Posts Tagged ‘Bill Murray’

Soundtrack Saturday: “Ghostbusters II”

You don’t know how badly I want to slap the words “Electric Boogaloo” onto the end of Ghostbusters II (1989). Actually, I think any movie sequel whose title ends with the number two should have “Electric Boogaloo” tacked on.

Think of all the possibilities. Grease 2: Electric Boogaloo. The Godfather Part II: Electric Boogaloo. Or my favorite, Kill Bill Vol. 2: Electric Boogaloo.

But I digress. Then again, I didn’t really start anything from which to digress, did I? Sorry about that — my brain crossed the streams. (Thank you, thank you. I’m here all week.)

I’ll bet you’re wondering why I’m writing about Ghostbusters II when I haven’t written about the first Ghostbusters yet. Well, first of all, the sequel’s soundtrack is out of print and harder to find than the original’s. Second of all, this soundtrack has BOBBAAAYYY!!! (if you don’t speak cracked-out Whitney, I’m referring to Bobby Brown) and Run-D.M.C. on it. Also, after the serious tone of last week’s post, I wanted to write about something silly. And finally, because I’m still in disbelief that Hollywood’s going to make “Ghostbusters III. (I know Pete from Ickmusic and Jason Hare are disappointed that this post isn’t about Short Circuit 2 or Cocoon: The Return, but I hope they’ll get over it.)

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DVD Review: “City of Ember”

city-of-emberCity of Ember, the most recent film from Walden Media, starts on a bit of a downer. In a post-apocalyptic era, a city has been built deep in the earth’s core, presumably to protect the human race from nuclear fallout. The great minds that created this underworld, City of Ember, have also come up with an exit plan to be initiated 200 years after the human race is sent below the surface. The plans for this escape are kept in a steel box with special key card and directions to help humans begin anew up top. In the course of the 200 years, the care of the metal box was passed down from mayor to mayor, each one given instructions of what to do once the 200 years is up. Unfortunately, one of the mayors died suddenly, taking the secrets to preserving humanity with him. When the film begins, the city is falling apart. The huge generator that powers the City of Ember is running out of juice, creating treacherous blackout; food is scarce; and the mayor of the City, a man who should have the citizens’ best interest in mind, is hoarding the scarce supplies for himself.

The heroes of City of Ember are two teenagers, Doon Harrow and Lina Mayfeet. As the film opens, Doon and Lina are assigned jobs, careers they are to hold for the rest of their lives. Doon, a highly intelligent young man, is in pipe works and Lina, a speedy girl, is a messenger. Doon, convinced that the generator is about to die, believes he knows how to fix it. Although he’d rather be an electrician, he takes advantage of his job, learning everything he can about the plumbing of the city and how it all connects to the generator. Meanwhile, Lina shines in her role as a messenger. It’s upon delivering a message to the Mayor that we discover that Lina is a direct descendant of the mayor who died. Soon thereafter, she discovers the metal box and the secrets to saving the human race. When Doon and Lina uncover how the mayor has been cheating and stealing from his people, they confront him only to be labeled treasonous and hunted by the authorities. Together, they alone must figure out the clues and unlock the secrets of the City of Ember. (more…)

Exit Music (For a Film): “Lost in Translation”

When I was living in Johannesburg, I spent about four months dating a woman who worked as a professional editor for film and television commercials. She put together a video of surfing clips for me to help me promote “Groundswell,” and while I was thrilled with what she did, I never had a full appreciation of just how much work video editing is until I tried my own hand at the task. As you might have seen three weeks ago, my own project was ridiculously simple. It consisted of a single image, a few simple fades, a sequence of white text scrolling over a black background, and a single splice of video pilfered from the end of a movie to include the final few logos that are standard issue for every credit reel. Getting these few things done kept me up until 4 AM during one evening and 2 AM on another.

I think editing is, from the audience’s perspective, the most underrated aspect of filmmaking. A film cannot be great without great editing. Lousy editing can ruin what would otherwise be a great film. And while clever editing will never be enough to save 90 minutes’ worth of crummy material, if you’re willing to claim that you’ve never in your lifetime been hoodwinked into seeing an awful movie simply on the strength of a well-edited preview, then I’m willing to call you a liar.

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