly added to my go-to playlist and immediately sent the track to a few friends, in a burst of excitement like I had just found a bar of gold. I recall initially comparing Dijon to Frank Ocean and other rising artists like Omar Apollo and Cautious Clay, however he is certainly one incredible and clearly unstoppable artist in his own right. 

His debut EP Sci-Fi 1 which was released this year, offers an intimate and tender collection of seven beautifully mastered tracks. It’s incredibly hard to wrap your head around the magnitude of maturity throughout - the level that you’d expect albums in, let alone in a debut EP. It’s difficult to pinpoint exactly what it is that makes Dijon so utterly captivating - perhaps it’s because he has mastered every melody twinned with lyrical perfection. It’s rare to find an artist who has honed in the ability to completely transport listeners into a dream-like trance so effortlessly, but Dijon has certainly nailed it. 

Dijon by George Muncey.

The latest instalment to come from Dijon landed fresh in the form of “CRYBABY :*(” with a three-minute long accompanying video directed by Jack Karaszewski. This latest release follows single “Good Luck”, which offered another glimpse into the artist’s sensitive approach to songwriting. 

Dijon will also be heading on tour in 2020, kicking off January 30th in Toronto, he'll make stops in New York, Portland, Vancouver, and San Francisco before concluding the run in Los Angeles. Tickets go on sale 10am local time November 8th. 

Follow Dijon + check out his tour dates here. Facebook | Instagram | Twitter | YouTube

[picklepicklebumbum-blog]

Dijon Duenas, better known by his stage name, Dijon, released his new single, Cry Baby, yesterday. With no exception, Dijon kills it with an upbeat, playful yet emotional and warm beats. The song is accompanied by Jack Karaszewski carefully curated visuals by using videos and stop motion still portraits of Dijon. A song that fits for the warmest of hearts.

[redcarpetview]

ACADEMY REVEALS WINNING NICHOLL SCREENWRITERS

      Scripts to be performed at live read in November

    LOS ANGELES, CA – Five individuals have been selected as winners of the 2019 Academy Nicholl Fellowships in Screenwriting competition. The fellows will each receive a $35,000 prize, the first installment of which will be distributed at the Academy Nicholl Fellowships in Screenwriting Awards Presentation & Live Read on Thursday, November 7, at the Samuel Goldwyn Theater in Beverly Hills. For the seventh consecutive year, an ensemble of actors will read selected scenes from the winning scripts.

     The 2019 winners are (listed alphabetically by author):

Aaron Chung, “Princess Vietnam” Karen McDermott, “Lullabies of La Jaula” Renee Pillai, “Boy with Kite” Sean Malcolm, “Mother” Walker McKnight, “Street Rat Allie Punches Her Ticket”

    A total of 7,302 scripts were submitted for this year’s competition. Twelve individual screenwriters were selected as finalists. Their scripts were then read and judged by the Academy Nicholl Fellowships Committee, who ultimately voted the winners.

         The 2019 finalists are (listed alphabetically by author):

Paul Ashton, “Slater Berricks Is a Dead Man” Matthew Fantaci, “Scandalous!” Lynn Esta Goldman, “On the Wing” Gary Patent, “Cosmonaut” Joel Sinensky, “The Lie Factory” Toy Styles, “Concrete Beach” Jack Zafran, “Justice, Justice”

     Fellowships are awarded with the understanding that the recipients will each complete a feature-length screenplay during their fellowship year. The Academy acquires no rights to the works of Nicholl fellows and does not involve itself commercially in any way with their completed scripts.

         The Academy Nicholl Fellowships Committee is chaired by Academy Short Films and Feature Animation Branch Governor Jennifer Yuh Nelson. The members of the committee are Eva Marie Saint (Actors Branch); John Bailey and Steven Poster (Cinematographers Branch); Marcus Hu and William Mechanic (Executives Branch); James Plannette and Stephen Ujlaki (Members-at-Large); Stephanie Allain, Albert Berger, Julia Chasman, Julie Lynn, Peter Samuelson and Robert W. Shapiro (Producers Branch); Bobbi Banks (Sound Branch); and Tina Gordon Chism, Eric Heisserer, Larry Karaszewski, Dan Petrie Jr., Misan Sagay, Kirsten Smith, Dana Stevens and Tyger Williams (Writers Branch).

     The global competition, which aims to identify and encourage talented new screenwriters, has awarded 161 fellowships since it began in 1986. In 2019 several past Nicholl fellows added to their feature film and television credits:

   Film Director Kurt Kuenne.

  • Destin Daniel Cretton directed and co-wrote (with Andrew Lanham) Warner Bros. Pictures’ “Just Mercy,” which premiered at the Toronto International Film Festival. Cretton will also be directing Marvel Studios’ “Shang-Chi and the Legend of the Ten Rings.”

• Jacob Estes wrote and directed Blumhouse’s “Don’t Let Go,” which premiered at the Sundance Film Festival.

• Susannah Grant is showrunner and an executive producer of the Netflix series “Unbelievable.”

• Ehren Kruger wrote Walt Disney Studios’ “Dumbo.”

• Kurt Kuenne directed episodes of NBC’s “The Blacklist.”

• Tianna Langham and Chris Bessounian are staff writers and story editors on Fox Television’s “The Resident.”

• Creighton Rothenberger co-wrote the story for Lionsgate’s “Angel Has Fallen.”

• Stephanie Shannon is a story editor and writer on the Apple TV+ series “For All Mankind.”

• Rebecca Sonnenshine is a co-executive producer and writer on the Amazon series “The Boys.”

• Michael Werwie wrote the Netflix movie “Extremely Wicked, Shockingly Evil and Vile” from his Nicholl-winning script. The movie premiered at the Sundance Film Festival.

    Tickets for the 2019 Academy Nicholl Fellowships in Screenwriting Awards Presentation & Live Read are now available at Oscars.org/Events. Casting for the live read will be announced at a later date.

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[wallygator]

There should be an Oscar for Stunts! If you feel the same way, please help us by doing these 4 things this weekend: 1. Don’t watch the Oscars! We are trying to drive DOWN viewership numbers. Encourage your friends and family to do the same. 2. Share this website https://oscarforstunts.com It has great information about our cause and a link to our petition asking the Motion Picture Academy to recognize Stunt Coord with an Academy Award category for their work: 3. On Sunday at 5pm PT/8pm ET TWEET this: #StandUpForStunts and #Boycottoscars @TheAcademy tonight! #ItsAboutTime #NoStuntsNoOscars #OscarforStunts #OscarBoycott #Present25 @dawnhudson #JohnBaileyPresident @Burwell_Lois @GanisSid @karaszewski @NUtleyJacobs #DavidRubin #JimGianopulos 4. Immediately after you tweet (or during) join us for our livestream with Jessie Graff, Jack Gill, Conrad Palmisano, Julie Michaels, Manny Perry, Pete Antico and Buddy Joe Hooker - we'll be taking questions and comments: (at Clearwater Beach) https://www.instagram.com/p/BuPijh5AhhoqN_ltbV56HRrDqf33K-CHEaFbhk0/?utm_source=ig_tumblr_share&igshid=b9pqqvw938ig