Nick Alexander

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About Nick Alexander

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    White Knight

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    Worship Podcast, partial capos, parody songs, great movies

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  1. Shortly after I saw it, I listened to The Projection Booth podcast, where all three members were quite enthusiastic over the film. It helped detail for me what I had missed in my first screening.
  2. They have that Jesus Music classic "Beware, The Blob!"
  3. This aired on TCM this past week; I DVR'd it and finally caught up with it. The Ninth Configuration is the directorial debut of William Peter Blatty, working off his own script. This was a loose follow-up story to The Exorcist (which he wrote), except it follows the exploits of an astronaut (Scott Wilson, lately seen as Herschel in The Walking Dead) who appeared in the beginning of that former film (he was told by Regan, in an early scene, that he was going to "die up there."). In the opening moments of this film, he abandons his mission to the moon moments before takeoff, and is taken to a crazy ward in the Pacific Northwest (the film was actually filmed in Hungary). He meets with the new psychiatrist, played by Stacey Keach, who's an extremely devout Catholic. Their conversations about faith take up a sizable part of the movie's running time, with Keach demonstrating an impartial, Jesuit approach to therapy, while Wilson chews the scenery resisting in every way possible. And that's just one storyline thread. Blatty includes storylines that hearken to his "A Shot In the Dark" era, complete with punchlines, sight gags, and a patient staging an all canine-version of Hamlet. I would say part of the movie's failure is also why I am chomping at the bit to see it again. It is a "comedy drama", only that the comedy is waaaay out there, and the drama has so much importance at stake. There is a twist ending, and there is an extremely tense bar-room fight sequence late in the movie. And each of these elements, on their own, work on their own terms, with excellent acting (and overacting... and underacting). Put together, it's like eating Salsa Ice Cream. But it demands a second viewing, just because the twist changes the game substantially. In all fairness to this board, this movie is a rare find, and not many people have clamored to watch it for themselves. But on the basis of some extremely significant visuals, and on the basis of many significant dialogue scenes (including explaining the title), this film should have been listed in any Arts & Faith 100 listing, near the very top.
  4. Crisis Magazine (Spoilers)
  5. The movie's ad campaign doomed it. Nobody wants to see a movie that looks like a PR stunt from that most obnoxious of corporations. Nobody wants to see a movie that appears to glorify the commercialized excesses of all that fast food restaurant franchises represent. It appeared that the movie was to attempt to turn the tide on the restaurant chain since the damage inflicted on them from the one-two-punch of Supersize Me and Fast-Food Nation. Add to that the rise of Trump (not that I want to get political), and it appears to embrace commercialism and capitalism, at a time when this nation is divided upon these concepts. But it's still an EXCELLENT movie. It's done in a way that does not hide his flaws, but still brings about an insightful study of a man who stumbles into a goldmine, in the second half of his life. He loves the idea, he runs with it, and he even makes it better... but this is because a successful idea oftentimes attracts others who also have successful ideas. And the moment he stumbled upon how he could circumvent the contract he made with the brothers, there was no stopping him. It's also insightful in giving us a glimpse of what life was like before the dominance of fast food chains, what we gave up (the good and the bad).
  6. Finally saw it. And I am eternally grateful for the naysayers. Because I came in with lowered expectations, and we **loved** it. It should go without saying that I, too, love movie musicals, but I found Umbrellas of Cherbourg utterly unwatchable. (Sorry Evan). Turned it off in the first ten minutes. We still have the Young Girls at Rochefort in our DVR, from when it played on TCM. Will watch soon. But, yeah, I really thought the movie was daring in how it attempted to resurrect older movie styles, and share that with the audience in the same way with how it referenced Jazz. Nonetheless, I suppose expectations have everything to do with how a movie is referenced. I thought it even better than the hyper-edited Moulin Rouge! with long, extended, smooth steadicam shots that Astaire wouldv'e been envious of.
  7. I really enjoyed this movie. It's a great story. And I don't even like McDonalds.
  8. Overhyped.
  9. Finally catching up with this. It's on Netflix. So far, only watched half of it, up to the beginning of the Last Supper (will watch this on Friday). Peter, I would like that spreadsheet, if you have it. Anyway, I never saw this film, nor the miniseries. So it's kinda hard to put myself in the position of disliking it for rehashing previously done material (didn't David Lynch do the same thing, save for the fact that Mulholland Drive never aired? And since I seem to be the only person on the planet who hates MD, oh well). I think SoG works in small segments. I think they do a marvelous job a story at a time; they really over-directed the whole thing. But it gets a little hard to watch after awhile.
  10. Amazing Grace Black Robe The Agony and the Ecstacy
  11. Christmas was made for the 1940s. My favorites: The Man Who Came to Dinner (1942) Holiday Inn (1942) It's A Wonderful Life (1946) Miracle on 34th Street (1947) The Cheaters (1946) It Happened on Fifth Avenue (1948) Remember the Night (1940) The Shop Around the Corner (1940) Christmas In Connecticut (1944) 1941 (1979)
  12. Wow. I really connected with this movie. It's currently my favorite of the films I've seen for Best Pic (5/8).
  13. If you are honestly associating Godawa's perspective with that of Dr. Ted Baehr, then you are honestly committing a logical fallacy. You are free to have a logically incoherent perspective, though. You know what, I'll stop. I'm sorry.
  14. My conversation is looking at one aspect of an Oscar-nominated film (both pic and adapted screenplay), that may or may not have been the filmmaker's (or original author's) intent, but highlights a value that those right-of-center-on-life-issues (whether or not they are conservative or liberal) find captivating. I'm currently reading "Creativity, Inc." written by one of the executives at Pixar. And in it, he shares the story-writing process of some of their proudest achievements, and how different they all were from their earliest incarnations (including this year's Inside Out). And in the process, he shares that sometimes the story takes a life of its own, and it's the screenwriter's job to find it, no matter where it leads. I can take him at his word that this could be the case for ROOM. That ROOM was crafted so to exhibit no agenda whatsoever, as a lot of the story seems to have be about the psychological aftermath over such an ordeal, and how a little boy responds when his entire conception of the universe is upended. That is an interesting story, and one I'd gladly pay to see. But nonetheless, that doesn't negate Godawa's impressions, nor yours. A story of this nature can touch upon multiple points, and it is simply not honest to diminish the perspective of one who sees in this story aspects of the culture war. That doesn't mean you are a dishonest person, just using dishonest logic. And that logic being, that associating of Godawa's use of prose with that of an organization that would have frowned on Godawa's own R-rated movie.
  15. When you brought up MOVIEGUIDE, when it was unwarranted and not part of the conversation. [Quote:Every time one looks up a MOVIEGUIDE review, which influences a lot of people.] And secondly, when you inject "My conservatism" when I haven't even stated which way I politically lean. Nor have I given an opinion of the film. That is what was dishonest, dude.