The Geneva Tapes
AllMusic Review by Joe Viglione [-]
Sunday March 6, 2016
London Has Fallen
The worst option is to do nothing
Review to post
Sony/Columbia's White House Down was released on June 28, 2013 and on a budget of $150,000.00 it made only $205,366,737 worldwide. Taking the US total of only 73, 104 and dividing it in half - $36,552 and the Foreign total of 132,263 with a forty percent take for the filmmakers - about 53 million - if we're generous and call it 90 million, Roland Emmerich's not-very-timely sequel to Olympus Has Fallen lost 60 m. Including a massive advertising campaign, there ain't no way DVD, on demand, canle and broadcast rights are going to make up for that.
March 20th, 2013 - only 3 months earlier - Antoine Fuqua directed Olympus Has Fallen
on a budget of 70 million, bringing in 161 million - 99 million in the U.S. (so take fifty percent of that, 49,500.00) and 62,100.00 overseas - 24,840 and you made a modestly profitable picture,
about 74 million and some change. Four million bucks won't cover the advertising campaign, but maybe DVD/Blu ray, on demand, cable and broadcast tv will...eventually.
So now we have
There is something very un-sexy about Gerard Butler. Can't put my finger on it but his presence doesn't have the same subdued magnetism of a Channing Tatum (White House Down,) and these Doomsday flicks are not very helpful in a world of terrorist threats. Roland Emmerich's Independence Day (and the sequel's trailer aired before London Has Fallen - and it looks spectacular,) had flashes of 9/11 on Jeff Goldblum's computer
Some say that it was "Pre-preparing the publics' minds" for 9/11 - watch this short, 50 second, eerie video https://www.youtube.com/watch?v=_UNMlkUlbg0 which even has a TV3 styled "YOU BE THE JUDGE" thrown in to boot.
More eerie stuff here - the Twin Towers themselves resembling the symbol 11.
"A wargame scenario that has to do with airline counter terrorism"
The Lone Gunman, an X-Files spinoff aired this March 4, 2011 - Scenario 12D,
six months prior to 9/11
"You're saying our government wants to commit a terrorist act against a domestic airline..."
"There ya go"
Creepy. And that's what retired Lt. J.J.McLean said to me about the McGlynn Administration "There ya go."
The McGlynn Administration was participating in the terrorist attacks against my person using the TV3 monsters as his front.
Mow, without TV3, the criminals in the current Administration have thrown off the sheep skin and are just attacking this editor point blank, without the facade of a crackpot president and his juvenile delinquents running the asylum.
Pre-preparing the publics' minds for a specific event that catalyses a massive shift in Governmental policy direction using films and documentary concepts is not a new thing. It is just much more advanced these days. Take for example Independence Day the movie. It most certainly was utilised as a tool for preparing the public for the 9-11 attacks when studied as a conceptual movie in retrospect of the event. As this article will further explore.
MPAA Film #49180
A Comcast Company releases London Has Fallen
Sep 11, 2012
I know, I know. I haven't updated. But at least I'm one to keep at least ONE tradition, and that is to make humorous attempts to explain what really happened to the Twin Towers of the World Trade Center on that fateful 11th of September, 2001.
It's been more than a decade now since it happened and apart from the disparities in the official reports and the poor attempts to justify their incessant self-contradiction and flat-out fairy tales, we know have one invisible dead body. The same invisible body that was supposedly once (invisibly) alive in the caves of Afghanistan.
BATMAN V. SUPERMAN
So Warner Brothers simply cast whiner Ben Affleck as the Batman because he demanded it, and fandom went upside down. As bad as Michael Keaton was as the Caped Crusader, director Tim Burton’s pal safe only because of Burton’s indulgences and Jack Nicholson overtaking the screen, and as pedestrian as Val Kilmer and George Clooney were, they didn’t get in the way. Indeed, Kilmer and Clooney were on the merry-go-round that closed out Burton’s resurrection of the series, two captains on two different Batman Titanic vessels, both going down with a loud thud. What this means, in plain English, is that Batman v Superman, Dawn of Injustice-to-the-Series, is not going to hold up to repeated viewings. It embraces the flaws that permeated Avengers: Age of Ultron – a film saved by the chemistry of the Avengers, not the script. The bogus monster that is created by Lex Luthor is just a DC version of Ultron, but not as lethal.
This is a Superman sequel, got that? This is the sequel to the Man of Steel as if the Batman trilogy did not happen, and that’s creating a hurdle before the film company even gets out of the gate.
GO BACK TO THE ORIGINALS FOR INSPIRATION
The 1949 Batman, Robert Lowery as the Caped Crusader (horror fans take note, Lowery was in The Mummy's Ghost and Revenge Of The Zombies,) and his predecessor Lewis Wilson, from the original 1943 Batman, hit the ground running. They, and Adam West, took the character seriously, despite script limitations all three actors had to deal with. Had Adam West played in Tim Burton's Batman (and he wanted the role,) and Caesar Romero taken the Joker (which the late actor also is said to have wanted,) you would have had a diabolical classic, the doppelganger to the Batman camp film from the 1960s.
Wilson, along with being the first Batman on screen, is also notable as the father of Michael G Wilson, born in 1942, the year before his daddy became Batman. Michael G. Wilson has been part of the James Bond film series since 1972, according to Wikipedia, and more involved with the series starting with The Spy Who Loved Me, right up to the current film Spectre, due to his being stepson to Albert R. “Cubby” Broccoli.
So here we are with Ben Affleck and Jesse Eisenberg letting the air out of the balloon that is a superb performance from Wonder Woman – Gal Gadot (of Fast and Furious fame,) and decent showings from Holly Hunter, Laurence Fishburne, Diane Layne (as Martha Kent, Clark’s mom,) and Amy Adams as Lois Lane. The odd man out is Jeremy Irons as Alfred, more appealing than Affleck in his role as Batman’s partner (what? No Robin? You can hear Matt Damon on the phone screaming with Affleck right now, and what a disaster that would have been…) but still, a strange “Alfred” indeed.
The problem is age-old: these film companies try to be cute when all they have to do is stick to the original comic book stories that we know and love, just do screenplays of the original comics, just as the Star Trek film series should have done sequel after sequel to the great stories on the original series. See Wrath of Khan for proof of how well that worked – and look at the remake of Wrath of Khan’s failure to see how shortsighted Hollywood has become.
A little more creativity and less money spent blowing things up will do wonders for the future of comics in film. But the casting director can pull a turkey out of the fire and the casting of Lex Luthor and Batman in this campy mess is so off the mark that it probably has the Marvel/Disney people opening the champagne and continuing their quest for world cinematic domination.
With a plethora of producers over the years -- including Martin Cooper, Al Capps, Stewart Levine, Rob Fraboni, Jim Ed Norman, Val Garay, and Jim Price -- it is this obscure album produced by the Velvet Underground's John Cale that captures a very special moment for Jennifer Warnes. A beautiful faded cover photo with the word "Jennifer" floating across the top, this album stands as landmark interpretation by the artist, and a production for Cale as important as his first album for the Modern Lovers. Don't expect the sound to be anything like the quagmire of Velvetsonics that Cale allowed the legendary members of Jonathan Richman's band to create. This is a pure pop album. "Needle and Thread" is a replica of what Motown producer Frank Wilson was doing exactly at this moment in time with the new Supremes, and "Be My Friend" is Diana Ross from this same period, by way of songwriter Paul Rodgers from Free. As A&R for Warner Bros., Cale explores avenues here unavailable to him when putting together A&M's David Kubinec album in 1979. Cale doing Motown is quite a revelation, and is equally impressive. Of the many recorded covers of Jimmy Webb's underground classic "P.F. Sloan," the one on Jennifer is arguably the best, but she goes a step further on the second "Webb" title included here -- "All My Love's Laughter" is outstanding. Jackson Browne's "These Days" has instrumentation that could have been culled off an early Marianne Faithfull album -- remember Browne contributed material to Nico's first solo outing, with heavy contributions from Cale as well. With only one original composition by Cale, a song titled "Empty Bottles," this recording is as much his showcase as it is Warnes', rich in both sincerity and performance, and not as avant garde as his later Nico recordings. As with her first album on Parrot where she covered the Bee Gees, Jennifer opens with Barry Gibb's "In the Morning," then closes by taking the grand sounds of Procol Harum and subduing them, giving the world a different "Magdalene (My Regal Zonophone." This would have to rate with Famous Blue Raincoat as Warnes' most substantial album -- but having had less attention, it is one of the hidden treasures of rock and should be sought out by fans of Cale as well as those of this enigmatic artist. These recordings of songs by Donovan Leitch, Webb, Free, Procol Harum, Cale, Gibb, Jackson Browne, and Warnes' own title, "Last Song," provide an insight -- not only to the talent of this gifted artist, but in flavoring those melodies in a way you have not heard them before.