Hellring

I've heard good things about it, I need to get it.

Damn, there was already a review on the album and, furthermore, it was even better than this one. I apologize to Splinter, especially because I hate duplicates.

But also no

I copy and paste my impression that I also posted on another site: I admit, I'm not a huge fan of Nolan, but that hasn't stopped me from appreciating (and loving) Memento and especially The Prestige. I had heard a lot about Interstellar and eventually decided to watch it: I even gave it two chances since it failed to impress me the first time. Nothing doing, for me it's simply a pretentious, arrogant film, sometimes verbose and ultimately unsuccessful. The first half-hour is a "familiar" setup completely devoid of pathos (a serious mistake since it's the central core around which 3 hours of film revolve), it's fine that Cooper has two children but seems to care only about one, the gaping plot holes as big as a black hole in the space segment are hard to overlook, the absolute superficiality with which Cooper is recruited to save the world from one moment to the next is baffling, the American clichés in the style of Armageddon are grating, the disarming flatness of the supporting characters is disappointing, the scientific inaccuracies (I've read various ones, but this is what I tend to hold against a sci-fi film), and even Nolan's directorial indecisions (and they are there, especially in the not-so-convincing use of handheld camera and managing the "action scenes"). All of this and more might be forgiven: but after 2 and a half hours already riddled with problems, seeing this sort of "fifth dimension of love" at the end seriously made me burst out laughing. A super*****la rarely seen in cinemas in recent years. So there are many reasons why I didn't enjoy the film: I appreciate the staging, I commend McConaughey and Chastain's performances, but the rest is for my taste, cinematic exaltation for a film that says nothing.

I have to get it back, I've always loved Wishbones.

A great record. "Arc of space," one of its most beautiful tracks.

Good review that I don’t entirely agree with in terms of the overall judgment, but it's clearly well-written. The biggest flaw that you point out (the screenplay) is the same one I see, but honestly, I didn't find it incredibly disposable. In the end, Ex Machina speaks more about man than about the machine, and showing the two as fundamentally losers, in my opinion, was Garland's own objective. I also see a different man/machine discourse here, in some respects similar to Jonze's in "Her". Man is enslaved to technology/machine, and it's no coincidence that in the end, the creator of the machine is left beaten on the ground while the other is defeated, alone. They've lost, and "technology" has triumphed. We are increasingly isolated, and we fall in love with machines (again "Her", but also Fincher's "The Social Network," where Zuckerberg throws himself into virtuality after the disillusionment of real-life love). It goes without saying that it is a visually intriguing film, with suitable cinematography and a soundtrack that is effective at just the right moments. Personally, I also (but this is my own quirk) saw a lot of Lynch and Hitchcock in Garland's direction, and that's a good thing for me...

I’ll tell the truth: I've heard good things about it, even from friends who know quite a bit about cinema, but I still haven't managed to see it. I’ll try to check it out as soon as possible and then I’ll come back with the ratings.

I don't know them. I only half-heartedly heard a piece on the tube and it sounded like I was listening to "The Black Angels." Anyway, I'll look into it further.

I’ve heard a bit too much homage to pieces from the past, which makes me lean towards the idea that maybe this is really the last one. The intro of "Shadows of the valley" is clearly "Wasted Years," as is the instrumental part of the suite, which is very similar to "The Legacy." It’s true when people say that a little trimming here and there would have been helpful, but in the end, it's a less wordy album than the previous one. There are 4 tracks with heavy duration, but for me, they are the best, especially the title track (epic as only Maiden knows how to be) and the evocative "Empire of the clouds." "If eternity should fail" and "The great unknown" are also excellent, the latter in a Brave New World style and very enjoyable. The semi-baller "The man of sorrows" is interesting as well, while the more conventional tracks are the ones that convince me the least, and probably convince the Maiden the least too, given their tendency toward more complex compositions. An interesting album, with some notable ideas, some passages already heard, but it's a brave album, and that must be acknowledged. Of course, it needs to be listened to multiple times to be fully judged.