Wednesday, November 12, 2003
Reality
Artiste: David Bowie
Hi Is this Mr Bowie? Yes. I’m a self- proclaimed rock journalist from Singapore. What? You have never heard of Singapore? Oh you mean you have never agreed to an interview? What? How did I manage to get through to you? Well, it’s a long story and I don’t want to waste your time but anyways I was going to write a review of your latest album on my blog and I thought why not give you a call and ask you some questions with regards to reality. No I don’t mean reality as in yours or mine. I mean your latest album. What? You don’t give interviews to people who don’t fix an appointment? Look, no worries. No one in Singapore is going to read this interview anyway. Huh? Sure, oh please let me just go through this fast. I really. Hello? Hello? Hello?
Reality? What was David Bowie thinking when he produced Reality? Can reality be made believed or was it always perception in the first place? How the hell would I know why he called it Reality when this album of songs don’t seem to have any discernible links together or with Reality. oh ok, there is a song in here titled “Reality”. Hmn ok. Reality is called Reality because it has a title track called Reality. Is it Reality we are talking about here?
What? You were waiting to read a review of the latest David Bowie album and I’m rambling? Am I? Get into the topic? This is the topic you fool. Reality is the topic of this article’s discussion.
Reality in this case refers to David Bowie’s reality. And you are reading my reality of this album’s review and this is what I have to say about reality – this is classic Bowie. Never mind what other critics think. This is an album you have to get if you are a Bowie fan. It’s totally way out from Heathen, his previous more gothic effort. This time, Bowie chooses to adorn in black and white like Men in Black but does not necessarily imply he is an alien. Perhaps Bowie’s most down to earth album and I don’t mean down to earth like an alien down to earth like Ziggy Stardust or something. I mean David Bowie as an artiste with an album that sounds most down to earth that I’ve ever heard of. No theatrical poses. No alter egos. No hunky dory. Just plain ole David Bowie.
Kind of disconcerting? Because we are all so used to Bowie with an impersonation. We are coming to the songs later. Erm, well, what can I say about the songs?
Cohesive? Not really. Outstanding? No. Best album he has ever done? No. Is it a good album? Define good. Are the songs melodic? Do we listen to songs just for their melody? What about the lyrics? Go read the lyrics in this album. Haven’t bought the album yet? What are you waiting for? It’s a David Bowie album for fuck’s sake. What kind of review is this? A goddamn CD review. Duh.
New Killer Star: What is Bowie trying to tell us? Judging from the lyrics, perhaps it was a confessional piece where he goes, “I’m ready/ I’m ready” almost all the time and then he says “I’m better” and then he goes “star”.
Pablo Piccaso: A Modern Love cover ranting about why Pablo Picasso was never called an asshole because the girls on the street could not resist him.
Never Get Old: Is he talking about himself?
The Loneliest Guy: Is he talking about himself again since he is so lonely at the top?
Looking for Water: A piece about an individual looking for solace?
She’ll Drive The Big Car: A road trip of a man and a woman who doesn’t seem to understand each other.
Fall Dog Bombs the Moon: Ditto.
Try Some Buy Some: A George Harrison cover with Bowie doing a midtempo yet lacklustre singing. Would George Harrison turn in his grave?
Reality: same title album track with screeching guitars and hard rock beat.
Bring Me The Disco King: A jazzy piano outro accompanies Bowie at his slickiest crooning best that escalates into a repetitive chorus of “bring me the disco king”. Never heard of a disco king though.
If you are a fan, get the special edition with a second CD that comes with a rearranged “rebel rebel”.
What’s my assessment of Reality?
Room on Fire
Band: The Strokes
After the hyped up debut, Is This It, The Strokes came back with what they called a much more beloved and better album, Room On Fire, which frankly speaking, means they start off where they had left off, and never quite moved an inch.
Room on Fire is Is This It revisited, which is not at all bad, considered the songs are still laden with hooks. These guys retain their thin guitar and hollow drum beat sound, which in a way, was what peeved critics off in the first place but hey, these guys are just playing rock and roll, what do you expect?
The Strokes fan would embrace this. Critics would continue to diss them. And for those who have yet heard of them, it wouldn’t hurt to get this CD and decide for yourself.
Artiste: David Bowie
Hi Is this Mr Bowie? Yes. I’m a self- proclaimed rock journalist from Singapore. What? You have never heard of Singapore? Oh you mean you have never agreed to an interview? What? How did I manage to get through to you? Well, it’s a long story and I don’t want to waste your time but anyways I was going to write a review of your latest album on my blog and I thought why not give you a call and ask you some questions with regards to reality. No I don’t mean reality as in yours or mine. I mean your latest album. What? You don’t give interviews to people who don’t fix an appointment? Look, no worries. No one in Singapore is going to read this interview anyway. Huh? Sure, oh please let me just go through this fast. I really. Hello? Hello? Hello?
Reality? What was David Bowie thinking when he produced Reality? Can reality be made believed or was it always perception in the first place? How the hell would I know why he called it Reality when this album of songs don’t seem to have any discernible links together or with Reality. oh ok, there is a song in here titled “Reality”. Hmn ok. Reality is called Reality because it has a title track called Reality. Is it Reality we are talking about here?
What? You were waiting to read a review of the latest David Bowie album and I’m rambling? Am I? Get into the topic? This is the topic you fool. Reality is the topic of this article’s discussion.
Reality in this case refers to David Bowie’s reality. And you are reading my reality of this album’s review and this is what I have to say about reality – this is classic Bowie. Never mind what other critics think. This is an album you have to get if you are a Bowie fan. It’s totally way out from Heathen, his previous more gothic effort. This time, Bowie chooses to adorn in black and white like Men in Black but does not necessarily imply he is an alien. Perhaps Bowie’s most down to earth album and I don’t mean down to earth like an alien down to earth like Ziggy Stardust or something. I mean David Bowie as an artiste with an album that sounds most down to earth that I’ve ever heard of. No theatrical poses. No alter egos. No hunky dory. Just plain ole David Bowie.
Kind of disconcerting? Because we are all so used to Bowie with an impersonation. We are coming to the songs later. Erm, well, what can I say about the songs?
Cohesive? Not really. Outstanding? No. Best album he has ever done? No. Is it a good album? Define good. Are the songs melodic? Do we listen to songs just for their melody? What about the lyrics? Go read the lyrics in this album. Haven’t bought the album yet? What are you waiting for? It’s a David Bowie album for fuck’s sake. What kind of review is this? A goddamn CD review. Duh.
New Killer Star: What is Bowie trying to tell us? Judging from the lyrics, perhaps it was a confessional piece where he goes, “I’m ready/ I’m ready” almost all the time and then he says “I’m better” and then he goes “star”.
Pablo Piccaso: A Modern Love cover ranting about why Pablo Picasso was never called an asshole because the girls on the street could not resist him.
Never Get Old: Is he talking about himself?
The Loneliest Guy: Is he talking about himself again since he is so lonely at the top?
Looking for Water: A piece about an individual looking for solace?
She’ll Drive The Big Car: A road trip of a man and a woman who doesn’t seem to understand each other.
Fall Dog Bombs the Moon: Ditto.
Try Some Buy Some: A George Harrison cover with Bowie doing a midtempo yet lacklustre singing. Would George Harrison turn in his grave?
Reality: same title album track with screeching guitars and hard rock beat.
Bring Me The Disco King: A jazzy piano outro accompanies Bowie at his slickiest crooning best that escalates into a repetitive chorus of “bring me the disco king”. Never heard of a disco king though.
If you are a fan, get the special edition with a second CD that comes with a rearranged “rebel rebel”.
What’s my assessment of Reality?
Room on Fire
Band: The Strokes
After the hyped up debut, Is This It, The Strokes came back with what they called a much more beloved and better album, Room On Fire, which frankly speaking, means they start off where they had left off, and never quite moved an inch.
Room on Fire is Is This It revisited, which is not at all bad, considered the songs are still laden with hooks. These guys retain their thin guitar and hollow drum beat sound, which in a way, was what peeved critics off in the first place but hey, these guys are just playing rock and roll, what do you expect?
The Strokes fan would embrace this. Critics would continue to diss them. And for those who have yet heard of them, it wouldn’t hurt to get this CD and decide for yourself.
Tuesday, November 11, 2003
Time of Rebirth
Band: The Observatory
The Observatory comprises of Leslie Low, Vivian, Dharma, Evan and Victor.
The sound quality of Time of Rebirth as a demo is excellent exceeding my initial expectations of warps and scratches. The Observatory comprises of Leslie Low whose previous and now defunct band, Humpback Oak, attracts a cult following.
I remembered reading an article where Leslie mentioned guitar bands are not doing anything new. This is entirely debatable but his views are reflected in the new band and Time of Rebirth songs which relies less on guitar; but more on keyboards and programming.
In fact, Humpback Oak’s last album, Side A Side B had already revealed a change in musical direction. The songs in that CD contains more effects as compared to their earlier output.
Hence, when Leslie forms this new band, listeners would wonder if his music would change course. In The Observatory, Leslie continues to undertake the writing of the songs which he did when he was with Humpback Oak, thus retaining his trademark - songs shrouded in pessimism.
On the other hand, the new outfit has created a new “Observatory” sound that is different from early pre Side A Side B Humpback Oak. Effects such as keyboards, horns, percussions and sound samples are looped to downplay the guitars. In fact, I would even claim that if you like Side A Side B, Time of Rebirth would be your taste.
The songs in Time of Rebirth shows Leslie’s growing ease with writing lyrics and introspective maturity. Unlike Side A Side B, where the songs tends to dwell more on oppressive nature of Singapore society (One Hell of a country, Model Citizen, One Big Happy Family), Time of Rebirth contemplates silently. Examples: How’s Life:” Life’s good/that’s what they say/but by the way/by the way/life’s incomplete so/so we slip & it’s all downhill” ; Another Passerby, “tears will flow/people come/people go/of all the things to do these days/never felt more out of place/it’s hard to decide anymore/i’ll be denied”; Relationships with Sin, “show me/meaning from this comedy/it wouldn’t be a room like this is never vulgar”
I’m not sure what they were thinking mind when they titled their demo “Time of Rebirth”. Has it got to do with the post 9/11 world or Gulf War II?
This downtempo demo might not be distinctly Singaporean but it is a must listen for it is a transition of Leslie’s new band and their new music (at least to the followers). If you are still not convinced, hang on and wait for their debut release.
Band: The Observatory
The Observatory comprises of Leslie Low, Vivian, Dharma, Evan and Victor.
The sound quality of Time of Rebirth as a demo is excellent exceeding my initial expectations of warps and scratches. The Observatory comprises of Leslie Low whose previous and now defunct band, Humpback Oak, attracts a cult following.
I remembered reading an article where Leslie mentioned guitar bands are not doing anything new. This is entirely debatable but his views are reflected in the new band and Time of Rebirth songs which relies less on guitar; but more on keyboards and programming.
In fact, Humpback Oak’s last album, Side A Side B had already revealed a change in musical direction. The songs in that CD contains more effects as compared to their earlier output.
Hence, when Leslie forms this new band, listeners would wonder if his music would change course. In The Observatory, Leslie continues to undertake the writing of the songs which he did when he was with Humpback Oak, thus retaining his trademark - songs shrouded in pessimism.
On the other hand, the new outfit has created a new “Observatory” sound that is different from early pre Side A Side B Humpback Oak. Effects such as keyboards, horns, percussions and sound samples are looped to downplay the guitars. In fact, I would even claim that if you like Side A Side B, Time of Rebirth would be your taste.
The songs in Time of Rebirth shows Leslie’s growing ease with writing lyrics and introspective maturity. Unlike Side A Side B, where the songs tends to dwell more on oppressive nature of Singapore society (One Hell of a country, Model Citizen, One Big Happy Family), Time of Rebirth contemplates silently. Examples: How’s Life:” Life’s good/that’s what they say/but by the way/by the way/life’s incomplete so/so we slip & it’s all downhill” ; Another Passerby, “tears will flow/people come/people go/of all the things to do these days/never felt more out of place/it’s hard to decide anymore/i’ll be denied”; Relationships with Sin, “show me/meaning from this comedy/it wouldn’t be a room like this is never vulgar”
I’m not sure what they were thinking mind when they titled their demo “Time of Rebirth”. Has it got to do with the post 9/11 world or Gulf War II?
This downtempo demo might not be distinctly Singaporean but it is a must listen for it is a transition of Leslie’s new band and their new music (at least to the followers). If you are still not convinced, hang on and wait for their debut release.
Monday, November 10, 2003
Fear and Loathing in Las Vegas
Directed by Terry Gilliam
Hunter S. Thompson stream of consciousness babble, Fear and Loathing in Las Vegas, on drugs and the American dream which is perversely reworked; is adapted by Gilliam into a film version that stays true to what the writer intends.
Fear and Loathing is a drug user’s biblical account - Raoul Duke (Johnny Depp), is a hag who is going to Las Vegas to cover Mint 400, a desert motorcycle race, with company from his attorney, Dr. Gonzo (Benicio Del Toro). Together, on their trip, they took drugs from LSD to mescaline to ether and details their experience; trashing the hotel rooms they occupy like inspired madmen on the loose.
The story is funny at times, incomprehensible at others (much like the book) but it is definitely not stagnant. The scenes in which Duke “sees” things after taking acid are most hilarious – creepers grew out of carpets as people are transformed into huge mutant sized reptiles.
Hollywood Endings
Directed by Woody Allen
Woody Allen plays himself again as a “has been” director who is relegated to directing commericals because of his “artistic” temperament and “neurotic” sickness. Hence, when his ex-wife, Ellie (Tea Leoni) manages to convince her new boyfriend Hal (Treat Williams), head of Galaxie Studios to hire Val to direct a new 60 million 40’s flick, we know trouble is on its way.
As usual, Val fucks it up by becoming psychomatically blind the day before filming starts. His agent, Al Hack (Mark Rydell) convinces him to hang onto the project and gets the Chinese translator to be his ”eyes” to prevent others in the set from having any suspicion.
Hollywood endings is usual Woody with its quirky one liners and quick wit. In a bar and supposedly having a “professional” conversation with Ellie about the movie, Val breaks up into hilarious accusations on her adultery with Hal. In the scene where Al tries to break the news of Val’s blindness to Ellie, we are treated to underlined meanings and puns on words associated with sight such as “vision”.
We know most American critics and audience have already shelved Woody as a “has been” by this time and Hollywood Endings is probably the director’s way of laughing at himself and autership. The idea that a director can direct a film “blindly” and still earn praises from the French is hilarious. When Woody decides to leave for Paris, it mirrors his personal affectation for the European audience, who still views him as a great director.
We look forward to the day when Woody makes a true European film.
Spellbound
Directed by Alfred Hitchcock
Perhaps spellbound is made at the heights of psychoanalysis when it is believed to be the antidote to psychological illness, that everything goes back to the childhood and that a guilt complex often overrides what actually happens.
Dr Constance (Ingrid Bergman) is a pretty and promising young practitioner who falls head over heels with Dr Edwardes (Gregory Peck) who had recently been posted to head a mental institution, Green Manor.
Dr Edwardes identity was however soon exposed and the imposter, John Ballantyne was on the wanted list for murdering the real Dr Edwardes. John who is on the escape, is however suffering from amnesia. It is now up to Constance, who had fallen in love with him, to help him regain his memory through psychoanalysis; while being one step ahead of the police.
Spellbound’s references to psychoanalysis might appear a trifle outdated in today’s terms but it makes for wonderful viewing nevertheless. The inspired Salvador Dali dream sequence is visually Freudian and as much metaphorical as the opening of doors when Constance and John lock lips for the first time.
A classic black and white Hitchcock film.
Divine Intervention
Directed by Elia Suleiman
A film with hardly any dialogue and a logical linear structure, Divine Intervention makes implicit references about life of Palestinians and Israel militarism.
The film revolves basically around a neighbourhood where people are unkind towards one another. The road digger who escapes from the police is a cantankerous man who digs a repaved road to let his neighbour’s car get stuck. In another scene, a woman threw rubbish back to her neighbour who treats her backyard as a rubbish dump. The Israel guards at the border are viewed with contempt as they make jokes and force drivers who pass by to satisfy their inane amuse.
The director appears as a man caught trying to stay with an ailing father; at the same time, meeting his girlfriend, played by Manal Khader; in a car park lot at the border, because she comes from the prohibited area of Ramallah.
Some of the scenes in Divine Intervention are funny. When a boy who was playing his football accidentally kicked it into his neighbour’s house, the angry owner deflated it with a knife. This prompted the incensed boy’s father to pay him a visit and gave the man a good beating. In another instance, ES creates fantasy sequence that are highly satirical. The Israel soldiers at the firing ground were given a good whiplash when one of their targets becomes real and defeated them with her magic powers. This sequence implies the desire of secret agent/ terrorists and even common day Palestinians who wishes for liberation.
It is hard to fathom who Manal Khader represents. When ES and her dream girl meets in his car, they play with each other through a series of hand touching movements that implies love making. She was also the cool gal whom the Israel soldiers could not stop; and possibly the mysterious target that came to live.
Divine Intervention feels like a silent film most of the time but it implies the difficulty of resolving the Palestinian – Israel conflict.
Kill Bill Vol. 1
Directed by Quentin Tarantino
Salon.com of Stephanie Zacharek probably wrote the most insidious film Kill Bill Vol.1 review in which he commented and I quote, “Tarantino's zombielike devotion to style also puts him at an emotional remove”.
How the critics and audience had lapped it up? I’m not sure why anymore.
After all, is Kill Bill really that great a movie? Truth be told, I was entranced by the mishmash of genres and style from yazuka to anime to spaghetti westerns to blaxploitation whatever you call it but Kill Bill is all just style and no substance and the director doesn’t seem to hide but flaunt it instead.
Uma Thurman is a bride; also named Black Mambo, whose wedding ceremony turns into a bloodbath when the deadly viper assassination squad murders everyone in her church. She survived the incident miraculously and upon waking up from a coma, decided to take revenge in her own hands.
Within the first few minutes, she had already killed Vernita Green (Vivica A. Fox); who was one of the members in the squad; and was married with a kid. Through flashbacks, we learnt more about black mambo’s past and her earlier showdown with O-Ren Ishii (Lucy Liu), who happens to head Japan’s foremost feared mafia, Crazy 88 Fighters.
There is so much blood, decapitation, severed limbs, blood spurting all over the place that makes you wonder what Tarantino was trying to tell you. Sure, the fighting sequences were fun to watch. The anime insertion was a fresh respite from the real gore (only this time around, blood albeit in cartoon style).
The afterthoughts of seeing Kill Bill is that it leaves you dry; that after 90 minutes of senseless fighting and unadulterated violence, it leaves you with exactly nothing to ponder or even bemused at.
Now that we have watched Volume 1, the next logical thing to do is to wait for Volume 2. It doesn’t take too much guess work to know what it will be like.
Directed by Terry Gilliam
Hunter S. Thompson stream of consciousness babble, Fear and Loathing in Las Vegas, on drugs and the American dream which is perversely reworked; is adapted by Gilliam into a film version that stays true to what the writer intends.
Fear and Loathing is a drug user’s biblical account - Raoul Duke (Johnny Depp), is a hag who is going to Las Vegas to cover Mint 400, a desert motorcycle race, with company from his attorney, Dr. Gonzo (Benicio Del Toro). Together, on their trip, they took drugs from LSD to mescaline to ether and details their experience; trashing the hotel rooms they occupy like inspired madmen on the loose.
The story is funny at times, incomprehensible at others (much like the book) but it is definitely not stagnant. The scenes in which Duke “sees” things after taking acid are most hilarious – creepers grew out of carpets as people are transformed into huge mutant sized reptiles.
Hollywood Endings
Directed by Woody Allen
Woody Allen plays himself again as a “has been” director who is relegated to directing commericals because of his “artistic” temperament and “neurotic” sickness. Hence, when his ex-wife, Ellie (Tea Leoni) manages to convince her new boyfriend Hal (Treat Williams), head of Galaxie Studios to hire Val to direct a new 60 million 40’s flick, we know trouble is on its way.
As usual, Val fucks it up by becoming psychomatically blind the day before filming starts. His agent, Al Hack (Mark Rydell) convinces him to hang onto the project and gets the Chinese translator to be his ”eyes” to prevent others in the set from having any suspicion.
Hollywood endings is usual Woody with its quirky one liners and quick wit. In a bar and supposedly having a “professional” conversation with Ellie about the movie, Val breaks up into hilarious accusations on her adultery with Hal. In the scene where Al tries to break the news of Val’s blindness to Ellie, we are treated to underlined meanings and puns on words associated with sight such as “vision”.
We know most American critics and audience have already shelved Woody as a “has been” by this time and Hollywood Endings is probably the director’s way of laughing at himself and autership. The idea that a director can direct a film “blindly” and still earn praises from the French is hilarious. When Woody decides to leave for Paris, it mirrors his personal affectation for the European audience, who still views him as a great director.
We look forward to the day when Woody makes a true European film.
Spellbound
Directed by Alfred Hitchcock
Perhaps spellbound is made at the heights of psychoanalysis when it is believed to be the antidote to psychological illness, that everything goes back to the childhood and that a guilt complex often overrides what actually happens.
Dr Constance (Ingrid Bergman) is a pretty and promising young practitioner who falls head over heels with Dr Edwardes (Gregory Peck) who had recently been posted to head a mental institution, Green Manor.
Dr Edwardes identity was however soon exposed and the imposter, John Ballantyne was on the wanted list for murdering the real Dr Edwardes. John who is on the escape, is however suffering from amnesia. It is now up to Constance, who had fallen in love with him, to help him regain his memory through psychoanalysis; while being one step ahead of the police.
Spellbound’s references to psychoanalysis might appear a trifle outdated in today’s terms but it makes for wonderful viewing nevertheless. The inspired Salvador Dali dream sequence is visually Freudian and as much metaphorical as the opening of doors when Constance and John lock lips for the first time.
A classic black and white Hitchcock film.
Divine Intervention
Directed by Elia Suleiman
A film with hardly any dialogue and a logical linear structure, Divine Intervention makes implicit references about life of Palestinians and Israel militarism.
The film revolves basically around a neighbourhood where people are unkind towards one another. The road digger who escapes from the police is a cantankerous man who digs a repaved road to let his neighbour’s car get stuck. In another scene, a woman threw rubbish back to her neighbour who treats her backyard as a rubbish dump. The Israel guards at the border are viewed with contempt as they make jokes and force drivers who pass by to satisfy their inane amuse.
The director appears as a man caught trying to stay with an ailing father; at the same time, meeting his girlfriend, played by Manal Khader; in a car park lot at the border, because she comes from the prohibited area of Ramallah.
Some of the scenes in Divine Intervention are funny. When a boy who was playing his football accidentally kicked it into his neighbour’s house, the angry owner deflated it with a knife. This prompted the incensed boy’s father to pay him a visit and gave the man a good beating. In another instance, ES creates fantasy sequence that are highly satirical. The Israel soldiers at the firing ground were given a good whiplash when one of their targets becomes real and defeated them with her magic powers. This sequence implies the desire of secret agent/ terrorists and even common day Palestinians who wishes for liberation.
It is hard to fathom who Manal Khader represents. When ES and her dream girl meets in his car, they play with each other through a series of hand touching movements that implies love making. She was also the cool gal whom the Israel soldiers could not stop; and possibly the mysterious target that came to live.
Divine Intervention feels like a silent film most of the time but it implies the difficulty of resolving the Palestinian – Israel conflict.
Kill Bill Vol. 1
Directed by Quentin Tarantino
Salon.com of Stephanie Zacharek probably wrote the most insidious film Kill Bill Vol.1 review in which he commented and I quote, “Tarantino's zombielike devotion to style also puts him at an emotional remove”.
How the critics and audience had lapped it up? I’m not sure why anymore.
After all, is Kill Bill really that great a movie? Truth be told, I was entranced by the mishmash of genres and style from yazuka to anime to spaghetti westerns to blaxploitation whatever you call it but Kill Bill is all just style and no substance and the director doesn’t seem to hide but flaunt it instead.
Uma Thurman is a bride; also named Black Mambo, whose wedding ceremony turns into a bloodbath when the deadly viper assassination squad murders everyone in her church. She survived the incident miraculously and upon waking up from a coma, decided to take revenge in her own hands.
Within the first few minutes, she had already killed Vernita Green (Vivica A. Fox); who was one of the members in the squad; and was married with a kid. Through flashbacks, we learnt more about black mambo’s past and her earlier showdown with O-Ren Ishii (Lucy Liu), who happens to head Japan’s foremost feared mafia, Crazy 88 Fighters.
There is so much blood, decapitation, severed limbs, blood spurting all over the place that makes you wonder what Tarantino was trying to tell you. Sure, the fighting sequences were fun to watch. The anime insertion was a fresh respite from the real gore (only this time around, blood albeit in cartoon style).
The afterthoughts of seeing Kill Bill is that it leaves you dry; that after 90 minutes of senseless fighting and unadulterated violence, it leaves you with exactly nothing to ponder or even bemused at.
Now that we have watched Volume 1, the next logical thing to do is to wait for Volume 2. It doesn’t take too much guess work to know what it will be like.
