B - Secret Boyfriend - Night Waste / Turn The Curse (Cassette, Album)

Gaon Music Chart. Retrieved August 31, Archived from the original on February 28, Archived from the original on February 4, Retrieved August 10, Archived from the original on August 15, W Foundation. Retrieved April 26, The Asia Economy Daily in Korean. Retrieved August 16, TV Daily. August 12, October 12, The elder villager and the son of the King fight back to save some of the villagers and the village. However, one of the big Zombie Pigmans catches the elder villager off guard as he reads a map and slams him to the nether portal and crushes him with a chained-spiked ball, killing him.

The son fights back and wins the battle but is saddened by the loss of his trainer. The son wants revenge, so the next day, he overtakes a journey to fight Herobrine and other mobs.

He rides his horse and fights zombies, a huge obsidian creature, and goes to a castle to fight Herobine. They have a long battle and when Herobine hits the son of the King, he pretends to be knocked out, tricking Herobrine and knocking one of his fireballs back at him. Said color is inspired by the black tea.

His true purpose was to guard the Earth from the threats of Radical Destruction Bringer but was sidetracked from his human host Fujimiya 's misguided ideology and fought Gaia on certain occasions. It was at this point the two started to fight on the same side and eventually faced against B - Secret Boyfriend - Night Waste / Turn The Curse (Cassette Radical Destruction Bringer's minions at the series' finale arc.

His mouth is designed after the B Type suit of Ultraseven. Its existence was predicted by sorcerer Kijuro Mato from years prior and eventually led to the foundation of G.

Having foreseen the arrival of Earth's guardians Gaia and Agulit was responsible for deceiving Fujimiya into viewing humanity as Earth's enemies. Despite G. According to the Deathbringer, the Radical Destruction Bringer's reason to destroy humanity was due to its assumption on said race as a dangerous pathogen to the universe. Chiaki J. Konaka never visualizes how did the Radical Destruction Bringer appeared to be.

In fact, he left the interpretation to the writers of the series. Upon being defeated, the Primal Mezard can transform themselves into their monstrous forms. When Hiroshi Kashimada wished for the Red Sphere, he inadvertently brought Satan Bizor to his homeworld as well, leaving the dimensional-displaced Gamu to fight against it.

This prompted Gamu to go to Germany and uncover the perpetrator. As Black Gamu, he is portrayed by Takeshi Yoshioka. Having predicted the arrival of Radical Destruction Bringer, Mato desired its power to rule Japan and transformed into Gan-Q to assassinate those who tried to prepare for its arrival.

However his actions were discovered, and he was forced to curse his descendants to inherent his power until the arrival of the Radical Destruction Bringer and committed suicide to avoid capture. Several months after the original Gan-Q's defeat, Mato appeared in the present and terrorized the city as a battered version of his Gan-Q form while coercing his cursed descendant Shusaku Sawamura to return his powers to him.

This monster is perhaps known for its tendency to insanely laugh and deliver psychological torture to its victim Gamu even from distance. Its forms include:. It wasn't until Tsutomu wished for Tiga and Dyna to even the playing field and thus allowing Gaia to destroy King of Mons once its subordinates defeated.

Unfortunately since the condition was different from their childhood, the King of Mons was easily decimated from Gyrares' attack. As a result of Yu Hirama's corruption via the Red Sphere, the King of Mons can summon two other monsters that Hiroshi's friends designed earlier but would can also weaken the monster itself should the other two destroyed.

See the parallel between him and Andrianna? Music plays significantly in this film as Adrianna spends most of her free time dancing, singing and listening to an old record player which she has to kick to make it work.

As the music becomes more prominent, we realize that, if anything, the music is the key to "knowing her well". Don't miss the unforgettable final 10 min sequence featuring Gilbert Becaud's "Toi". A perfectly written, perfectly shot, and perfectly titled film, "I knew her well" rings of the famous line in Hamlet where the prince finds the bones of his childhood pal, the court jester Yorick "of infinite jest, of most excellent fancy Now get you to my lady's chamber and tell her, let her paint an inch thick The Year I Became a Liar That alone makes the trilogy monumental, as we see him and his family literally growing up across a decade.

Here we have Trogi narrating the story himself depicted as an year old boy who has just moved to a new town and seizes upon the opportunity as the mysterious newcomer to fabricate a lie-laden identity for himself. As you might guess, this frequently gets him into deep trouble. But what's really interesting about this presentation is that our protagonist is so oddly amoral, even though he's a cute kid who's mostly harmless. When he gets caught in a lie, instead of coming clean and atoning for his sins he digs a deeper lie, as if that's what you're supposed to do.

Thus this becomes a really funny, quirky sort of dark comedy that explores the origins of an innocently "criminal mind" check out the follow up film "" to see where he is 6 years later. There's also a strong yet subtle current of deep sentimentality that we witness mostly in the interaction between the boy and his father.

The father, like his son, is very intelligent but not necessarily educated. So there's almost a peer-to-peer relationship in their banter, although the father always manages to outwit the kid.

But this flick is a true original. Blow-Up Watching "Blowup" is like inhaling a mentholyptus cough drop up your nose and directly into your skull.

Visually it's exhilerating. And it will leave a lasting, if not slightly painful, imprint on your medulla oblongata. The plot is very suspenseful, but that's not the primary focus here. The plot is about a hip fashion photographer of the trendy London elite who one day, purely by chance, snaps a picture of a possible murder. He investigates the crime by--as the title suggests--blowing up the photo. But this seemingly simple act leads him into a labyrinthine tangle of reality, illusion and perception.

As director Michelangelo Antonioni commented: "He wants to see something more closely. But when he enlarges the object it breaks up and disappears. So there's a moment when one grasps reality, but the next moment it eludes us. This is roughly the meaning of Blow-Up.

And even if you don't fully grasp Album) he meant, if you keep it in mind as you're watching the film then certain cryptic things will fall into place. The mysterious obnoxious mimes running through the city are deeply symbolic of an alternate fantasy that carves its way right through the middle of regular urban life.

The very cool concert scene featuring the Yarbirds Jeff Beck and a young Jimmy Page in his pre-Led Zeppelin days is confounding but again deeply symbolic with the audience lulled into a bizarre mob reality bordering on a zombie apocalypse.

And of course there is our protagonist's entire career of molding and manipulating human dolls fashion models to suit his own artistic reality.

But the murder mystery throws a severe psychological wrench into things, because suddenly he loses control of his own perception, instead being led deeper and deeper into the abstract grainy forms of the blown up picture. Whose reality is he in now? This movie is Antonioni's 2nd color film following the excellent "Red Desert". He tells the story through vivid colors, often physically manipulated by painting streets, houses and even trees to bring out a palette that fits his own artistic narrative.

He did this in "Red Desert" also, but while that film presented almost an otherworldy scifi look, here in "Blowup" he manipulates colors in order to recreate a vivid but believable reality. So if you see what's going on here, you realize that this movie itself--as well as YOU the viewer--is all part of the story.

We're watching a movie that manipulates reality in order to tell the story of an artist who manipulates reality but ultimately loses control of what he is seeing.

Did I just lose you? Good because B - Secret Boyfriend - Night Waste / Turn The Curse (Cassette think I just lost myself. Like the main character in the story unraveling the mystery of images. And when that happens you'll know that Antonioni's little magic trick was a stunning success. Adult Life Skills I can think of 2 fun comedies that involve characters who live in a shed: "Almost Sharkproof" and this one "Adult Life Skills".

Well then there's also Silence of the Lambs but that's something uh different. As you might guess from the premise, "Adult Life Skills" is about a 30 year old woman who doesn't know what to do with her life. Socially and emotionally stunted for reasons you will learn early in the flick, "Anna" Jodie Whitaker is an overgrown adolescent who spends her days talking to her thumbs and who can't manage to put on a bra without severely embarrassing herself.

With her 30th birthday looming, her mom gives her an ultimatum which is basically the entire plot of the film: move out of the shed. Get a life. And she has about 1 week to do it. What we get is a cute, quirky, at times tragic, at times magical story about her reluctant attempted transformation into an adult.

The film is very minimal, consisting of a shed, the bottom floor of a house, a childrens camp where she works, and the landscape of a tiny rural town where nothing seems to happen except that people occasionally die off. The whole production is marvelously carried by a witty script and some rapid fire banter in funny accents I dunno, are they "accents"? Being from America I figure everything outside of Connecticut is an accent.

The film's narrow scope works tremendously to its advantage as we are forced to scrutinize small details of everyday life rather than epic dramas of wars and romance. Although there are tragic themes, it's handled off camera so we see only how it affects the characters in an unspoken way.

And although there is a slight romance angle here, it's done in a hilariously awkward way the snogging scene had me in stitches. You've probably never seen a movie quite like this, so don't miss it.

I think my title sums up everything that's awesome and everything that's horrible with this movie. Yes in one memorably-wtf scene Eddie Wilson, the dirty Jersey rock n roller who in the 1st movie was a mix of James Dean, Sid Vicious and Batman, in this movie straps on a pair of rollerskates and gets lateral.

If you're an obsessed fan of the 1st movie, then just the thought is enough to make you change your name to Toby Tyler and run off to join Cirque du Soleil. Consider it as sorta the Robocop 2 of cult movies. Enough slamming. I actually loved this flick in a nostalgic I-love-thes way.

Lots of random freakout arguments that are resolved 20 seconds later. Lots of music montages with incongruous editing, like random crying clips to snowball fights to sax players playing on a mountaintop.

Lots of big hair. But seriously folks, there are at least 2 or 3 scenes that are worth the price of admission, full of poetry and artistic wisdom, such as the scene where Eddie shows the young shredder guitarist how to play a real solo, or another short but profound talk about how each musician's playing style is like a fingerprint that he can't escape from awesome metaphor for a person's identity.

Those scenes are the real takeaway of this film, not the plot. The plot itself goes something like this: We learn in the opening scene that Eddie has been hiding out in Montreal piddling around with some song ideas but too pissed off at the world to make a serious attempt at music.

By chance he crosses paths with a young hotshot guitarist who irritates Eddie enough that Eddie decides to teach the kid a thing or two. Will this lead to a comeback? Or will Eddie--self destructive as always--torpedo the whole effort and sink the band even as their big break is looming?

Meanwhile another! It's actually a pretty great setup, and it flirts with some really deep themes. Unfortunately the director Jean-Claude Lord, who's better known for directing Canadian soap operas, didn't seem to give this effort the royal treatment it required to stack up to the original.

I wonder if the director even bothered watching the 1st. As such, you can expect a lot of unnecessary filler scenes such as music montages. If you can ignore this fluff, or perhaps even see it as part of the film's nostalgic 80s wtf charm, then you'll have a blast. If not Ultimately, this flick is a guilty pleasure of mine.

To borrow a great line from this film: "Not bad means not bad. If I was in a bar and I watched this, it'd be nice being in there. Then I'd go home and I'd forget all about it. That's what not bad means. Love it or hate it, you will not forget this movie.

Phoenix II The story is deliberately preposterous. A disfigured concentration camp survivor "Nelly" undergoes facial reconstruction which makes her so unrecognizable that her own husband doesn't recognize her; instead he insists that his wife is dead. But he wants to use Nelly as an imposter so he can collect her inheritance. But listen up, here's why it Album) perfectly. The theme of "Phoenix" involves how people face an unacceptable past.

There are 3 main characters who each personify a particular, extreme response. It has to be extreme, it has to be preposterous, and most importantly we have to accept it. Either that or just walk out of the theater after 5 minutes and watch Monday night football instead. Our 3 characers are: 1 Nelly - she cannot let go of her traumatic past, and at the same time she has no past because she has no identity, figuratively and literally. In fact, we get the feeling that even if she were the spitting image of herself, he would still refuse truth.

Such is the nature of psychological denial. And 3 We have Nelly's only friend "Lena" who has become a tireless political activist, saving survivors and trying to keep the past "alive" even though she is confronted with a society that has already moved on.

So you see how this story isn't supposed to be taken as a literal drama but rather as a very creative metaphor to illustrate how psychology works in 3 vastly different personality types.

Further driving the surreal nature home, we have gorgeously shot, vividly composed visuals. If you ever wondered how Film Noir would look in color, then look no further.

Here in 's is the next decade's evolution. In this case there is bold use of colors, but they are distinctly and "impossibly" presented: a dark alley is illuminated with a ghostly red light even though there are no red light sources Album) be seen, or a dark scene of bombed out ruins has unrealistic islands of light illuminating patches of rubble, all in vivid color but with stark contrast against the black spaces. The cinematography and lighting is as purposely unrealistic as the plot.

Ultimately if you grasp all of this, or if you just decide to go along with it for the sake of seeing how everything turns out, your suspension of disbelief will be amply rewarded. As nearly every other reviewer has noted, the ending is fantastic. Beyond fantastic, it's the whole point of the movie. In an interview, director Christian Petzold says the entire story comes down to the last 3 minutes, and that's where it will either come together or utterly fall apart.

For my money, it's a total winner. The Soft Skin In terms of audience approval, "La peau douce" was Truffaut's big disaster. Why did audiences hate it so much? For the exact reasons that it is a landmark film. The main character is not very likeable; he's almost completely expressionless even though this is a love story.

Certain events happen in a way that isn't exactly realistic: an elevator takes nearly 2 minutes to travel up 5 floors but only 15 seconds on Album) way down. Certain events happen without any dialogue or explanation, just a succession of close ups showing objects and activity.

But these 3 points are very deliberate, and they are what make "La peau douce" such a tremendous work of art.

Why is the main character not likeable? As Truffaut said, this film is "an autopsy of adultery". The story is about a respectable man with a meticulously perfect life who engages in a very imperfect affair.

Truffaut wanted to present everything as objectively as possible so that we can analyze all the elements without the prejudice of sentimentality. So he made the lead actor Jean Desailly play the role of "Lachenay" with neutrality; we sense deep emotion, but there are no melodramatic scenes of outward expression as we've come to expect in love stories.

If you think about it, isn't that how most people's love lives are? We don't usually get dramatic closeups with soft lighting and complimentary filters.

And as far as that goes. Lachenay makes some pretty bad ones. How realistic is the storytelling? At times, not very.

But this style is one of the greatest examples of "hyper realism" which is something Truffaut learned from his mentor and idol Alfred Hitchcock. Only a handful of words are said, but in true Hitchcockian form it's a very suspenseful and portentous scene that deserves its full 2 minutes. The same elevator ride down, with Lachenay alone, is designed to give us contrast and return us to the realistic world as the 5-floor descent is shown in real time, only 15 seconds. Dude where's the dialogue?

It's there, but sometimes it's conspicuously absent like in the entire seduction scene which consists of a wordless walk down a hotel hallway, a fumbling for some keys, a lingering stare, hands touching as a door is opened, one hand turning on the light while another hand turns it off, and finally a magnificent dark silhouette of 2 people facing each other. Fade to black. Did we really need any dialogue to understand exactly what was going on in their heads?

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