fritz

...but the guy with the knife stuck in his back for half the movie was quite something. xD

The cool thing is that it hasn't even been released yet. But can you imagine?

More than fucking, Anatas, it's about the... toothy cunt.

If I could choose, I choose Akira.

The partisans liberated many cities in the central-north on their own, taking advantage of the advance of the Allies. Florence is just one example. Of course, without the advance of the Allies, they wouldn’t have liberated anything. Sure, they could have stayed home, but if they hadn’t liberated the cities, the Allies would have appointed whoever they deemed fit to public offices.
The fight for freedom is not just a struggle against the Nazis; it is a struggle to ensure as independent a future as possible for the country in the post-war period.
As for the album, I find it quite unattractive.
I think that without external collaborations, it could have turned out to be an excellent work.

Behind all the media hype, not to mention the death of Ledger and the reputation of being a "cursed film," there was exactly what I expected. A noisy film with too little irony to avoid coming off as a bit too serious, and too dramatic and dark to escape feeling heavy in its noisy spectacle. It's watchable, but it has definitely been overrated.

You write well, but the impression is that sometimes you don't quite know what you're talking about: orchestral elements? A few cellos and Morgenstern's choir don't make an orchestra. Sabbathian influences in Moskau? But where? Did Ohne Dich inspire that abortion of Blood Brothers? But then what do Lione and Adams have to do with it? WHY??
Well... without all these absurdities, I would give you double, or at least one more point.
As for the album, I liked it quite a bit, like all of theirs up to Rosenrot, which was definitely a disappointment.

In the end, the quotes (but when you "quote," if you do it that much, you should at least cite the source at the bottom of the booklet, right? ;) ) are quite a few, maybe even excessive in number. It's startling how many there are, even more than the ones you listed. On the other hand, Hansen and company have been relying on quotes for quite some time now. However, surprisingly, the album remains quite good and personally, I found it an excellent piece of work, not at all tiring and reasonably long-lasting; for me, it easily gets a 4/5. The same goes for the review, very objective and well-written.

"Today we find ourselves surrounded by dozens of acts playing with Vikings and epicness without understanding anything at all, musically they have the consistency of cotton wool while the lyrical aspect shines with sharp infantilism" would you be offended if I added that any reference to the latest Manowar of Gods Of War is purely coincidental, just to shoot at the red cross? :D
In any case, nice review and masterpiece of an album, it kicked off a trend that is increasingly prolific today. The beauty of Quorthon and this album in particular is that it is open to multiple interpretations and devoid of the (sometimes ridiculous) neo-paganism that characterizes other more modern bands. It's an absolutely Romantic record; just look at the descriptions of nature, so sublime in the first, splendid verses of Shores In Flames. There are no banalities about swords and massacres of Christians; war is a theme that appears very little. There is a strong criticism not so much (or not only) of Christianity, but of colonialism, both cultural and otherwise, in the heartbreaking finale, the finale of Hammerheart and ideally of this civilization, more idealized than historical, submerged by the corrupt modern customs. Such thematic depth, purely romantic (Quorthon never defined himself as pagan, nor satanist for that matter), is something that I have not found anymore in the subsequent acts.

A Bay remake with Watts? Wait, is this a joke??