DRONNING HELL

Juan de los Muertos (2011)

2013-08-30T05:02:00.001-07:00

Juan is a slacker trying to reconnect with his daughter, who plans to rejoin her mother in Miami. Lazaro, Juan's friend, is trying to connect with his own son, a persistent womanizer. They begin to notice that locals are "going crazy", killing people and eating their flesh, and the recently deceased are returning to life. The Cuban government and the media claim that the zombies are dissidents revolting against the government. Juan starts a business to profit off of killing the zombies, but the group may soon find their own lives at risk.

Alright, well this is the first Cuban movie I have ever seen, so it being a zombie movie just made it all the more glorious to watch. I had some initial doubts about this movie, but being a zombie movie, I just couldn't let the opportunity pass me by. And now that I have seen it, I must admit that I am more than pleasantly surprised. This movie was really great.

I assume that it would be the Cuban equivalent to "Shaun of the Dead", probably there the name came from as well. This movie combines humor, political satire and zombies in a very nice mixture, and it just worked out nicely.

The story is about Juan (played by Alexis Díaz de Villegas) and his friend Lazaro (played by Jorge Molina) who get on day by day in a not all that glamorous life, when the living dead start to overrun the city, sending the entire island into chaos and destruction. The story was actually quite good, and it was nice to see this approach to the zombie genre.

The characters in the movie were really nice, and they had very distinct and unique characteristics and personalities, which were nicely portrayed on the screen. So aside from being a zombie movie, the director gave the actors great chances to let the characters grow and develop on the screen. The group of survivors was made up of very different people, each with their own unique characteristics, which was really great, because there was something for almost everyone's liking here; heroic leader, funny sidekick, tough woman, muscular man who is scared of blood, über-gay guy, and much more.

"Juan of the Dead" was actually nicely made. There was a very nice sense of authenticity to the movie, as if you were there in Cuban with the people in the movie. And the zombies were actually quite nicely made as well, in regards to make-up and prosthetics. However, what really made this movie work was the humor, and the way it was used. I was thoroughly amused throughout the movie, and I loved the sense of humor that Lazaro had, he was just beyond cool.

There were some nice new ideas introduced in the movie as well, stuff that haven't been seen in zombie movies before. I especially liked the scene with the pickup truck with the harpoon and the tow cable. That was awesome. I will not give away the detail here, just watch it for yourself.

If you like zombie movies, then you definitely do not want to miss out on "Juan of the Dead", because it is indeed great fun, and with "Juan of the Dead" director Alejandro Brugués has put Cuba on the world map of the zombie outbreak. This movie was even far better than so many of the American produced low budget zombie movies out on the market. So "Juan of the Dead" is really a zombie movie to take notice of. Even if you are reluctant to foreign language movies, then you should sit down to watch "Juan of the Dead" if you like zombie movies, trust me!

Two rotten thumbs up for this movie.

Watch it online > http://viooz.co/movies/6956-juan-de-los-muertos-2011.html

The Croods (2013)

2013-08-30T04:53:00.002-07:00

The Croods is a prehistoric comedy adventure that follows the world's first family as they embark on a journey of a lifetime when the cave that has always shielded them from danger is destroyed. Traveling across a spectacular landscape, the Croods discover an incredible new world filled with fantastic creatures -- and their outlook is changed forever.

I was talked into seeing this, and I have to shout it out, because it is a RIOT! I don't write many reviews, but when I love a film, I have to. If I have any complaint on this one, it's the title. I expected gross-out humor ("crude"). There isn't any, really. It's actually extremely unpredictable, subtle and extremely smart humor.

It has a story arc that you begin to somewhat anticipate, but you don't feel you're being patronized. Instead, you're left feeling that very intelligent people put this thing together in hopes that everyone would find something to love about it.

The cast is great, the animation is fun, and it's non-dizzying 3-D.

When I saw it, the entire audience clapped at the end, because we were entertained throughout, and found the ending really satisfying.

What else? Sweet emotions crop up because we can all relate to the family dynamics. Every family has the screw-up, the salt of the earth, the rebel, and the stubborn one. And it has one of the funniest babies ever put on film. A baby unlike any baby you'll ever see anywhere.

Very, very funny. Definitely recommend.

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Wings of Desire (1987) Der Himmel über Berlin (original title)

2013-02-24T03:39:00.000-08:00

This Wim Wenders film centers around the story of two angels wandering in a mixture of post-war and modern Berlin. Invisible to humans, they nevertheless give their help and comfort to all the lonely and depressed souls they meet. Finally, after many centuries, one of the angels becomes unhappy with his immortal state and wishes to become human in order to experience the joys of everyday life. He meets a circus acrobat and finds in her the fufillment of all his mortal desires. He also discovers that he is not alone in making this cross over, and that a purely spiritual experience is not enough to satisfy anyone.

In the first scenes after the opening credits, we see an aerial view of Berlin, but this is a Berlin that doesn't exist anymore. It's a city divided, between East and West, that still bears the scars of the second World War, and can't rebuild where the Wall stands in the way. There is a vast vacant lot where the cultural center of pre-war Berlin stood, with the facade of an old station, and nearby stands a bomb-shelter and the tower of a bombed-out church.

It is from this church where an angel stands looking out over the city, and then we see the people going about their daily lives. All this is shot in black and white, and we realize that we are seeing the world through the angel's eyes, seeing the same colorless world and hearing the same thoughts of the people around. As the story goes on, we realize that this is not just one angel in Berlin, for he goes to a car showroom, and compares observations with another angel. Then we go to the library, which is filled with angels.

The first library scene is my favorite scene of the whole movie. It is here where we see many different people studying, and their thoughts reverberate around the space until they are just a murmur, which becomes music. Because there are so few distinct voices, it doesn't matter that they are in German, which I don't understand. However, there was one young man studying the creation story of Genesis in Hebrew, which ties in with a later point where the two lead angels are discussing how they witnessed creation. First they saw the glacier recede, then fish and animals appear. They laughed when they saw the first biped, someone who shared their image, but they stopped laughing when the people learned how to make war.

As idyllic as the angels' lives are, it is through the pain we humans endure that know we are fully alive. And this is what the angels miss, to see colors, to touch, to taste, to smell, the ability to love and affect others' lives. The children can see them, but the adults may at times only feel some vague presence. They lay hands on people's shoulders, to try to understand their feelings beyond mere words. This is illustrated by a scene on a rooftop, where a man is about to commit suicide; as he sits on the ledge, an angel lays a hand on him as if holding him back, and when he jumps, the angel shouts `no!' For these angels are observers, spending their time being a presence among the living, not just to primarily serve as ushers to the afterlife (where I was sorely disappointed after watching "City of Angels," the American re-make). They are not harbingers of doom, but benign symbols of a creator's concern for humans.

Don't be turned off by the fact that it's in black and white, because one thing that really makes an impact is that it's only through viewing as an angel is it in monochrome, because when humans see the world, it's in color. A poem continues throughout the movie and ties everything together, repeating "When the child was a child..." and we realize that humans are the children, the ones younger than angels, just learning and enjoying life. The music adds a lot to the movie, since this film is more visual than verbal, which means that subtitles don't get in the way. I can't say enough about this film–it's wonderful!

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The Hobbit: An Unexpected Journey (2012)

2013-02-15T08:10:00.000-08:00

IMDb Ratings: 8.3/10 from 224,001 users

Bilbo Baggins is swept into a quest to reclaim the lost Dwarf Kingdom of Erebor from the fearsome dragon Smaug. Approached out of the blue by the wizard Gandalf the Grey, Bilbo finds himself joining a company of thirteen dwarves led by the legendary warrior, Thorin Oakenshield. Their journey will take them into the Wild; through treacherous lands swarming with Goblins and Orcs, deadly Wargs and Giant Spiders, Shapeshifters and Sorcerers. Although their goal lies to the East and the wastelands of the Lonely Mountain first they must escape the goblin tunnels, where Bilbo meets the creature that will change his life forever ... Gollum. Here, alone with Gollum, on the shores of an underground lake, the unassuming Bilbo Baggins not only discovers depths of guile and courage that surprise even him, he also gains possession of Gollum's "precious" ring that holds unexpected and useful qualities ... A simple, gold ring that is tied to the fate of all Middle-earth in ways Bilbo cannot begin to ...

This movie was so EPIC i'm speechless. I went with high expectations because Peter Jackson is awesome, but man, they weren't high ENOUGH. I couldn't see any flaw in this movie at all, they do change the way some events happened, but they're details and don't really change the story, actually you can tell they were needed.Jackson also adds some information, but he did say beforehand that he would, and is taken from other Tolkien stories, and as I haven't read them, I was very happy with the change because they were things I didn't know. The way the movie starts is very clever, and the whole introduction before the journey is almost exactly like the book, which I enjoyed very much. The fights scenes, just exactly as LOTR are INCREDIBLE,very well done, and with some funny moments as well. The cast is flawless, I think every actor portrays their character to perfection, I was happy with all the acting choices. The part of the book they picked to end the movie was great, the book though is basically divided into three main events, so it was somewhat predictable, but the scene they made to end the movie was perfect!!. So Basically if you're a Tolkien fan, or just LOTR-Hobbit fan you'll be puking rainbows of epicness throughout the movie.I had the luck to go to the premiere, but i'm obviously gonna go watch it again on IMAX.

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My Dinner with Andre (1981)

2012-12-21T07:16:00.003-08:00

Wallace Shawn and Andre Gregory, apparently playing themselves, share their lives over the course of an evening meal at a restaurant. Gregory, a theater director from New York, is the more talkative of the pair. He relates to Shawn his tales of dropping out, traveling around the world, and experiencing the variety of ways people live, such as a monk who could balance his entire weight on his fingertips. Shawn listens avidly, but questions the value of Gregory's seeming abandonment of the pragmatic aspects of life.

This movie is mainly a conversation between 2 people. There isn't much music, barely any camera work, there actually is barely any acting because both actors play themselves!... it can barely be called a movie, but it still is one - and a very entertaining one at that. Both Actors have a gift for languages and are amazing story tellers. My native language is not English (you probably guessed it while reading this review), but even I have been amazed by the beautiful language and their amazing skill to talk.

From a philosophical point of view, there is nothing new. I heard all the thoughts before. - The great strengths of the movie is the way those ideas are expressed. Even the most simple thought is coated by meaningful and beautiful words. You almost feel enlightened while watching this movie! But after the movie is over, you realize, that you actually learned nothing. It still has been a great experience. And I wished that there'd be more movies like this one.
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Sleep - Dopesmoker: 2012 Re-Issue

2012-11-17T14:48:00.003-08:00

Sleep remains one of the mythical heavy metal or “stoner rock” bands to garner a cult following but never actually ‘made it’ due to constant struggle with every record label they’ve been signed to. The band’s success isn’t measured in platinum album sales, but by the enormous influence they’ve had on generations of musicians since their debut album “Volume One” was released on Tupelo Records in 1991. Sleep’s sludge-laden riffs, fuzzed out distortion and swampy rhythms hark back to a time when a band wasn’t judged on hit singles but how they wielded a groove. The centerpiece of the Sleep catalogue is undoubtedly their infamous swan song album “Dopesmoker”, which immortalized them to fans around the world and ultimately caused their demise. After Sleep split up, the members went on to form modern seminal underground rock acts High on Fire and Om.

There’s been massive rumors swirling around “Dopesmoker” for over ten years, but in the documentary “Such Hawks Such Hounds”, all three members of Sleep cleared any controversy surrounding the record. “Dopesmoker” was originally released on London Records (the home of The Rolling Stones for years) and Sleep was considered to be the label’s big hit into the world of alternative rock music. Lead vocalist Matt Pike and the other members of the band saw their major label debut as an opportunity to create a monstrous magnum opus that the world could remember them by, however what came out of the band’s two month long recording session was one hour-long song, much to the label’s dismay because they couldn’t find a hit single.
The label remixed the album and cut it down to fifty-two minutes in hopes that it might make “Dopesmoker” more commercially viable and then released it under the title “Jerusalem”. The band was confused over the release of the record as were fans who speculated as to whether the album would ever be released as the band intended. There have been many bootleg versions flying around the internet and among tape traders, but now Southern Lord records (owned by Scott Wino of St. Vitus and Spirit Caravan) re-released “Dopesmoker” in all of its unholy glory.

Any fan of stoner rock searching for the mysterious “Dopesmoker” album will find it available in stores and online this month. The Southern Lord re-issue of “Dopesmoker” is the only authorized version of the album in its entirety, uncut in its original mix by producer Billy Anderson (The Melvins, Neurosis). This version of “Dopesmoker” also includes an eleven minute live version of the title track from Sleep’s other breakthrough record “Holy Mountain”. Anyone seeking Sleep’s masterpiece that forever carved them into the legend of underground American rock and roll can finally hear the completed version in its rugged, raw and reckless beauty. Fans can also catch Sleep playing a few festival dates this summer so keep your eyes peeled now that this celebrated band is back on the road.

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Heavenly Creatures (1994)

2012-11-17T14:40:00.000-08:00

Based on the true story of Juliet Hulme and Pauline Parker, two close friends who share a love of fantasy and literature, who conspire to kill Pauline's mother when she tries to end the girls' intense and obsessive relationship.

Heavenly Creatures' is not your average film; it's done with a technique that is not common in the business, and therefore has been both criticised and praised. The technique is used by not just filming a story and it's actions, but by actually showing the side of the girls' vivid imaginations. This was done through the elaborate sequences of the girls' fantasies. This way of filming shows how the pair justified the crime they commit, a vital part of the story. The plot itself does not trail far from the true story, except for the fact of inferred lesbianism between the two girls. (Something the real-life Juliet Hulme has vehemently denied) So it's anyone's guess as to whether or not which possibility is the truth.

Visually, this movie is stunning. The landscape of Christchurch and the surrounding area is beautiful, and adds a sense of authenticity to the film. The voice overs are extracts from the real Pauline's diary, and explain very well what exactly is going on inside of her head. All in all, a very good portrayal by all of the actors (obviously on the part of Melanie Lynskey and Kate Winslet) and the music is exquisite.

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Brave (2012)

2012-11-17T14:36:00.005-08:00

Set in Scotland in a rugged and mythical time, "Brave" features Merida, an aspiring archer and impetuous daughter of royalty. Merida makes a reckless choice that unleashes unintended peril and forces her to spring into action to set things right.

After last years Cars 2, many began to underestimate Pixar and believed that it would begin to fall out of the radar. Well this movie will definitely prove them wrong. This movie was a visually stunning masterpiece with a great story. Even before the movie started it was exciting because of the unique and creative short La Luna along with the Monsters University teaser trailer. If you are reading this and haven't seen the movie yet make sure you STAY TILL THE END OF THE CREDITS for just a little scene about something that happened earlier in the movie. Thanks to everyone at Pixar studios for creating a true masterpiece!

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My Best Fiend - Klaus Kinski (1999) Mein liebster Feind - Klaus Kinski

2012-11-17T14:34:00.001-08:00

n the 1950s, a teenage Werner Herzog was transfixed by a film performance of the young Klaus Kinski. Years later, they would share an apartment where, in an unabated, 48 hour fit of rage, Kinski completely destroyed the bathroom. From this chaos, a violent, love-hate, profoundly creative partnership was born. In 1972, Herzog cast Kinski in Aguirre, Wrath of God. Four more films would follow. In this personal documentary, Herzog traces the often violent ups and downs of their relationship, revisiting the various locations of their films and talking to the people they worked with

I like this documentary and recommend owning it. There are so many scenes that one can jump to to find Kinski's leering face and saying something fantastic. I believe that he somehow opened up his third eye and could no longer see most of the world that we live in. ----Or am I being fooled--- either way, Kinski has left his mark or should I say scar across the face of theatre and film. My only wish is that someone somewhere compiles a volume set of his greatest scenes ranging from a star performance in a well considered artful Herzog film to all of his 'B' movie bombs.

I still enjoy hearing Herzog imitating Kinski and saying, "I was Monumental I was Epical!!!!" ---and his description in the beginning of the doc. when he throws a tantrum that lasts for several days, destroying everything in the bathroom to the point where you could pass every bit through a tennis racket.

That is power. Watch it and believe.

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Naked Lunch (1991)

2012-11-04T10:32:00.002-08:00

Not an adaptation of beat writer William S. Burrough's novel but a mix of biography and an interpretation of his drug- induced writing processes combined with elements of his work in this paranoid fantasy about Bill Lee, a writer who accidentally shoots his wife, whose typewriter transforms into a cockroach and who becomes involved in a mysterious plot in an Islamic port called Interzone. Wonderfully bizarre, not unlike Burrough's books.

I find it difficult to comment this movie, honestly. Without revealing anything, that is. This applies to comments only,as the evaluation would mostobviously be 10/10. You see, having read in one of the other comments here, that the movie contained an implication on heroin addiction, I expected to find something similar to "Requiem to a Dream" - a movie that leaves one single message and a bouquet of associated feelings in a viewer, with the message being DRUGS ARE BAD, in big friendly letters. I was wrong.

I guess those who enjoy psychedelic music will understand what I want to say better - this movie has a high. Not literally of course, but it does leave you in a different world, with lots of ideas, without any definite beginning or end. It is very, very weird, in the most positive, awesome meaning of the word. Definitely not another conformist movie with a moralistic message behind it. Which is a good thing, really, because we don't get a lot of that nowadays, and 1991 isn't that far away....

The only thing about it is that you either love it or hate it. Nothing in between.

I find it quite impossible to add anything without revealing the plot. Therefore the only thing I'm going to say is: watch it! Not the best movie in the world, but most certainly the strangest one, at least from my point of view.

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The Diving Bell and the Butterfly [2007]

2012-11-04T10:28:00.003-08:00

Forty-three year old Elle magazine editor Jean-Dominique Bauby - Jean-Do to his friends - awakens not knowing where he is. He is in a Berck-sur-Mer hospital, where he has been for the past several weeks in a coma after suffering a massive stroke. Although his cognitive facilities are in tact, he quickly learns that he has what is called locked-in syndrome which has resulted in him being almost completely paralyzed, including not being able to speak. One of his few functioning muscles is his left eye. His physical situation and hospitalization uncomfortably bring together the many people in his life, including: Céline Desmoulins, his ex-lover and mother of his children; Inès, his current lover; and his aged father who he calls Papinou. Among his compassionate recuperative team are his physical therapist Marie, and his speech therapist Henriette. Henriette eventually teaches him to communicate...

The immersion into the life of a man that is a part of a horrific event, where just about all seems lost and where he becomes literally trapped with in his own body can be heart-achingly depressing, however, it was actually, due to poetic direction, a mesmerizing, stylistic and somewhat uplifting story. The air was a little sweeter, after the viewing since life becomes more appreciated. This movie helps you appreciate the finer things in life and realize all that we take for granted.

Giving the film a surreal feel as though in a dream we witness a collage of memories, imaginations and actual dreams. From this, along with actual visits from loved ones we get an understanding of the man's life before the accident. It is filmed from the stroke victim's point of view. You see exactly what he sees, such as when his eye gets weak and things get blurry. We are also exposed to the man's thoughts as we hear him talking to the people about his feelings and what he wants to say despite being mute, and not being heard by the people. His thoughts give realness to the character and show us that he is still human. He even finds humor in his situation and says, to the nurse that doesn't hear him, "you need to get a sense of humor".

Overall a message about life. At the peak of this mans life an extremely severe paralysis befalls him. At first understandably pitying himself he is able to find some humor in his situation, (and parts of the movie actually make you laugh) and then inspiration. Inspiration stemming from realization that his imagination and memory are in tact. He can feel good using his mind and can even be creative and productive.

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High School (2010)

2012-11-04T10:25:00.002-08:00

A random drug test coincides with a high school valedictorian's first hit of pot. With his college scholarship at stake, he enlists the school's biggest stoner to help nullify the results of the screening - by getting the entire student body high.

Most of the stoner comedy films that come along play pretty stupid and are an acquired taste. The latest High School looks to take the same template but add something a bit unique to it with more story. Is it possible to really be able to make a stoner film that stands out as more than just that or is it just a guise to attract a bigger audience.

High School follows a valedictorian who decides to take his first hit of pot only to find out that they are having random drug testing the same day. To try and nullify the test he teams up with the school's biggest stoner to attempt to get the entire school high. For the most part this is your typical stoner comedy, but thanks to the great cast and new twist with the story it manages to become something more and quite entertaining. Of course the story is highly unbelievable, but if you can set that aside and just have fun with it you are sure to have a great time. The entire cast does a great job, but two standouts come in the form of school faculty with Colin Hanks and Michael Chiklis. Hanks seems to just letting it all out to having a lot of fun not taking himself seriously and delivering some memorable moments. If Hanks is letting it all out, then Chiklis has split open and pours it out on the floor. His delivers a performance out of character that is both hilarious and a bit creepy. The obsessed principal he brings to life would easily become one of the more memorable film characters if this film got a wider release. Every aspect of his performance works and is bothersome on so many levels. The other stand out is Adrian Brody who is always good and seems to enjoy the stranger roles, but here just seems to lose his mind inside the character and become one with this psychotic drug dealer.

This movie is a lot of fun and reminiscent of the comedies of the 80's. Filled with a great cast, over the top story, and an original take on the stoner comedy High School will have you eager to light it up and smoke until the last puff.

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Prometheus (2012)

2012-11-04T10:21:00.002-08:00

A team of scientists travels through the universe on the spaceship "Prometheus" on a voyage to investigate alien life forms. The team of scientists becomes stranded on an Alien world, and as they struggle to survive it becomes clear that the horrors they experience are not just a threat to themselves, but to all of mankind.

Ridley Scott. Does the name ring a bell? It should. Scott is the cinematic mastermind behind classic movies like Alien, Blade Runner, and Gladiator. He's also the unfortunate creator of recent clunkers like A Good Year, Body of Lies, and Robin Hood. Which category does his latest movie Prometheus - an ambitious indirect prequel to the Alien franchise he started 33 years ago - belong to? Hard to say, simply because the movie is just that divisive. This really is one of those love it/hate it movies, and I can certainly see the points of both sides of the argument. Despite well intentions and big visual style, I just cannot get nearly as enthusiastic about this movie as many fellow movie-goers.

Dr. Elizabeth Shaw (Noomi Rapace) and her boyfriend Charlie Holloway (Logan Marshall-Green) find what they believe to be clues to mankind's creation all over Earth, and lead a team of space soldiers, along with the secretive Captain Vickers (Charlize Theron), to a small planet that they believe will answer questions of theirs. If you've ever seen an Alien movie, you know this is a bad idea. Even though the team finds the answers they're looking for, they've also indirectly started a chain of events that could affect the world as we know it.

Allow me to break out of my usual review format and split my thoughts on the film into what worked, and didn't work for me.

WHAT WORKS: Without a doubt, Prometheus is a seriously impressive example of spectacle. Dariusz Wolski's claustrophobic cinematography, Arthur Max's chilling production design, the epic visual effects by supervisor Robert Stammers, and the surrounding sound mix and design are all vital to enhancing the ambiance and atmosphere of this strange planet, making it feel completely believable. Also impressive, for the most part, is the talent. Noomi Rapace makes for a strong, emotionally involving, and compelling hero, making Shaw a worthy successor to Ellen Ripley. The most fascinating aspect of Prometheus, oddly enough, is the perplexing and curious android David, played with calm nuance by Michael Fassbender. Sprinkling David with a Peter O'Toole vibe, delightful comic details, and subtly captivating mannerisms, Fassbender adds another powerful performance to his résumé.

WHAT DOESN'T WORK: The screenplay by John Spaihts and Damon Lindelof (the latter a former writer of LOST) plays a big job in the mysterious nature of Prometheus, but it also turns out to be a downside to the film. You can definitely detect the subtext of creation and religion that the writers were going for, and the film poses some very mind provoking questions, but it also fails to answer many of them, and the writers just can't bring the themes together properly. The movie just adds up to a confusing whole with numerous loose ends, made worse by mixing in horror techniques that worked for Alien, but doesn't quite fit here. Early on, it's easy to tell that many of the characters are merely here as human bowling pins waiting to get knocked down, so nothing ever really comes as a surprise. Also, despite an even first half, the second half's rhythm is off, undone by serious pacing and length issues.

But maybe there's something more to it. Maybe it'll get better with a re watch. Maybe it'll get better with a sequel, which the film not so subtly hints that there will be. However, as of right now, it's just not up to par as an overall, singular product.

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Ice Age: Continental Drift (2012)

2012-11-04T10:18:00.002-08:00

When Scrat accidentally provokes a continental cataclysm with a storm, Manny is separated from Ellie and Peaches on an iceberg with Diego, Sid and Granny but he promises that he will find a way to return home. While crossing the ocean, they are captured by the cruel pirate Captain Gutt and his crew. However they escape and Manny plots a plan to steal Captain Gutt's ship and return to his homeland in a dangerous voyage through the sea. But the cruel pirates seek revenge against Manny and his family and friends.

Ice Age: Continental Drift is the fourth installment in the Ice Age series, which was started a decade ago by FOX when they tried their hand at animation again after Titan A.E. became a box office bomb. The series follows a group of quite different prehistoric animals and the plot that it follows has been so far a formulaic "go from point A to B" story.

As the title suggests, Ice Age 4's plot revolves around the separation of continents. The herd is separated and while the original trio goes into an adventure overseas, the "half opossum, half mammoth" family tries to reach a rock bridge to meet up there. The film's animation is fantastic (you could hardly say a mainstream animated movie doesn't have terrific CGI) and backgrounds and water effects are beautiful, but the movie's storytelling is too fast paced and there are too many characters for them to develop while the movie lasts.

If the series is too formulaic what is the appeal of this movie? For anyone who has seen the whole series, you'll be happy to know Diego meets a female saber-tooth on the way and Sid is reunited with his sloth family. Amongst the new characters are a crew of pirates that capture the trio while they explore the ocean and become the main antagonists of the film.

The movie is overall quite worth it to watch with your family, but even the third one (which I didn't like a lot) had a better paced storytelling. New characters, in my opinion, don't really display a lot of personality traits other than Granny Sloth, but it is quite the enjoyable flick I would watch a few times on theaters.

The 3D, by the way, is not really worth it and the movie doesn't make use of it correctly. There were some moments when the background looked it was over the characters and that almost gave me a head ache. If you're taking your family to watch the movie don't waste your money on 3D.

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Runaway Train (1985)

2012-11-04T10:16:00.000-08:00

A hardened convict and a younger prisoner escape from a brutal prison in the middle of winter only to find themselves on an out-of-control train with a female railway worker while being pursued by the vengeful head of security.

Manny and Buck have just broken out of prison and have stowed away on a four-car locomotive in Alaska. Problem is, the engineer died of a heart attack as the train was departing the station and fell off - so now they're all alone on this train, careening through the wilderness over 80 miles per hour, with no way to stop it. Sound like fun to you? It's a rare action movie, one that basically takes place on one location (the train). But it's amazingly suspenseful, too, as railroad officials (who don't know of their stowaways) try to find ways to stop the unstoppable vehicle (shades of "The Taking of Pelham One Two Three"). Jon Voight plays Manny, the experienced jailbreaker, grizzled, ornery, obnoxious, but revered by his fellow prisoners. Eric Roberts plays Buck, the young, cocky, dimwitted tough guy who respects Manny and looks to him as the voice of reason. Also thrown into the mix is Sara (Rebecca De Mornay), a railroad worker who was taking a catnap when the runaway train started its journey. How will these three people stop the train? How, indeed! You know, for a movie taking place on a train, there are plenty of harrowing scenes, and there's hardly a dull or listless moment. Problem is, you don't really know who to root for, and there are spots late in the movie where characters change drastically, a sure casualty of a choppy script. But hey, why quibble? If you're looking for an unusual action movie, here it is!

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Looper (2012)

2012-11-04T10:11:00.000-08:00

In the year 2044, a man working for a group of killers called "Loopers" (they work for the mob and kill people who are sent blindfolded back in time from the year 2074 by their bosses) recognizes a victim as himself. He hesitates resulting in the escape of his older self.

Time travel sci-fi movies are inherently intriguing to me, so when I first saw the trailer with THIS cast, I knew I wanted to see it.

As in the trailer, Joseph Gordon-Levitt plays Joe, a specialized assassin, in an outfit called the Loopers. He lives in the year 2042 but the mob he works for lives 30 years ahead where time travel would've been invented. When his employer from the future wants to get rid of someone, they zap that person back 30 years where someone like Joe would be waiting with a big gun in hand, ready to blow them up to oblivion. The only rule is: never let your target escape... even if your target is you. The job seems easy enough, I mean, the targets are blindfolded, so it's not like they could really escape. That is, until one did, and that target happens to be his older self, in the form of Bruce Willis.

Now, before the action begins in full throttle, Director Rian Johnson sets up the story by introducing the Looper doing their jobs and how these junkies hit-men spend their lives in a dystopian future (is there any other kind in the movies??). "Loopers are well paid, they lead a good life..." Joe said in his narration, but what he means by 'good' doesn't mean a happy one and it's clear that Joe is disillusioned with his life.

Let me just say the less you know about the plot the better as I went in pretty much 'blind,' other than seeing the trailer weeks ago, and it's fun to see the story unravel in ways I didn't really expect. There's really a lot to chew on here, as do most time-travel movies, and I have to admit it was a bit mind-boggling to digest it all as I'm watching it, but now that I've processed the movie more, Johnson actually told the story well enough without an overly drawn-out exposition.

The strengths are in the performances, especially Joseph Gordon-Levitt, who seems to only get better and better as he grows to be a force to be reckoned with in Hollywood. Seems like every time I see him, even in minor roles like in 'Inception' or 'The Dark Knight Rises,' he never fails to impress. I've got to admit though, his prosthetic make-up to make him look like Bruce Willis is distracting at times, but once I get into the story, I got used to it. In fact, in some scenes Gordon-Levitt's mannerism and expressions really do remind me of Willis! Now, I've always been a fan of Bruce. He's a bad ass guy with a heart and I feel that he sold me on the emotional moments as well as on the action front, in which he channels his iconic John McClane in the 'Die Hard' franchise. In fact, I kept waiting for him to yell 'Yiippiikayee' during some of the shootout scenes! I'm also impressed with Emily Blunt and child actor Pierce Gagnon who plays her little boy. Both played two key roles that serve as the emotional center of the story. Their paths crossed with both the younger and older Joe in a way that not only affect their own lives but the lives of Joe's fellow Loopers. Their scenes with Gordon-Levitt are well-played, though it could perhaps be tightened a bit as it does feel dragging at times. Jeff Daniels and Paul Dano also lend memorable supporting performances, Daniels is sort of a comic relief as Joe's manager who happens to be sent by the mob from the future.

It's refreshing to see a movie based on an original script, not an adaptation nor a remake. Despite all the time travel elements, the film also doesn't feel too science-fiction-y. I'm also glad Johnson doesn't pile on one action set pieces after another, instead there are a lot of quiet moments to establish character development that help you get immersed in Joe's journey.

Final Thoughts: Looper is a thrill ride that has a nice blend of thrilling action and matters of the heart. There are brutal action and some totally-unnecessary nudity here, but fortunately not so much so that derails my overall appreciation for it. At the core of this movie lies a heartfelt love story between a man and a woman, and also between a mother and his son. Highly recommended.

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Jimmy Page

2012-09-27T23:55:00.000-07:00

Jimmy Page

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Jimmy Page
Jimmy Page onstage in Chicago in 1977
Background information
Birth name	James Patrick Page
Born	9 January 1944 (age 68) Heston, Middlesex, England
Genres	Hard rock, heavy metal, blues rock, rock and roll, folk rock
Occupations	Musician, songwriter, producer
Instruments	Guitar, mandolin, dulcimer, theremin, bass guitar, banjo, harmonica, dobro, sitar, keyboards, tambourine, tambura, hurdy gurdy, pedal steel guitar, synthesizer, vocals, guitar synthesizer, lap steel guitar, slide guitar
Years active	1957–present
Labels	Swan Song, Atlantic, Geffen, Fontana, Mercury
Associated acts	The Yardbirds, Led Zeppelin, The Honeydrippers, The Firm, Coverdale and Page, Page and Plant, Herman's Hermits, XYZ, Joe Cocker, The Edge, Jack White, Donovan, The Black Crowes, Foo Fighters
Website	Official website
Notable instruments
Gibson Les Paul Gibson EDS-1275 Fender Telecaster Danelectro 3021 Custom Manson guitars ^[1] Jolana Resonet^[2]

James Patrick "Jimmy" Page, OBE (born 9 January 1944) is an English guitarist, songwriter, and record producer. He began his career as a studio session guitarist in London and was subsequently a member of The Yardbirds from 1966 to 1968, after which he founded the English rock band Led Zeppelin.
Jimmy Page is viewed by critics, fans and fellow musicians alike as one of the most influential and important guitarists and songwriters in rock music.^[3]^[4]^[5] Rolling Stone magazine has described him as "the pontiff of power riffing"^[6] In 2010, Jimmy Page was ranked number two in Gibson's list of "Top 50 Guitarists of All Time"^[7] and, in 2007, number four on Classic Rock Magazine's "100 Wildest Guitar Heroes".^[8] Page was ranked third in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time" in 2011.^[9] He has been inducted into the Rock and Roll Hall of Fame twice; once as a member of The Yardbirds (1992),^[10] and once as a member of Led Zeppelin (1995).^[11]

Early years

Jimmy Page was born to James Patrick Page and Patricia Elizabeth Page (née Gaffikin)^[12]^[13] in the West London suburb of Heston, which today forms part of the London Borough of Hounslow. His father was an industrial personnel manager and his mother, who was of Irish descent,^[14] was a doctor's secretary. In 1952 they moved to Feltham, and later again to Miles Road, Epsom in Surrey, which is where Page came across his first guitar. "I don't know whether [the guitar] was left behind by the people [in the house] before [us], or whether it was a friend of the family's—nobody seemed to know why it was there."^[15] First playing the instrument at the age of twelve years,^[16] he took a few lessons in nearby Kingston, but was largely self-taught:

When I grew up there weren't many other guitarists ... There was one other guitarist in my school who actually showed me the first chords that I learned, and I went on from there. I was bored so I taught myself the guitar from listening to records. So obviously it was a very personal thing.^[17]

Among Page's early influences were rockabilly guitarists Scotty Moore and James Burton, who both played on recordings made by Elvis Presley. Hearing the Elvis Presley song "Baby Let's Play House" is cited by Page as being his inspiration to take up playing the guitar.^[18] Although he appears on BBC1 in 1957 with another guitar, Page states that his first guitar was a second-hand 1959 Futurama Grazioso, which was later replaced by a Telecaster.^[18]^[19]
Page's musical tastes included skiffle (a popular English music genre of the time) and acoustic folk playing, particularly that of Bert Jansch and John Renbourn, and the blues sounds of Elmore James, B.B. King, Willie Dixon, Otis Rush, Buddy Guy, Muddy Waters, Freddie King and Hubert Sumlin.^[20] "Basically, that was the start: a mixture between rock and blues."^[18]
At the age of 13, Page appeared on Huw Wheldon's All Your Own talent quest programme in a skiffle quartet, one performance of which aired on BBC TV in 1957. The group played "Mama Don't Want To Skiffle Anymore" and another very American-flavoured song, "In Them Ol' Cottonfields Back Home". When asked by Wheldon what he wanted to do after schooling, Page said, "I want to do biological research" to find a cure for "cancer, if it isn't discovered by then".
In an interview with Guitar Player magazine, Page stated that "there was a lot of busking in the early days, but as they say, I had to come to grips with it, and it was a good schooling."^[18] Page would take a guitar to school each day and have it confiscated and handed back to him at 4:00 pm^[21] Although he had an interview for a job as a laboratory assistant, he ultimately chose to leave Danetree Secondary School, West Ewell, to pursue music instead.^[21]
Initially, Page had difficulty finding other musicians with whom he could play on a regular basis. "It wasn't as though there was an abundance. I used to play in many groups... anyone who could get a gig together, really."^[19] Following stints backing recitals by Beat poet Royston Ellis at the Mermaid Theatre between 1960–61,^[22] and singer Red E. Lewis, he was asked by singer Neil Christian to join his band, The Crusaders, after Christian had seen a fifteen-year-old Page playing in a local hall.^[19] Page toured with Christian for approximately two years and later played on several of his records, including the November 1962 single, "The Road to Love".
During his stint with Christian, Page fell seriously ill with glandular fever (infectious mononucleosis) and couldn't continue touring.^[19] While recovering, he decided to put his musical career on hold and concentrate on his other love, painting, and enrolled at Sutton Art College in Surrey.^[5] As he explained in 1975:

[I was] travelling around all the time in a bus. I did that for two years after I left school, to the point where I was starting to get really good bread. But I was getting ill. So I went back to art college. And that was a total change in direction. That's why I say it's possible to do. As dedicated as I was to playing the guitar, I knew doing it that way was doing me in forever. Every two months I had glandular fever. So for the next 18 months I was living on ten dollars a week and getting my strength up. But I was still playing.^[16]

Session musician

While still a student, Page would often perform on stage at The Marquee with bands such as Cyril Davies' All Stars, Alexis Korner's Blues Incorporated and with guitarists Jeff Beck and Eric Clapton. He was spotted one night by John Gibb of Brian Howard & The Silhouettes, who asked him to help record a number of singles for Columbia Graphophone Company, including "The Worrying Kind". Mike Leander of Decca Records first offered Page regular studio work. His first session for the label was the recording "Diamonds" by Jet Harris and Tony Meehan, which went to Number 1 on the singles chart in early 1963.^[19]
After brief stints with Carter-Lewis and the Southerners, Mike Hurst and the Method, and Mickey Finn and the Blue Men, Page committed himself to full-time session work. As a session guitarist he was known as 'Little Jim' so there was no confusion with other noted British session guitarist Big Jim Sullivan. Page was mainly called in to sessions as "insurance" in instances when a replacement or second guitarist was required by the recording artist. "It was usually myself and a drummer", he explained, "though they never mention the drummer these days, just me ... Anyone needing a guitarist either went to Big Jim [Sullivan] or myself."^[19] He has also stated that "In the initial stages they just said, play what you want, cos at that time I couldn't read music or anything."^[23]
Page was the favoured session guitarist of producer Shel Talmy. Talmy would later state in an interview with Finding Zoso, "I mean, he was original. At that time in London where there were very few really current musicians. A lot of good musicians, but kind of mired slightly in the past. There was like one or two good rhythm sections and that was it. I originally started using Big Jim Sullivan who was the only other one, and then when I found Jimmy, who I thought was even better because he was more with it. He was doing what I thought should be done and certainly what was being done in the states so it was a no-brainer."^[24] As a result, he secured session work on songs for The Who and The Kinks.^[25] Page is credited with playing acoustic twelve string guitar on two tracks on The Kinks' debut album "I'm a Lover Not a Fighter" and "I've Been Driving On Bald Mountain"^[26] and possibly on the b-side "I Gotta Move".^[27] He played six-string rhythm guitar on the sessions for The Who's first single "I Can't Explain"^[23] (although Pete Townshend was reluctant to allow Page's contribution on the final recording, Page also played lead guitar on the B-side "Bald Headed Woman").^[28] Page's studio output in 1964 included Marianne Faithfull's "As Tears Go By", The Nashville Teens' "Tobacco Road", The Rolling Stones' "Heart of Stone" (released on Metamorphosis), Van Morrison & Them's "Baby Please Don't Go" and "Here Comes the Night", Dave Berry's "The Crying Game" and "My Baby Left Me", Brenda Lee's "Is It True," and Petula Clark's "Downtown".
In 1965 Page was hired by Rolling Stones manager Andrew Loog Oldham to act as house producer and A&R man for the newly formed Immediate Records label, which also allowed him to play on and/or produce tracks by John Mayall, Nico, Chris Farlowe, Twice as Much and Eric Clapton. Page also formed a brief songwriting partnership with then romantic interest, Jackie DeShannon. He also composed and recorded songs for the John Williams^[29] album The Maureeny Wishful Album with Big Jim Sullivan. Page worked as session musician on Donovan Leitch's Sunshine Superman (1966) and the Johnny Hallyday albums Jeune Homme (1968) and Je Suis Né Dans La Rue (1969), the Al Stewart album Love Chronicles (1969), and played guitar on five tracks of Joe Cocker's debut album, With a Little Help from My Friends. Over the years since 1970 Page has played lead guitar on 10 Roy Harper tracks, comprising 81 minutes of music.
When questioned about which songs he played on, especially ones where there exists some controversy as to what his exact role was, Page often points out that it is hard to remember exactly what he did given the enormous number of sessions he was playing at the time.^[23]^[25] In a radio interview he explained that "I was doing three sessions a day, fifteen sessions a week. Sometimes I would be playing with a group, sometimes I could be doing film music, it could be a folk session ... I was able to fit all these different roles."^[17]
Although Page recorded with many notable musicians, many of these early tracks are only available as bootleg recordings, several of which were released by the Led Zeppelin fan club in the late 1970s. One of the rarest of these is the early jam session featuring Jimmy Page and Rolling Stones guitarist Keith Richards covering Robert Johnson's "Little Queen of Spades". Several early tracks with Page were compiled on the twin album release, Jimmy Page: Session Man.
Page decided to leave studio work when the increasing influence of Stax Records on popular music led to the greater incorporation of brass and orchestral arrangements into recordings at the expense of guitars.^[18] However, he has stated that his time as a session player served as extremely good schooling for his development as a musician:

My session work was invaluable. At one point I was playing at least three sessions a day, six days a week! And I rarely ever knew in advance what I was going to be playing. But I learned things even on my worst sessions – and believe me, I played on some horrendous things. I finally called it quits after I started getting calls to do Muzak. I decided I couldn't live that life any more; it was getting too silly. I guess it was destiny that a week after I quit doing sessions Paul Samwell-Smith left The Yardbirds, and I was able to take his place. But being a session musician was good fun in the beginning – the studio discipline was great. They'd just count the song off, and you couldn't make any mistakes.^[20]

The Yardbirds

Main article: The Yardbirds

The Yardbirds, 1966. Clockwise from left: Jeff Beck, Jimmy Page, Keith Relf, Jim McCarty, and Chris Dreja.

In late 1964, Page was approached about the possibility of replacing Eric Clapton in The Yardbirds, but he declined the offer out of loyalty to his friend.^[19] In February 1965 Clapton quit the Yardbirds, and Page was formally offered Clapton's spot, but because he was unwilling to give up his lucrative career as a session musician, and because he was still worried about his health under touring conditions, he suggested his friend, Jeff Beck.^[30] On 16 May 1966, drummer Keith Moon, bass player John Paul Jones, keyboardist Nicky Hopkins, Jeff Beck and Page recorded "Beck's Bolero" in London's IBC Studios. The experience gave Page an idea to form a new supergroup featuring Beck, along with The Who's John Entwistle on bass and Keith Moon on drums.^[19] However, the lack of a quality vocalist and contractual problems prevented the project from getting off the ground. During this time, Moon suggested the name "Lead Zeppelin" for the first time, after Entwistle commented that the proceedings would take to the air like a lead balloon.
Within weeks, Page attended a Yardbirds concert at Oxford. After the show he went backstage where Paul Samwell-Smith announced that he was leaving the group.^[18] Page offered to replace Samwell-Smith and this was accepted by the group. He initially played electric bass with the Yardbirds before finally switching to twin lead guitar with Beck when Chris Dreja moved to bass. The musical potential of the line-up was scuttled, however, by interpersonal conflicts caused by constant touring and a lack of commercial success, although they released one single, "Happenings Ten Years Time Ago". (While Page and Jeff Beck played together in The Yardbirds, the trio of Page, Beck and Clapton never played in the original group at the same time. The three guitarists did appear on stage together at the ARMS charity concerts in 1983.)
After Beck's departure, the Yardbirds remained a quartet. They recorded one album with Page on lead guitar, Little Games. The album received indifferent reviews and was not a commercial success, peaking at only number 80 on the Billboard Music Charts. Though their studio sound was fairly commercial at the time, the band's live performances were just the opposite, becoming heavier and more experimental. These concerts featured musical aspects that Page would later perfect with Led Zeppelin, most notably performances of "Dazed and Confused".
After the departure of Keith Relf and Jim McCarty in 1968, Page reconfigured the group with a new line-up to fulfil unfinished tour dates in Scandinavia. As he said:

Once [the other Yardbirds] decided not to continue, then I was going to continue. And shift the whole thing up a notch ... The whole thing was putting a group together and actually being able to play together. There were a lot of virtuoso musicians around at the time who didn't gel as a band. That was the key: to find a band that was going to fire on all cylinders.^[31]

To this end, Page recruited vocalist Robert Plant and drummer John Bonham, and he was also contacted by John Paul Jones who asked to join.^[32] During the Scandinavian tour the new group appeared as "The New Yardbirds", but soon recalled the old joke by Keith Moon and John Entwistle. Page stuck with that name to use for his new band. Peter Grant changed it to "Led Zeppelin", to avoid a mispronunciation of "Leed Zeppelin."^[33]

Led Zeppelin

Main article: Led Zeppelin

Page has explained that he had a very specific idea in mind as to what he wanted Led Zeppelin to be, from the very beginning:

I had a lot of ideas from my days with The Yardbirds. The Yardbirds allowed me to improvise a lot in live performance and I started building a textbook of ideas that I eventually used in Zeppelin. In addition to those ideas, I wanted to add acoustic textures. Ultimately, I wanted Zeppelin to be a marriage of blues, hard rock and acoustic music topped with heavy choruses – a combination that had never been done before. Lots of light and shade in the music.^[20]

Post-Led Zeppelin career

Page at the Cow Palace, San Francisco, 2 December 1983

Led Zeppelin broke up in 1980 following the death of drummer John Bonham at Page's home, The Old Mill House at Clewer in Berkshire. Page refused to touch a guitar out of sadness for the loss of his friend Bonham,^[23]^[34] but made a return to the stage at a Jeff Beck show in March 1981 at the Hammersmith Odeon.^[35] Also in 1981 Page joined with Yes bassist Chris Squire and drummer Alan White to form a supergroup called XYZ (for ex-Yes-Zeppelin). They rehearsed several times, but the project was shelved. Demos of these sessions have turned up on bootleg and they reveal that some of the material emerged on later projects, notably The Firm's "Fortune Hunter" and Yes songs "Mind Drive" and "Can You Imagine?". Page would later join Yes on stage in 1984 at Westfalenhalle in Dortmund, Germany, playing "I'm Down".
In 1982 Page collaborated with director Michael Winner to record the Death Wish II soundtrack. This, and several subsequent Page recordings including Death Wish III soundtrack (1985), were recorded and produced at his own recording studio, The Sol in Cookham, which he had purchased from Gus Dudgeon in the early 1980s.
In 1983 Page appeared with the A.R.M.S. (Action Research for Multiple Sclerosis) charity series of concerts which honoured Small Faces bass player Ronnie Lane, who suffered from the disease. For the first shows at the Royal Albert Hall in London, Page's set consisted of songs from the Death Wish II soundtrack (with Steve Winwood on vocals) and an instrumental version of "Stairway to Heaven". A four-city tour of the United States followed, with Paul Rodgers of Bad Company replacing Winwood as vocalist. During the US tour, Page and Rodgers also performed "Midnight Moonlight" which would later be recorded for The Firm's first album. All of the shows featured an on stage jam of "Layla" that reunited Page with Yardbirds guitarists Beck and Eric Clapton. According to the book Hammer of the Gods, it was reportedly around this time that Page told friends that he'd just given up heroin after seven years of use. On 13 December 1983, Page joined Robert Plant on-stage for one encore at the Hammersmith Odeon in London.
Page next linked up with Roy Harper for the 1984 album (Whatever Happened to Jugula?) and occasional concerts, performing a predominantly acoustic set at folk festivals under various guises such as the MacGregors, and Themselves. Also in 1984 Page recorded with former Led Zeppelin vocalist Robert Plant as The Honeydrippers on the albumThe Honeydrippers: Volume 1, and with John Paul Jones on the film soundtrack Scream for Help.
Page subsequently collaborated with Paul Rodgers to record two albums under the name The Firm. The first album, released in 1985, was the self-titled The Firm. Popular songs included "Radioactive" and "Satisfaction Guaranteed". The album peaked at number 17 on the Billboard pop albums chart and went gold in the US. It was followed by Mean Business in 1986. The band toured in support of both albums, but soon split up.
Various other projects followed, such as session work for Graham Nash, Stephen Stills and The Rolling Stones (on their 1986 single "One Hit (to the Body)"). In 1986, Page reunited temporarily with his ex-Yardbirds band members to play on several tracks of the Box of Frogs album Strange Land.^[36] Page released a solo album entitled Outrider in 1988 which featured contributions from Robert Plant, with Page contributing in turn to Plant's solo album Now and Zen, which was released the same year. Page also embarked on a collaboration with David Coverdale in 1993 entitled Coverdale Page.
Throughout these years Page also reunited with the other former members of Led Zeppelin to perform live on a few occasions, most notably in 1985 for the Live Aid concert with both Phil Collins and Tony Thompson filling drum duties. However, the band members considered this performance to be sub-standard, with Page having been let down by a poorly tuned Les Paul.^[37] Page, Plant and Jones, as well as John Bonham's son Jason, performed at the Atlantic Records 40th Anniversary show on 14 May 1988, closing the 12-hour show.^[37] In 1990, a Knebworth concert to aid the Nordoff-Robbins Music Therapy Centre and the British School for Performing Arts and Technology saw Plant unexpectedly joined by Page to perform "Misty Mountain Hop", "Wearing and Tearing" and "Rock and Roll". Page also performed with the band's former members at various private family functions.
In 1994, Page reunited with Plant for the penultimate performance in MTV's "Unplugged" series. The 90-minute special, dubbed Unledded, premiered to the highest ratings in MTV's history. In October of the same year, the session was released as the CD No Quarter: Jimmy Page and Robert Plant Unledded, and in 2004 as the DVD No Quarter Unledded. Following a highly successful mid-90s tour to support No Quarter, Page and Plant recorded 1998's Walking into Clarksdale.
Since 1990, Page has been heavily involved in remastering the entire Led Zeppelin back catalogue and is currently participating in various charity concerts and charity work, particularly the Action for Brazil's Children Trust (ABC Trust), founded by his wife Jimena Gomez-Paratcha in 1998. In the same year, Page played guitar for rap singer/producer Puff Daddy's song "Come with Me", which heavily samples Led Zeppelin's "Kashmir" and was included in the soundtrack of Godzilla. The two later performed the song on Saturday Night Live.
In October 1999, Page teamed up with The Black Crowes for a two-night performance of material from the Led Zeppelin catalogue and old blues and rock standards. The concert was recorded and released as a double live album, Live at the Greek in 2000. In 2001 he made an appearance on stage with Limp Bizkit frontman Fred Durst and Wes Scantlin of Puddle of Mudd at the MTV Europe Video Music Awards in Frankfurt, where they performed a version of Led Zeppelin's "Thank You".^[38]

Jimmy Page performing at the Led Zeppelin reunion concert (2007)

In 2005, Page was appointed Officer of the Order of the British Empire (OBE) in recognition of his Brazilian charity work for Task Brazil and Action For Brazil's Children's Trust,^[39] made an honorary citizen of Rio de Janeiro later that year, and was awarded a Grammy award.^[40]
In November 2006, Led Zeppelin was inducted into the UK Music Hall of Fame. The television broadcasting of the event consisted of an introduction to the band by various famous admirers (including Roger Taylor, Slash, Joe Perry, Steven Tyler, Jack White and Tony Iommi), a presentation of an award to Jimmy Page, and then a short speech by the guitarist. After this, rock group Wolfmother played a tribute to Led Zeppelin, playing the song "Communication Breakdown".^[41]^[42]
In 2006, Page attended the induction of Led Zeppelin to the UK Music Hall of Fame. During an interview for the BBC for said event, he expressed plans to record new material in 2007, saying "It's an album that I really need to get out of my system... there's a good album in there and it's ready to come out" and "Also there will be some Zeppelin things on the horizon".^[43]
On 10 December 2007, the surviving members of Led Zeppelin, as well as John Bonham's son, Jason Bonham played a charity concert at the O2 Arena London.
For the 2008 Olympics, Jimmy Page, David Beckham and Leona Lewis represented Britain during the closing ceremonies on 24 August 2008. Beckham rode a double-decker bus into the stadium, and Page and Lewis performed "Whole Lotta Love".^[44]
In 2008 Page co-produced a documentary film directed by Davis Guggenheim entitled It Might Get Loud. The film examines the history of the electric guitar, focusing on the careers and styles of Page, The Edge, and Jack White. The film premiered on 5 September 2008 at the Toronto Film Festival.^[45] Page also participated in the 3 part BBC documentary London Calling: The making of the Olympic handover ceremony on 4 March 2009.^[46] On 4 April 2009, Page inducted Jeff Beck into the Rock and Roll Hall of Fame.^[47] Page has announced his 2010 solo tour while talking to the Sky News on 16 December 2009.^[48]^[49]
On 7 June 2008, Page and John Paul Jones appeared with the Foo Fighters to close out the band's concert at Wembley Stadium, performing "Rock and Roll" and "Ramble On."
In January 2010, Jimmy Page announced he is publishing an autobiography through Genesis Publications, in a hand-crafted, limited edition of 2,500 copies.^[50] Page has also been honoured with a first-ever Global Peace Award by the United Nations' Pathways to Peace organisation after confirming reports that he would be among the headliners at a planned Show of Peace Concert in Beijing, China on 10 October 2010.^[51]^[52]
On 3 June 2011, Jimmy Page played with Donovan "Mellow Yellow" and "Sunshine Superman" twice, live at the Royal Albert Hall in London. The concert was filmed. Page made an unannounced appearance with The Black Crowes at the Shepherd's Bush Empire in London on 13 July 2011. He also played alongside Roy Harper at Harper's 70th birthday celebratory concert, in London's Royal Festival Hall on 13 July 2011.
In November 2011, Conservative MP Louise Mensch launched a campaign to have Page knighted for his contributions to the music industry.^[53]

Legacy and influence

"Along with a highly original and well-rounded guitar style, influenced by blues, country and international folk music, Jimmy Page has the grand distinction of being one of the most respected and influential songwriters in the history of rock music."

—Real Rock Guitar: A Classic Rock Bible of the '60s and '70s.^[54]

Page's past experiences both in the studio and with the Yardbirds were very influential in contributing to the success of Led Zeppelin in the 1970s. As a producer, composer, and guitarist he helped make Led Zeppelin a prototype for countless future rock bands, and was one of the major driving forces behind the rock sound of that era, influencing a host of other guitarists.^[55] Allmusic states that "just about every rock guitarist from the late '60s/early '70s to the present day has been influenced by Page's work with Led Zeppelin".^[5] For example, Dictators bassist Andy Shernoff states that Jimmy Page's sped up, downstroke guitar riff in "Communication Breakdown", an influential song that contained elements of protopunk,^[56]^[57] was an inspiration for The Ramones guitarist Johnny Ramone's downstroke guitar style.^[58] Ramone, who has described Page as "probably the greatest guitarist who ever lived",^[59] stated in the documentary "Ramones:The True Story" that he improved at his down-stroke picking style by playing the song over and over again for the bulk of his early career.^[60] Brian May of Queen, who was also influenced by Page,^[61] has said "I don't think anyone has epitomised riff writing better than Jimmy Page – he's one of the great brains of rock music".^[62] Tom Scholz of Boston was heavily influenced by Jimmy Page and credits the dual guitar harmonies in Led Zeppelin's "How Many More Times" as the inspiration for Boston's distinctive sound.^[63] Page's guitar solo from the song "Heartbreaker" has been credited by Eddie Van Halen as being the inspiration for his two-hand tapping technique after he had seen Led Zeppelin perform in 1971.^[64] Similarly, Steve Vai has also commented about the song in a September 1998 Guitar World interview: "This one [Heartbreaker] had the biggest impact on me as a youth. It was defiant, bold, and edgier than hell. It really is the definitive rock guitar solo."^[65]

Page in 2008 at the Mojo Awards

Many other rock guitarists were also influenced by Jimmy Page, such as Ace Frehley,^[66] Joe Satriani,^[67] John Frusciante,^[68] James Hetfield,^[69] Kirk Hammett,^[70] Zakk Wylde,^[71] Yngwie Malmsteen,^[72] Tony Iommi,^[73] Joe Perry,^[74] Richie Sambora,^[75] Angus Young,^[76] Slash,^[77] Dave Mustaine,^[78] Mike McCready,^[79] Jerry Cantrell,^[80] Stone Gossard,^[81] Mick Mars,^[82] Paul Stanley,^[83] Alex Lifeson,^[84] and Dan Hawkins.^[85]
Page has been described by Uncut as the "rock's greatest and most mysterious guitar hero".^[86] According to msnbc.com Jimmy Page "played some of the most fundamental and memorable guitar in rock history—from the heaviest crunch to the most delicate acoustic finger picking."^[87] Page's solo in the famous epic "Stairway to Heaven" has been voted by readers of Guitar World^[88] and Total Guitar as the greatest guitar solo of all time, and he was named 'Guitarist of the Year' five times during the 1970s in Creem magazine's annual reader poll. Guitar World wrote: "Truly a guitar god, Jimmy Page is one of the most captivating soloists the rock world has ever known."^[89] In 1996 Mojo Magazine ranked him number 7 on their list of "100 Greatest Guitarists Of All Time".^[90] In 2002 he was voted the second greatest guitarist of all time in a Total Guitar magazine reader poll.^[91] In 2007, Classic Rock Magazine ranked him number four on their list of the "100 Wildest Guitar Heroes".^[92] Gigwise.com, an online music magazine, ranked Page number two on their list of the "50 greatest guitarists ever" in 2008.^[93] In August 2009, Time Magazine ranked him the 6th greatest electric-guitar player of all time.^[94] In 2010, Jimmy Page was ranked number two on Gibson's "Top 50 Guitarists of All Time".^[7] In 2011, Rolling Stone magazine named him number three on their list of the "100 greatest guitarists of all time".^[9]
David Fricke, a senior editor at Rolling Stone magazine, described Jimmy Page in 1988 as "probably the most digitally sampled artist in pop today after James Brown."^[6] Roger Daltrey of The Who has been a longtime fan of Page^[95] and expressed his desire to form a supergroup with Page in 2010 saying: "I’d love to do something, I’d love to do an album with Jimmy Page."^[96] Keith Richards of The Rolling Stones has described Jimmy Page as "one of the best guitar players I've ever known."^[97]^[98] Jimmy Page was the first inductee onto the British Walk of Fame in August 2004.^[99] Page was awarded "Living Legend Award" at Classic Rock Magazine Roll of Honour 2007.^[100] In June 2008, he was awarded an honorary doctorate by the University of Surrey for his services to the music industry.^[101]^[102] Page was inducted into Mojo Hall Of Fame at the magazine's award ceremony on 11 June 2010.^[103]
In August 2010, Auburn University graduate student Justin Havird named a new species of fish "Lepidocephalichthys zeppelini" after Led Zeppelin, because the fish's pectoral fin reminded him of the double-neck guitar used by Jimmy Page.^[104]^[105]

Equipment and recording techniques

Page became famous for playing a double-necked Gibson EDS-1275 in concert

Guitars

For the recording of most of Led Zeppelin material from Led Zeppelin's second album onwards, Page used a Gibson Les Paul guitar (sold to him by Joe Walsh) with Marshall amplification. A Harmony Sovereign H-1260 was used in-studio on Led Zeppelin III and Led Zeppelin IV and on-stage from 5 March 1971 to 28 June 1972. During the studio sessions for Led Zeppelin, and later for recording the guitar solo in "Stairway to Heaven", he used a Fender Telecaster (a gift from Jeff Beck).^[106] He also used a Danelectro 3021, tuned to DADGAD, most notably on live performances of "Kashmir".
Page also plays his guitar with a cello bow,^[107]^[108]^[109]^[110] as on the live versions of the songs "Dazed and Confused" and "How Many More Times". This was a technique he developed during his session days.^[25] On MTV's Led Zeppelin Rockumentary, Page said that he obtained the idea of playing the guitar with a bow from David McCallum, Sr. who was also a session musician. Page used his Fender Telecaster and later his Gibson Les Paul for his bow solos.^{[citation needed]}

Notable guitars

1959 Fender Telecaster (given to Page by Jeff Beck and repainted with a psychedelic dragon design by Page) played with the Yardbirds. Used to record the first Led Zeppelin album and used on the early tours during 1968–1969. In 1971, it was used for recording the "Stairway to Heaven" solo.
1959 Gibson Les Paul Standard (No. 1) (Sold to Page by Joe Walsh) modified with a shaved neck. This guitar was also used by Gibson as the model for the company's second run of Page signature models in 2004. Produced by Gibson and aged by luthier Tom Murphy, this second generation of Page tribute models was limited to 25 guitars signed by Page himself; and only 150 guitars in total for the aged model issue.^[111]^[112]
1959 Gibson Les Paul Standard (No. 2) with a shaved down neck to match the profile on his No. 1; He added four push/pull pots to coil split the humbuckers as well as phase and series switches which were added under the pick guard after the break-up of Led Zeppelin.
1991 English luthier Roger Giffin built a guitar for Page based loosely on Page's #2. Giffin's work was later copied for Gibson's original run of Jimmy Page Signature model Les Pauls in the mid-1990s.^[111]^[113]^[114]
1971 Gibson EDS-1275 (used for playing "Stairway to Heaven", "The Song Remains the Same", "The Rain Song", "Celebration Day" during live concerts and the Knebworth, "Tangerine" at the 1975 Earls Court shows, and "Sick Again" throughout the 1977 North American tour)
1959 Danelectro 59-DC (tuned to DADGAD and used live for "White Summer", "Black Mountain Side", "Kashmir" and "Midnight Moonlight" with The Firm).
Danelectro 3021 (tuned to open G and used on the Outrider tour for "In My Time Of Dying". This one has a smaller pickguard, as opposed to the large "seal" pickguard on his first Danelectro.
1967 Vox 12-String used during the recording for the Yardbirds Little Games album and for on-stage appearances.
1960 Black Gibson Les Paul Custom (with Bigsby Tremolo) – stolen in 1970. An ad was placed by Page for the return of this highly modified instrument but the guitar was never recovered. In 2008 the Gibson Custom Shop produced a limited run of 25 re-creations of the guitar, each with a Bigsby Tremolo and a new custom 6-way toggle switch.^[115]
- Because the guitar was too heavy, one of Jimmy Page's Les Paul Custom Black Beauty guitars is now owned by Dan Hawkins of The Darkness.^[116]
1953 Botswana Brown Fender Telecaster featuring a Parsons and White B-string bender, with a maple neck and then salvaged the rosewood neck from the "Dragon Telecaster". Seen primarily during the 1980s since it was one of his main guitars on stage during The Firm and Outrider era. Also used on the Led Zeppelin's 1977 concert tour of the United States and at Knebworth in 1979, notably on "Ten Years Gone" and "Hot Dog".
1969 Gibson Les Paul Standard (seen in "The Song Remains The Same" during the theremin/solo section of "Whole Lotta Love" and for "Kashmir" at the O2 reunion concert. This guitar was later fitted with a Parsons-White B-string bender and used extensively by Page from the mid-to-late 1980s onward, including the Outrider tour, and the Page/Plant "Unledded" special on MTV.
1964 Lake Placid Blue Fender Stratocaster (Used during recording sessions for In Through the Out Door at Earls Court 1975 and in 1979 at Knebworth for In the Evening).
1966 Cream Fender Telecaster (Used on Physical Graffiti and on All My Love during the Tour Over Europe 1980).
1965 Fender Electric XII (12-String) used to record Thank You and Stairway to Heaven.
1972 Martin D28 used to record acoustic songs after Led Zeppelin IV, used live at Earls Court 1975
In 1994 Andy Manson was commissioned to make another triple neck guitar for Page. It was used during the Unledded performances with Robert Plant. ^[117]

Strings

Ernie Ball Super Slinky electric guitar strings .009s-.042s^[118]

Signature models

Gibson released Jimmy Page Signature Les Paul which was discontinued in 1999, then released another version in 2004, which has also been discontinued. The 2004 version included 25 guitars signed by Page, 150 aged by a former Gibson employee (an acknowledged ageing 'master'), and 840 'unlimited' production guitars. The Jimmy Page Signature EDS-1275 has been produced by Gibson. Recently, Gibson reproduced Page's 1960 Les Paul Black Beauty, the one stolen from him in 1970, with modern modifications. This guitar was sold in 2008 with a run of 25, again signed by Page, plus an additional 500 unsigned guitars.
In December 2009, Gibson released the 'Jimmy Page "Number Two" Les Paul'.^[119] This is a re-creation of Page's famous number 2 Les Paul used by him since about 1974 until present. The model includes the same pick-up switching setup as devised by Page, shaved-down neck profile, Burstbucker pick-up at neck and 'Pagebucker' at the bridge. A total of 325 were made in three finishes: 25 Aged by Gibson's Tom Murphy, signed and played by Page ($26,000), 100 aged ($16,000) and 200 with VOS finish ($12,000).

Amplifiers and effects

He usually recorded in studio with a Vox AC30, Fender, and Orange amplification. The first Led Zeppelin album and the solo on "Stairway to Heaven" were played on a Fender Telecaster through a Supro amplifier.^[120]
Page used a limited number of effects, including a Maestro Echoplex,^[120]^[121]^[122] a Dunlop Cry Baby, an MXR Phase 90, a Vox Cry Baby Wah, a Boss CE-2 Chorus, a Yamaha CH-10Mk II Chorus, a Sola Sound Tone Bender Professional Mk II, an MXR Blue Box (distortion/octaver) and a DigiTech Whammy.^[120] Page also played a theremin.^[120]

Music production techniques

Jimmy Page is credited for the innovations in sound recording he brought to the studio during the years he was a member of Led Zeppelin,^[123]^[124] many of which he had initially developed as a session musician:^[125]

This apprenticeship ... became a part of [learning] how things were recorded. I started to learn microphone placements and things like that, what did and what didn't work. I certainly knew what did and didn't work with drummers because they put drummers in these little sound booths that had no sound deflection at all, and the drums would just sound awful. The reality of it is the drum is a musical instrument, it relies on having a bright room and a live room ... And so bit by bit I was learning really how not to record.^[17]

He developed a reputation for employing effects in new ways and trying out different methods of using microphones and amplification. During the late 1960s, most British music producers placed microphones directly in front of amplifiers and drums, resulting in the sometimes "tinny" sound of the recordings of the era. Page commented to Guitar World magazine that he felt the drum sounds of the day in particular "sounded like cardboard boxes."^[123] Instead, Page was a fan of 1950s recording techniques, Sun Studios being a particular favourite. In the same Guitar World interview, Page remarked, "Recording used to be a science", and "[engineers] used to have a maxim: distance equals depth." Taking this maxim to heart, Page developed the idea of placing an additional microphone some distance from the amplifier (as much as twenty feet) and then recording the balance between the two. By adopting this technique, Page became one of the first British producers to record a band's "ambient sound" – the distance of a note's time-lag from one end of the room to the other.^[126]
For the recording of several Led Zeppelin tracks, such as "Whole Lotta Love" and "You Shook Me", Page additionally utilised "reverse echo" – a technique which he claims to have invented himself while with The Yardbirds (he had originally developed the method when recording the 1967 single "Ten Little Indians").^[123] This production technique involved hearing the echo before the main sound instead of after it, achieved by turning the tape over and employing the echo on a spare track, then turning the tape back over again to get the echo preceding the signal.
Page has stated that, as producer, he deliberately changed the audio engineers on Led Zeppelin albums, from Glyn Johns for the first album, to Eddie Kramer for Led Zeppelin II, to Andy Johns for Led Zeppelin III and later albums. He explained that "I consciously kept changing engineers because I didn't want people to think that they were responsible for our sound. I wanted people to know it was me."^[123]
John Paul Jones acknowledged that Page's production techniques were a key component of the success of Led Zeppelin:

The backwards echo stuff [and] a lot of the microphone techniques were just inspired. Using distance-miking... and small amplifiers. Everybody thinks we go in the studio with huge walls of amplifiers, but Page doesn’t. He uses a really small amplifier and he just mikes it up really well, so that it fits into a sonic picture.^[34]

In an interview that Page himself gave to Guitar World magazine in 1993, he remarked on his work as a producer:

Many people think of me as just a riff guitarist, but I think of myself in broader terms... As a producer I would like to be remembered as someone who was able to sustain a band of unquestionable individual talent, and push it to the forefront during its working career. I think I really captured the best of our output, growth, change and maturity on tape – the multifaceted gem that is Led Zeppelin.^[20]

Personal life

French model Charlotte Martin was Page's partner from 1970 to about 1982 or 1983. Page called her 'My Lady'. Together they have a daughter, Scarlet Page (born in 1971), who is a photographer.
From 1986 to 1995 Page was married to Patricia Ecker, a model and waitress. They have a son, James Patrick Page III (born April 1988). Page later married Jimena Gómez-Paratcha, whom he met in Brazil on the No Quarter tour.^[127] He adopted her oldest daughter Jana (born 1994), and they have two children together: Zofia Jade (born 1997) and Ashen Josan (born 1999).^[128]
In 1972 Page bought, from Richard Harris, the home which William Burges (1827–1881) designed for himself in London, The Tower House. "I had an interest going back to my teens in the pre-Raphaelite movement and the architecture of Burges", he said. "What a wonderful world to discover." The reputation of Burges rests on his extravagant designs and his contribution to the Gothic revival in architecture in the nineteenth century.^[129]
From 1980 to 2004 Page owned The Mill House, Mill Lane, Windsor, which was formerly the home of actor Michael Caine. Fellow Led Zeppelin band member John Bonham died at the house in 1980.
From the early 1970s to the early 1990s,^[130] Page owned the Boleskine House, the former residence of occultist Aleister Crowley.^[130]^[131] Sections of Page's fantasy sequence in the film The Song Remains the Same were filmed at night on the mountain side directly behind Boleskine House.
According to The Sunday Times Rich List, Page's assets are worth £75 million as of 2009.^[132] He resides in Sonning, Berkshire in Deanery Garden, a house designed by Edwin Lutyens for the owner of Country Life magazine, Edward Hudson. Page also previously owned Plumpton Place in Sussex, also formerly owned by Edward Hudson and with certain parts of the house also designed by Edwin Lutyens. This house features in the Zeppelin film "The Song Remains The Same" where Jimmy is seen sitting on the lawn playing a hurdy gurdy.

Recreational drug use

Page has acknowledged heavy recreational drug use throughout the 1970s. In an interview with Guitar World magazine in 2003, he stated, "I can't speak for the [other members of the band], but for me drugs were an integral part of the whole thing, right from the beginning, right to the end."^[133] After the band's 1973 concert tour of the United States, Page told Nick Kent, "Oh, everyone went over the top a few times. I know I did and, to be honest with you, I don't really remember much of what happened."^[134]
In 1975, Page began to use heroin, a fact attributed to Richard Cole, who stated that Page (in addition to himself) was taking the drug during the recording sessions of the album Presence in that year, and that Page admitted to him shortly afterwards that he was addicted to the drug.^[135]
By Led Zeppelin's 1977 tour of the United States, Page's heroin addiction was beginning to hamper his guitar playing performances.^[5]^[126]^[136] By this time the guitarist had lost a noticeable amount of weight. His onstage appearance was not the only obvious change; his addiction caused Page to become so inward and isolated it altered the dynamic between him and Plant considerably.^[137] During the recording sessions for In Through the Out Door in 1978, Page's diminished influence on the album (relative to bassist John Paul Jones) is partly attributed to his heroin addiction, which resulted in his absence from the studio for long periods of time.^[138]
Page reportedly kicked his heroin habit in the early 1980s.^[139] In a 1988 interview with Musician magazine, Page took offence when the interviewer noted that heroin had been associated with his name, and insisted "Do I look as if I'm a smack addict? Well, I'm not. Thank you very much."^[140]
In an interview he gave to Q magazine in 2003, Page responded to a question as to whether he regrets getting so involved in heroin and cocaine:

I don't regret it at all because when I needed to be really focused, I was really focused. That's it. Both Presence and In Through the Out Door were only recorded in three weeks: that's really going some. You've got to be on top of it.^[141]

Interest in the occult

A derivative of Page's Saturn sigil, itself derived from a 1557 source

The appearance of four symbols on the jacket of Led Zeppelin's fourth album has been linked to Page's interest in the occult.^[142] The four symbols represented each member of the band. Page's own so-called "Zoso" symbol originated in 'Ars Magica Arteficii' (1557) by Gerolamo Cardano, an old alchemical grimoire, where it has been identified as a sigil consisting of zodiac signs. The sigil is reproduced in "Dictionary of Occult, Hermetic and Alchemical Sigils" by Fred Gettings.^[143]^[144]
During tours and performances after the release of the fourth album, Page often had the "Zoso" symbol embroidered on his clothes, along with zodiac symbols. These were visible most notably on his "Dragon Suit", which included the signs for Capricorn, Scorpio and Cancer which are Page's Sun, Ascendant, and Moon signs, respectively.
The artwork inside the album cover of Led Zeppelin IV is from a painting by William Holman Hunt, influenced by the traditional Rider/Waite Tarot card design for the card called "The Hermit".^[142] Page transforms into this character during his fantasy sequence in Led Zeppelin's concert film The Song Remains the Same.
In the early 1970s Page owned an occult bookshop and publishing house, "The Equinox Booksellers and Publishers" in Kensington High Street, London, eventually closing it as the increasing success of Led Zeppelin resulted in his having insufficient time to devote to it. The company published a facsimile of English occultist's Aleister Crowley's 1904 edition of The Goetia.^[145] Page has maintained a strong interest in Crowley for many years. In 1978, he explained:

I feel Aleister Crowley is a misunderstood genius of the 20th century. Because his whole thing was liberation of the person, of the entity, and that restrictions would foul you up, lead to frustration which leads to violence, crime, mental breakdown, depending on what sort of makeup you have underneath. The further this age we're in now gets into technology and alienation, a lot of the points he's made seem to manifest themselves all down the line.^[146]

Page was commissioned to write the soundtrack music for the film Lucifer Rising by another occultist and Crowley admirer, underground movie director Kenneth Anger. Page ultimately produced 23 minutes of music which Anger felt was insufficient because the film ran for 28 minutes and Anger wanted the film to have a full soundtrack. Anger claimed Page took three years to deliver the music, and the final product was only 23 minutes of droning. The director also slammed the guitarist in the press by calling him a "dabbler" in the occult and an addict, and being too strung out on drugs to complete the project. Page countered that he had fulfilled all his obligations, even going so far as to lend Anger his own film editing equipment to help him finish the project.^[147]
Although Page collected works by Crowley, he has never described himself as a Thelemite nor was he ever initiated into the O.T.O. The Equinox Bookstore and Boleskine House were both sold off during the 1980s, as Page settled into family life and participated in charity work.

At one point Jimmy Page mentions that "the fourth album only got one paragraph review". Which album was this?

I don't know the answer, because the Yardbirds only made one studio album (released in the UK at least), and Led Zeppelin IV was the best selling album in the world for a while. So what was he talking about?

He is talking about Led Zeppelin IV. Although it was best selling album it still got very bad reviews (like pretty much any other zeppelin album)

This album is often called the "Runes" album due to the cover design. In the movie, Page mentions some of the songs on the album including "Stairway to Heaven." Zeppelin was, indeed, almost universally dissed by critics. Rolling Stone magazine said of Page's work on LZ1: "Unfortunately, he is also a very limited producer and a writer of weak, unimaginative songs, and the Zeppelin album suffers from his having both produced it and written most of it (alone or in combination with his accomplices in the group)."

Their review of IV (more than two paragraphs) is more positive but definitely contains elements of 'damned by faint praise'.

The Rolling Stone reviews are available on their website. cdmsr

Breathless (1960) À bout de souffle (original title)

2012-04-16T11:20:00.000-07:00

Michel Poiccard, an irresponsible sociopath and small-time thief, steals a car and impulsively murders the motorcycle policeman who pursues him. Now wanted by the authorities, he renews his relationship with Patricia Franchini, a hip American girl studying journalism at the Sorbonne, whom he had met in Nice a few weeks earlier. Before leaving Paris, he plans to collect a debt from an underworld acquaintance and expects her to accompany him on his planned getaway to Italy. Even with his face in the local papers and media, Poiccard seems oblivious to the dragnet that is slowly closing around him as he recklessly pursues his love of American movies and libidinous interest in the beautiful American.

"À Bout de Soufflé" aka "Breathless", was the first full-length film directed by the controversial Jean-Luc Godard, and the first film of his long career that I've had the chance to see so far. "Breathless" is the landmark film of the Nouvelle Vague (New Wave), when young filmmakers such as François Truffaut thrilled the audiences and shocked the Establishment.

Although some people may not be as impressed with "Breathless" structure as they were in 1960, it remains a terrific, breathtaking film experience and has aged wonderfully. Such masterpieces live up to the hype and time, even though they're not as technically impressive as they were 40 years ago, and they're still powerful thanks to what great films consist of: passion. As another user rightfully stated, we have to look at "Breathless" from a historical point: it's different from any other previous film. Godard was truly a visionary and an incredibly talented, passionate "auteur".

"Breathless" plot is rather simple: Michel Poiccard/Laszlo Kovacs (Jean-Paul Belmondo), our anti-hero, is a young criminal on the run from the police, after stealing a car and killing a cop. He has an affair with a beautiful young American, Patricia (Jean Seberg), an aspiring journalist who sells the New York Herald Tribune in the middle of the Champs Élysées (her first scene here was paid a tribute by Eva Green in Bertolucci's "The Dreamers"), and is also expecting Michel's baby. Patricia helps Michel to dodge the police, while they steal cars together in order to raise money for a trip to Rome. But when you want to "vivre dangereusement jusqu'au bout" - or, live dangerously till the end, things may end up not so well.

When you see Belmondo touching his lips, trying to imitate Humphrey Bogart's trade mark, Seberg walking on the Élysées as lovely as a girl can be, the unforgettable final moments...you don't worry about theories on why this is a classic. "À Bout de Soufflé" is Cinema.

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Come and See (Idi i smotri) (1985)

2012-04-16T11:10:00.000-07:00


http://www.imdb.com/title/tt0091251/

IMDb rating: 8.2 (10,132 votes)

Director: Elem Klimov
Genre: Drama | War
Country: Soviet Union
Spoken Languages: Belarusian | Russian | German

A boy is unwillingly thrust into the atrocities of war in WWII Byelorussia, fighting for a hopelessly unequipped resistance movement against the ruthless German forces. Witnessing scenes of abject terror and accidentally surviving horrifying situations he loses his

innocence and then his mind.

During WWII, a Belorussian boy is thrust into the atrocities of war, fighting with a hopelessly unequipped Soviet resistance movement against ruthless German forces. Witnessing scenes of abject terror and surviving horrifying situations, he loses his innocence and then his mind.

I have a bad habit of reading too many reviews and comments about a film before I've seen it, mainly to get an idea about whether it's going to be worth a couple of hours of my time watching it. As a result, I am often slightly disappointed with much of what I see, as all the hype that I've read about a film kind of blows my expectations out of all proportion. I had a feeling this would be the case with Elem Klimov's 'Come and See', a film I'd read a lot about, particularly here on the IMDb. (Imagine my "excitement" when, having tried to see the film for nearly a year, I discovered it was to be released on DVD a week or two ago from today!) Well, I finally watched the film yesterday and... well, nothing could have prepared me for the sheer intensity and unflinching visceral horror of the atrocities that 'Come and See' invites us to... come and see. (Has anyone commented before on what a clever title that actually is...?) This is one of those films, like, say, 'Requiem For A Dream' or 'The Magdalene Sisters' (both of which, though great films, are simply not in the same league as Klimov's film), that one does not (obviously) so much enjoy as submit oneself to. By the end of such films we are left numbed and shell-shocked, wondering what we are supposed to do with the intense emotions that have been evoked within us. Yes, I felt like the ground had been pulled from beneath me; yes, what I saw in that film made my blood boil, my head hurt and my heart pound; and, yes, it showed me things I'd seen before but to a degree of intensity and detail that I had not experienced before. The point though, I guess, is that the role of cinema (and art in general) is not to offer answers or tell us what to think but to simply show us particular events and characters and allow us to come to our own decisions about what those things 'mean'. I'm rambling now, but I'll simply end by saying that 'Come and See' is, with its outstanding technical and artistic credentials aside, a film whose very title alone demands that it be seen. It is the work of a visionary, a cry of despair from the depths of hell, and an important reminder of humanity's capacity for inhumanity Go and see...

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Doghouse (2009)

2012-03-13T13:32:00.000-07:00

Vince is handling his divorce badly. He's depressed. Gone to pieces. But his mates aren't giving up on him. Struggling with their own women troubles, they drag him off for an ultimate lads drinking weekend in the country. Arriving in the village of Moodley where the women outnumber the men 3:1, the boys find themselves holidaying in a village overrun by psychotic, homicidal Zombirds with a thirst for male flesh .

Vince (Stephen Graham) is going through the final stages of his divorce and to help him through this period his friends Mikey (Noel Clarke) and Neil (Danny Dyer) decide to take him and a few of the other boys to a remote village outside the humdrum of their London lives to get, in Dyer's own words; 's**tfaced'. However, when they turn up to the incredibly eerie village of Moodley to find flesh-eating, man-hating, cannibalistic women who want to do nothing more than rip out their internal organs and eat them for breakfast, the boys realise they have bitten more than they can chew and must fight their way through a barrage of blood-thirsty women in the most misogynistic way imaginable.

The premise of the film completely reflects the manner in which Jake West approaches this project, with a gleeful nod towards plenty of harmless sexist humour and cheap gory death sequences that are all nice, light-hearted and fun. Neil, Vince and Mikey are all your typical working-class likely lads out to simply flirt with the opposite sex and drink as much as their body-weight, with Danny Dyer in particular needing to place little effort in recreating his Cockney 'laddish' persona (yet again) on the big-screen. While Dave Schaffer's script contains many easy-going humorous gags to keep your attention ticking over while the next axe, gnome or sword heads to try and end the boy's misogynistic ways and eliminate the male chromosome all in one.

'Doghouse' is nowhere near the heights of Pegg/Frost's rom-zom-com-supremo 'Shaun of the Dead', but it isn't the worst film you will see this year. At a short running time of 85 minutes, you'll be cheaply entertained with boys being boys and women being...err, evil, vicious, un-relentless and, well women (just kidding!). This a film you'd probably enjoy seeing more after you've been kicked out the local Pub at closing time and are heading home with your Chicken Jalfrezi in one hand and the DVD in the other.

Torrent> http://thepiratebay.se/torrent/6084246/Doghouse.2009.DVDRiP.AC3.XViD-BlueLady

I Saw the Devil (2010) Akmareul boatda (original title)

2012-03-13T13:29:00.001-07:00

Kyung-chul (Choi Min-sik) is a dangerous psychopath who kills for pleasure. He has committed infernal serial murders in diabolic ways that one cannot even imagine and his victims range from young women to even children. The police have chased him for a long time, but were unable to catch him. One day, Joo-yeon, daughter of a retired police chief becomes his prey and is found dead in a horrific state. Her fiance Soo-hyun (Lee Byung-hun), a top secret agent, decides to track down the murderer himself. He promises himself that he will do everything in his power to take bloody vengeance against the killer, even if it means that he must become a monster himself to get this monstrous and inhumane killer.

Whenever I see a negative review of "I Saw the Devil", the critic always mentions (scornfully) that the movie is ultra violent and portrays women in horrifying circumstances. Yes it is, and yes it does.

But this isn't a Hollywood slasher flick. The kills in this movie are not gratifying and aren't meant to be. The women being killed are not scantily clad models running through forests from men wearing masks. There is nothing pleasant or "cool" about these scenes; they make the viewer uncomfortable, they unsettle, they bring one's mind into very dark places. It gives us a peek into the madness that every man is capable of, and does so realistically and without pulling its punches. This brutal realism makes people uncomfortable, and prompts negative reviews. This is understandable, but unfortunate. I believe that a movie should be judged on more than the amount of blood the viewer is comfortable seeing on-screen. To these people, please, do not watch Korean revenge thrillers if you are uncomfortable with torture or blood.

But enough of that rambling. This movie is excellent. Beautiful cinematography contrasts the stark, dimly lit scenes where the murders, or gritty fight scenes, occur. The camera work is simple but effective; the viewer is often treated to close-ups of both Byung-hun Lee and Mik-sik Choi, and their facial expressions tell us more than dialogue ever could. There is also contrast between Lee and Choi. Lee, clean and stoic, and Choi, filthy and madly expressive. They compliment each other very well, and play off of each others strengths effectively.

The story itself is typical of revenge films, but fantastic in its execution. Lee's character experiences a profound loss at the hands of Choi's character, and in the process of seeking revenge begins to resemble the man he so hates. The line between "victim" and "aggressor" becomes blurred between both characters. This is where the film shines. There is no black and white in "I Saw the Devil"; the viewer is left with shades of grey.

As for the acting, it was all done very well. As I mentioned, Lee and Choi work well together, and all supporting cast members did an excellent job. Choi portrays his character in an incredibly convincing manner, shifting suddenly from calmness to manic anger, but never in a way that feels unnatural or forced. Lee's character is quiet and much less expressive, but he does very well in showing immense amounts of emotion through just his eyes or subtle movements of his body. A memorable performance from them both.

As for flaws, the only thing I can think of is the strange, perhaps unrealistic behaviour of the police. Lee is a member of the NIS, and is very skilled when it comes to remaining hidden, but that shouldn't make him untouchable when directly provoking police officers or driving on the wrong side of the street. Still, though, it's a very trivial complaint that isn't worth a deducted point.

A confident 10/10 from me. If you are comfortable seeing serial murder portrayed realistically, and are able to appreciate more than just gore, please, do yourself a favour and watch this film.

Torrent> http://thepiratebay.se/torrent/6634481/I.Saw.the.Devil.2010.PROPER.BDRip.XviD-EXViD

Sound of Noise (2010)

2012-03-13T13:24:00.002-07:00

The narrative revolves around police officer Amadeus Warnebring, tone-deaf scion of a distinguished musical family, and his attempts to track down a group of six guerilla percussionists whose anarchic public performances are terrorizing the city. The drumming set pieces correspond to an avant-garde score with four hilariously titled movements. Where the short involved the six drummers imaginatively using standard apartment furnishings as their instruments, the feature unleashes them on an unspecified city's civic and cultural institutions. Including an amusing backstory for each of the soberly dressed drummers as well as their nemesis, music-hating investigator Warnebring, the film creates a treat for the eyes and ears from the dull, repetitive sounds of everyday life.

Now that you've read the plot summary... Okay, a group of drummers terrorise a city with their daring musical 'raids' while a tone deaf, music hating, detective tries to track them down... The Sound of Noise is the kind of dark comedic madness only the Scandinavians do so well: percussionists as musical terrorists laying down the beat for an entire city.

This is a conceit built around the musicians themselves, taking several of their set-piece numbers and weaving them into a narrative structure. In this sense, seen as a film with the classic three act structure, story and character development etc., Sound of Noise is less successful. But as a showcase for amazing musical ability and sheer imagination, this film cannot be beaten.

Torrent> http://thepiratebay.se/torrent/6427155/Sound_Of_Noise_2010_VOSTFR_DVDRip

The Grey (2012)

2012-03-04T03:23:00.001-08:00

After their plane crashes in Alaska, seven oil workers are led by a skilled huntsman to survival, but a pack of merciless wolves haunts their every step.

Liam Neeson the gritty action hero. How unbelievable that at nearly 60 years old, an actor can redefine his career and become more bankable. Neeson has somehow re-channeled the seriousness he brought to dramatic roles into creating utterly convincing heroes in decent (at best) thrillers.

But that's not "The Grey." "The Grey" earns marks far above decent, and Neeson's performance makes it better. I know, the calendar clearly reads January, but that's a matter of maximizing box-office potential in this case. Writer/director Joe Carnahan ("The A-Team") has turned a new leaf in this harrowing wilderness survival thriller, a film as dedicated to exploring the true extent of the human will to live as much as shocking its audience with menacing wolf attacks.

Neeson leads the pack in all manner of ways. Paid to protect oil workers from nature's dangers (especially wolves), Neeson's character Ottway turns out to be a group of drillers' best chance for survival when their plane crashes in the Alaskan wilderness near a wolf den. He's far from a boy scout, however, and he's emotionally wounded by the fact that his wife has left him.

Most of the early indicators in the film give you the sense that Neeson will do his usual solemn-faced hero routine that he executes to perfection, but the way the film unfolds (not in terms of plot, but in terms of the quality of the storytelling) asks him to go beyond that. He definitely responds.

When looked at in its most fundamental form, "The Grey" could be considered just another film in which a group of imperiled people die one at a time en route to finding safety. Carnahan, however, slows down that pace so that we can absorb the extent of the danger and imagine ourselves in it. When death does occur, it's visually striking, jaw-dropping and/or thought-provoking as compared to standard efforts at the genre that involve only jump-scare deaths or death by character stupidity.

Only one character, Diaz (Frank Grillo) gets a stereotype as the stubborn self-centered jerk who disagrees with Ottway on purpose. Most movies would've killed him off before he got too annoying, but Carnahan and co-writer Ian Mackenzie Jeffers (who wrote the short story the film's based on), have more interesting plans in store for him.

It's also not just a film about people being hunted by wolves in the wilderness. There's no bloody man vs. wolf climactic battle, unlike what the trailers would have you believe, so film fans prone to take misleading marketing out on the film itself, be prepared. "The Grey" is much more of a suspenseful drama with high-adrenaline scenes lurking around every corner.

As such, the visual style of "The Grey" asks for something different from Carnahan than the over-the-top high-flying nature of his previous two films, "The A-Team" and "Smokin' Aces." The overall tone is gritty and naturalistic, so snow-caked beards without the blistering frostbite makeup.

The action is also more frenetic and gripping. Rather than shooting the action scenes in a traditional sense, he wants the viewer to feel as if they are experiencing them along with the characters. If a character falls from a tree top and hits 20 branches on the way down, that's exactly what the camera's doing. This maximizes the intensity of every major sequence. As for the wolves, they're horrifying, yet never painted as the bad guys. They're just part of nature.

When it comes to issues of faith and the will to survive, that's when "The Grey" really jumps up and above the bar for its genre. The story is told in such a way that when people die, it's not for our entertainment, but to highlight the unpredictable nature of ... nature, and life and death. As Ottway wrestles with these same issues, its Neeson's performance that makes it hit home.

"The Grey" gives its audience the rare gift of genre-film entertainment with some serious food for thought and an ample dose of emotion. Carnahan's choices on how to tell the story, along with an ending not typical of genre films, only make it all the stronger. Both he and Neeson display the true nature of their strengths. Hopefully we've seen only the beginning of Carnahan's potential, and that nature is kind enough to Neeson to let him continue challenging the norm for the standard heroic performance.

Torrent: http://thepiratebay.se/torrent/7041564/The_Grey_2012_SCR_X264_AC3_CrEwSaDe

Conspirators of Pleasure (1996) Spiklenci slasti (original title)

2012-02-26T14:09:00.000-08:00

Six outwardly average individuals have elaborate fetishes they indulge with surreptitious care. A mousy letter carrier makes dough balls she grotesquely ingests before bed. A shop clerk fixates on a TV news reader while he builds a machine to massage and masturbate him. One of his customers makes an elaborate chicken costume for a voodoo-like scene with a doll resembling his plump neighbor. She, in turn, has a doll that resembles him, which she whips and dominates in an abandoned church. The TV news reader has her own fantasy involving carp. Her husband, who is indifferent to her, steals materials to fashion elaborate artifacts that he rubs, scrapes and rolls across his body.

This is my favorite full-length Svankmajer film, and not just because the lack of dialogue leaves no room for poor casting decisions in the dub for the American release (see Alice).

Besides the fact that fetish films are better or worse depending on the level of weirdness in the fetishes portrayed, this subject compliments Svankmajer's style perfectly.

The Kino DVD release comes with a bonus short film, Food, which illustrates what I'm talking about perfectly. Food is typical Svankmajer in how meticulously the temporal details are. If we see one man eating a full breakfast out of another man's vending-organs, the next man in line's breakfast has to be given the same time and detailed effort in portraying.

Likewise, Conspirators of Pleasure leaves nothing to the imagination but the story. But that's what fetishes are all about. Perverse in their contortion of sexual mores but perverse also in their slavery to the mundane details and meticulous planning.'

This is a very worthwhile study in perversity that doubles as pretty straightforward and blunt surrealism.

Torrent: http://thepiratebay.se/torrent/3301942/Jan_SvankmajerA_s_Conspirators_of_Pleasure(Spiklenci_slasti)

Frank Zappa - Baby Snakes (1979)

2012-01-18T00:48:00.000-08:00

Rock artist Frank Zappa hosts a concert in New York City. This movie contains tons of on-stage footage, off-stage footage, and animation.

It takes a long time for image conventions to mature, very much longer than generations of technologies and people, I fear. That surely is true for conventions that scape reality, and surf dreams in some deliberate manner.

I think there is a thread, incubated in massive and broad doses of thuja, and only sculpted decodes later at great cost by Joyce. Its the first structure of image worlds where parallel realities and times are woven in a sort of dark time. Its NOT stream of consciousness, because it has little to do with conscious mechanics. Its other-conscious folding, and still the most elaborate and broad.

I'm interested because we won't have a real cinematic vocabulary until we have something this magnificent, or monstrous, depending on how risky your life is.

Whoever really attempts this has to understand Zappa. He's a sort of Joyce of rock music, who understood rock as sound folding. He made a couple movies. While these aren't clever or important, its interesting to be exposed to what he thought mapped into film. His earlier movie was chaotic and accidental where his music never was. His music is strictly composed, very deliberate.

This second film is much more interesting. Its part concert film after the manner of Pennebaker. We get to listen to intelligent music played for dummies, and listen to their reaction. They think its the same as acid music and demented. The audience sections are straight Pennebaker.

But there are other sections as well, involving some very interesting claymation. To understand where this comes from, you have to see the exploitive and uncomfortable "Monster Road" which features the disturbed Bruce Bickford, the animation artist featured in about a tenth of this film.

Now, Zappa is never beyond the cheap shot, and most know him for this because his music is too complex for most. And he deliberately obfuscates the complexity. At about the 65 minute mark in the original cut, is the best sequence. Bickford merges faces of all types, sexual encounters (also of all types) and journeys interrupted. The transformations have a very deliberate grammar, not designed but following the urge of the bent mind managing the hands.

Unfortunately, he doesn't know much about camera stuff, so what we have are images arranged for a fixed frame and lighting. You will have to slow things down to get it, and oddly, you are much better off without Zappa's accompaniment. What he chooses to put with these images is unlike his dense music and more a collection of honks and squeeks. So you'll have to put the space you get from baby snakes 9the song) with these images. This is utter mastery of one corner of image superposition born of that French romance with absinthe.

I have no idea if this is the end of the line.

Torrent: http://thepiratebay.org/torrent/3247679

DRONNING HELL

Juan de los Muertos (2011)

The Croods (2013)

Wings of Desire (1987) Der Himmel über Berlin (original title)

The Hobbit: An Unexpected Journey (2012)

My Dinner with Andre (1981)

Sleep - Dopesmoker: 2012 Re-Issue

Heavenly Creatures (1994)

Brave (2012)

My Best Fiend - Klaus Kinski (1999) Mein liebster Feind - Klaus Kinski

Naked Lunch (1991)

The Diving Bell and the Butterfly [2007]

High School (2010)

Prometheus (2012)

Ice Age: Continental Drift (2012)

Runaway Train (1985)

Looper (2012)

Jimmy Page

Jimmy Page

Contents

Early years

Session musician

The Yardbirds

Led Zeppelin

Post-Led Zeppelin career

Legacy and influence

Equipment and recording techniques

Guitars

Notable guitars

Strings

Signature models

Amplifiers and effects

Music production techniques

Personal life

Recreational drug use

Interest in the occult

At one point Jimmy Page mentions that "the fourth album only got one paragraph review". Which album was this?

Breathless (1960) À bout de souffle (original title)

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Frank Zappa - Baby Snakes (1979)