Corey_Lazarus

Killswitch pioneered metalcore alongside Shadows Fall. The general consensus is...well, there is no general consensus. MOST people who listen to any sort of heavy music enjoy Killswitch, but those that actually know what the fuck they're talking about (a rarity) hate them. I'm in the latter camp (at least when it comes to hating Killswitch). And SYL is amazing.

I can say, without a doubt, that this sounds like the best episode of Ippy and Jippy I've ever seen.

USAF. I'd rather drop bombs and dogfight than get an AK-47 shoved up my ass...or my lieutenant on the USS Tuttifruiti.

See, metal was never REALLY about individuality. That was the "punk" thing. Metal was more about being angry about life in general and the mundane day-to-day existence and the powerless feeling one gets from it, and then turning all of that into a power of its own. As stupid as it may sound, heavy metal IS a vulgar display of power. And that's why hair bands, nu-metal, and now fashioncore are so hated by a good portion of the metal culture: they're bastardized versions of the music we love specifically designed to tone it down and be marketed to impressionable youth. Every scene in metal has its fair share of bands that seem to just cling onto it for a quick buck. Death metal has Six Feet Under, black metal has Cradle of Filth, power metal has...well, power metal fucking sucks...and, right now, metalcore has the largest amount of shitty bands that don't REALLY believe in the scene and just like it musically. Tack was onto something when he talked about there's more to black metal than Antichristian sentiments and more to death metal than just naming off many horrible ways to disembowel somebody. It's the bands that "get it" in this day and age (Shadows Fall, The Haunted, Unearth) that will last whereas those that obviously are just trying to cash in on the trend (Bullet For My Valentine, As I Lay Dying, It Dies Today) will be gone in a few years. There's a reason Slayer and Exodus survived the mass downfall of the Bay Area thrash/speed scene: they BELIEVED in it at more than an audible level. Some bands "get it," most bands don't. The ones that do won't go away for a very long time, and tend to be the ones that write the best songs and work to create full albums that can be listened to over and over as opposed to a collection of individual/identical tracks.

Taken from a reply to MrRant from page 2...

TOP 5 ZOMBIE APOCALYPSE SONGS: 5. "Murder Be A Lady Tonight" 4. "March On To Victory" 3. "The Dead In The Queue" 2. "Tale Told By A Dead Man" 1. "Breaking Off Fingers" TOP 5 GRAVES-ERA MISFITS SONGS: 5. "Helena" 4. "Crimson Ghost" 3. "Descending Angel" 2. "Dig Up Her Bones" 1. "Scream!" TOP 5 HORRORPUNK BANDS BESIDES THE MISFITS: 5. Shadow Reichenstein 4. Penis Flytrap 3. The Crimson Ghosts 2. Ghoul Squad 1. Bloodsucking Zombies From Outer Space

Zombi - Cosmos Described as ambient horror/sci-fi music, the duo have basically created a modern take on the Goblin style of music. Moody, at times fast-paced, and a perfect fit for a horror movie with any real sense of suspense. Don't be surprised if a flick pops up in the next few years with Zombi doing its soundtrack. Crimson Spectre/Uhwarria - Uhwarria/Crimson Spectre A pair of hardcore/thrash bands out of North Carolina that share, I believe, vocalists. Similar to Zombie Apocalypse and Orchid, only without the instrumentation of Zombie Apocalypse (take that as you will). The terrible production of the disc adds to its charm, and all of Uhwarria's songs are about nature (mostly animals, as every song by them on the disc has a different animal in its title and as its focus). "Winter Bear" has a hilarious opening of a bear growling and then unintelligible screaming, and "Tick Attack" is pretty infectious (no pun intended).

I got booted from a fashioncore band because I refused to cover songs by As I Lay Dying and Lamb of God, two bands I expressed my detest for when I auditioned for them in August.

Fantastic movie review, Lazarus. You really validated your opinion. I'm really glad you started this thread to share your insight. Forgive me for wanting to get the post up and my immediate feelings and still get sleep seeing as how I had to get to bed if I wanted any sleep before work. Pacing: The first 20 minutes of the movie is basically nothing more than explaining their jobs. That's okay. But then the gay sex comes out of NOWHERE. Quite LITERALLY out of nowhere, After that the movie is 90 minutes of dull conversations with some minor bright spots here and there. Direction: The camera seemed to not be focused on what was going on on-screen for a good portion of the film. Whereas the focal point of the scene would be, say, Jack and Ennis talking by a fire, the camera would be aimed at the creek beside them, almost as if they were an afterthought. This could have been entirely on purpose, but it made the movie hard to watch visually. Maybe I've been spoiled by the way that Raimi can hold a camera, but the photography irked me and made it a task in and of itself to watch the movie. Editing: NEARLY EVERY SINGLE CUT IS A FADE. It's like the editor was still in film school, or just REALLY liked the fade button and/or kept pressing it by accident while rubbing one out to Anne's boobs (for the 3 seconds they were seen). It's not even as if scenes would fade into one another, but they'd fade to black...and then fade FROM black into the next scene. This is a good cut when used sparingly, but when used as excessively as it was here (most notably in the last 20 minutes of the movie, so that the viewer thinks that the movie is over 4 or 5 times before it actually is)? Poor editing. Acting: Heath Ledger was good as Ennis. Anne was good as...Charlize, was it? I can't even remember her character's name. The actresses who played Ennis' daughters, especially his oldest one Elma Jr., were decent. Gyllenhall was lame as he would go from his usual wide-eyed "tard" style to his overly-pouty face (ie. all of Donnie Darko). And the most experienced actor with a major character in the whole film, Randy Quaid, just mailed it in as if he just wanted to collect his paycheck. It didn't help that Ledger's accent sounded overly forced and mumbled to the point where it was hard to understand a single word he was saying. This is one of the few movies I really wish I hadn't spent the full ticket price on. Even a piece of shit like Bewitched had its redeeming qualities (like Will Ferrell showing that he knew the movie was awful and just having a good time hamming it up, and Michael Caine as a whole). I can't think of much of a reason why anybody should see this movie outside of it being a mainstream picture getting some Oscar buzz. There are films that have gay main characters that do it better, and films about cowboys that do it better. And Milky, the other one would be The Ringer. The Farrelly brothers had the idea for years before the South Park episode aired, but since the movie is basically just the premise of that one episode, I counted it.

You should check out stuff from Zombi if you haven't yet. Very similar to Goblin, only with a lot better drumming (since it's an actual drummer). Uhwarria - "Winter Bear"

The one from (I believe) Hostile City Showdown is MUCH better. 'Twas a Stretcher Match, and there's very few blown spots, and even some psychology and long-term selling by both men.

Well, there's no pudding, but I do find it funny how 2 episodes of South Park have made relevant comments about films that were made years after. I just saw this movie tonight after my girlfriend told me all week she wanted to see it, and if it weren't for , this movie would be a total loss. I didn't see a thread for this movie by itself anywhere else in the forum, so I made one. The L-A-Z hated this piece of S-H-I-T, and if this wins the Academy Award for Best Picture, then I guess the Academy is going to have to overlook pacing, direction, editing, and acting.

^Good idea. Shelley beats Joe because he's taping all of the matches and notices all of Joe's little flaws, and then takes advantage of them. Beautiful. This may sound weird, but I'd kinda like it for AJ and Daniels to not beat Joe for a while.

Sometimes, the logo/slogan on the back isn't so bad. A lot of the ECW shirts worked because what was said on the back usually didn't sound utterly retarded. "Join the Revolution." "Of course you know, this means war." "Blood, Guts, and Beer." They didn't sound amazingly clever, but they didn't make you slap your forehead for fear that you might get dumber having read it.

If the Dark Horse "Aliens" comics are any indication of Verheiden's talents, we're in for a fucking treat. The Mask was decent and Timecop would have been that much better were it anybody but Van Damme (and I mark for JCVD), but yeah. Didn't he also write Starship Troopers? Or did Paul Verhoeven write the screenplay and direct it as well?

Have you seen Braindead / Dead-Alive? That movie, IMO, is at least as funny as Shaun, and has a much better romantic element. Definitely the original romantic comedy with zombies. Plus it's absurdly gory. Actually, it may sickening for other reasons. No, never. I've never seen any of Peter Jackson's earlier work, or Father McGruder: Kicking Ass for the Lord, the Nazi Vetrinarian, or the intestines that refuse to die. "Party's over" is completely lost on me. Paquita? Lionel? Pfft...those names mean nothing. ...okay, overkill.

See, TNA can easily dig themselves out of the hole of bigger guys, like Morgan and A-Train and Brock and others, by just announcing people at their actual sizes. The majority of TNA's fanbase also watches, or at least knows about, RoH, so many of them already know the actual heights and weights of the shared workers. Personally, it's more impressive to me to see somebody between 5'10" and 6'2" and booked as such - you know, average sized people - but also handled as though they were legitimate threats to people of all sizes. Push the workers who are small as having a fighting chance against the monsters by saying they have either the obvious speed advantage or can flat-out WRESTLE.

I'm definitely picking up the Piper and the 2 ECW DVDs. That...looks to be all. Maybe grab Austin/McMahon for nostalgic purposes.

I still wear my ECW, Austin 3:16, and nWo shirts regularly.

See, that's the thing with the songs I've heard off that album (White Pony, IIRC): the songs are actually GOOD, it's just Chino's voice sorta ruins it. Very fucking good live, though. And skull...you'd get along with those fashoncore faggots in TDR perfectly.

Jarrett berating them and shoving one or two of them was planned, but them shoving back and jumping over the barricade wasn't. It made for some good television (well, PPV), though.

If you notice the massive size of my forehead and stare at it, you'll begin to see an outline of a fetus.

One of the best zombie films ever made (one of Romero's favorites, actually), and just, all-around, a great movie. Only romantic comedy I'm not sickened by, and there's enough bloodshed and gore and slapstick to keep most people entertained. Also, pay attention to the movie before ANY zombies show up. Half of the dialogue is repeated later in the film.

Due to Sabu scoring the pinfall in the N2R 6-man (RVD/Sabu/Taz vs. Triple Threat), he won the #1 contendership to the ECW World title. Taz and Sabu fought for the FTW title, and after breaking Sabu's neck via Dragon Tazplex through a table propped up in the corner (to take him out of the title match due to injury), and then pulled Sabu on top of him for the 1-2-3 so that Taz was title-less (and thus Douglas couldn't duck him anymore, as Taz was the #2 contender). I also believe that Douglas paid Taz to take Sabu out, and Taz agreed only if he would get a title shot afterwards. Douglas agreed, thinking Taz would be the FTW champion so that he wouldn't have to defend the World title against him, but Taz outsmarted him.

Don West standing atop the table yelling "GO, RED, GO" as Red made the babyface comeback evoked more emotion than anything WWE has done since the HHH/Angle/Steph love triangle.