Spectrum Check

As is usually the case, a light week for me at Spectrum Culture begets one that is especially busy.

First, I contributed a review of a new documentary about men who use flight simulators and online multi-player gaming technology to engage in digitized reenactments of World War II battles. There’s plenty of material there for an interesting, even enlightening film, but it’s too jumbled to bring those ideas cogently together, a problem which is evident from very early on. Thankfully, it was also quite short.

On the music side, I reviewed the new release from Black Moth Super Rainbow, which was a little like trying to accurately describe the pattern spied through a kaleidoscope while it’s still spinning. I think I did well enough, but it was certainly one of those instances where I felt somewhat ill-equipped to the matter at hand.

In terms of longer pieces, the last new thing I had go up was the the latest entry in our new Oeuvre series on director Brian De Palma. I hadn’t previously realized that De Palma began his cinematic career as a devoted satirist. To his benefit, it also means I hadn’t previously realized how bad he was at it.

There were a couple lists I also pitched in on, including our year-by-year tally of top comedic performances in film. We’ve reached the nineteen-sixties, which has a couple absolutely spectacular performances (I’m primary referring to the selections for 1960 and 1964). And I contributed a few words about a track off of the new Bat for Lashes release in the latest Monthly Mixtape.

Finally, as if my name weren’t flung around enough this week, my springtime take on Joshua Marston’s The Forgiveness of Blood was repackaged under the Rediscovered banner in conjunction with its recent DVD release by Criterion.

2 thoughts on “Spectrum Check

  1. “it also means I hadn’t previously realized how bad he was at it.”… literally made me chuckle out loud to myself…..

    1. I’ve watched two of his early movies and they’re both terrible. It does offer a little different context for later stinkers like Raising Cain and Snake Eyes, which look more like stealth comedies given this part of De Palma’s background. It doesn’t make those film good, mind you. But it does change the context of their badness.

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