That said, very few series have a perfect ending, and this conclusion is admirable in every regard. This is the supposed end to a fantastic series, and needed to have a bit more cinematic gravitas to hit you right in the gut. I laughed, sadly, when I should have been feeling meloncholy. I wont go into detail, but it isn't Benjamin Button effects. It's the money shot moment, the grand resolution, but it honestly looks silly. The exact resolution of the book does not transfer well to film. There's a bit of a cheese factor to the denouement. I really believe we will see great performances from him in the future. His ability to bear the tragic nature of his circ*mstance, and be an ass-kicking action hero is not to be underestimated. Daniel Radcliff is the anchor for all the Potter films. These actors have grown into their adult character roles and deliver them well here. They are adults, fighting for their lives and a cause. Harry, Ron, and Hermione are not children here. Christopher Columbus (original director and producer) hit a home run when he cast the primary characters. The character work continues to be great. I've noticed the last three Potter films were more prone to this kind of lazy storytelling, but maybe I'm being too picky. My thought is that they're assuming everyone has read the book, and decided not to spend any time in the final cut quibbling with details. So, if you hadn't read the book, and didn't know its consequences, then it would be confusing. Harry's possession of The Deathly Hallows is key to the finale, but this is never fully understood in the movie. The filmmakers make no effort to explain pivotal plot points. There's balls to the walls action, then scenes of total quiet that don't connect. It could be that I've read the book, and while not expecting an exact adaptation, Rowling's battle isn't nearly as mythic as the one we see here. This is expected as the final battle between Harry and Voldemort, but it takes on a Transformers-esque gratuity that caught me by suprise. I can honestly say there were cheers in the theater during these pivotal scenes, so they did elicit an audience response.īigger is better is the Hollywood way and the filmmakers went all out to have a huge action climax. Several characters are killed while others find love in their darkest moments. The climax is an all out war between those loyal to Harry against Voldemort's death eaters. The school had been the primary location for the previous stories, and is totally absent in the first part of the sequel. The film builds up to an epic battle at Hogwarts. Their goal is to destroy them, thus leaving the dark lord mortal and able to be killed. Part 2 picks up with Harry (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) continuing their quest for Horcruxes - objects that hold pieces of Lord Voldemort's (Ralph Fiennes) soul. It's almost like trying to force tears and blow up firecrackers at the same time. This last film comes off as a popcorn action film. Director David Yates has done an excellent job directing the last four movies of the epic franchise. Film adaptations are a different animal, but considering the last book was split into two films, I had hoped for a more emotionally complete ending akin to the book. The conclusion to this magnus opus was brilliantly conceived in the nine hundred page novel, where subtlety and substance could slowly boil to a triumphant ending. Rowling's boy wizard gets a spectacular, yet not entirely satisfying finale in Harry Potter and the Deathly Hallows - Part 2. Rowling's boy wizard gets a spectacular, yet not entirely satisfying finale.
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Whether Johnston will be able to produce evidence that these similarities rise to the level of "substantial" or "striking" in view of NICKELBACK's level of access is yet to be determined, she said. Having listened to both songs, Hightower found that it is possible for a reasonable juror to determine that the works share protectable elements. NICKELBACK had asserted that Johnston cannot state a claim for copyright infringement because "fundamentally, the works at issue are not substantially similar to an ordinary observer." They argued that the works are so dissimilar as to defeat Johnston's claim for copyright infringement as a matter of law. " Johnston has alleged facts sufficient to raise his right to relief above the speculative level, which is all that is required at the pleading stage," Hightower said. District Court for the Western District of Texas that Johnston's complaint sufficiently alleged NICKELBACK's members had access to his song "Rock Star". On Wednesday (August 11), Magistrate Judge Susan Hightower said in her report and recommendation to Judge Robert Pitman of the U.S. Johnston seeks damages for copyright infringement and an injunction against further infringement. Johnston alleges that "a substantial amount of the music in 'Rockstar' is copied from original composition 'Rock Star'," including "the tempo, song form, melodic structure, harmonic structures, and lyrical themes." In January 2005, NICKELBACK released the song "Rockstar" on its album "All The Right Reasons". Johnston alleges that NICKELBACK had direct access to Johnston's musical composition "Rock Star" as a result of SNOWBLIND REVIVAL's marketing efforts. The band made 15 copies of the master recording and sent them to several record labels, including Universal Music Group and Warner Music Group, of which Roadrunner Records, Inc. In August 2001, SNOWBLIND REVIVAL created a master recording of "Rock Star", along with three other original songs. alleging that the NICKELBACK copied his original musical composition, "Rock Star", which he wrote in 2001 while a member of the band SNOWBLIND REVIVAL. Kirk Johnston filed a lawsuit against NICKELBACK members Chad Kroeger, Michael Kroeger, Ryan Peake and Daniel Adair, as well as the band's former record label Roadrunner Records and Warner Chappell Music, Inc. Even the chorus … I thought that was my best revenge after a really s***** argument.” The song in question was “ How You Remind Me.A Texas federal magistrate judge has told a federal district court that NICKELBACK must face a copyright lawsuit claiming the rock band ripped off its 2005 hit song "Rockstar" from an earlier track called "Rock Star". I had written the second verse, the whole ‘Cause living with me must have damn near killed you,’ when it got to that part, I really wanted her to hear it. “I wanted it to be really loud so she could hear everything I was saying. “I would sing into a PA - there was an actual microphone in front of me - I wasn’t just singing into the room, so it felt like I was really delivering the song,” Kroeger added. I went downstairs and I turned on my PA system. We got into a fight about something stupid, like what most people fight about. “We had been living together for a while, something like two-and-a-half years. “I was living with a girl at the time,” he recalled. Nickelback | Paul Bergen/Redferns Chad Kroeger performed this Nickelback song very loudly in his basementĭuring an interview with Billboard, Kroeger discussed the origin of a Nickelback song. 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I'll tell them what the smile on my face meant "Hey", he said, "grab your things, I've come to take you home" ever."Son", he said, "grab your things, I've come to take you home" Cameron Crowe was also present at the concert and later tweeted "Peter Gabriel and John Cusack on stage together at the Hollywood Bowl tonight. We're sort of trapped together in a minuscule moment of contemporary culture." In October 2012, as Gabriel played the first few bars of the song during a performance at the Hollywood Bowl, Cusack walked onto the stage, handed him a boombox and took a bow, before quickly walking off again. In a September 2012 interview with Rolling Stone, discussing the 25th anniversary of So, Gabriel commented on the cultural impact of the scene, "It definitely gave a second life, because now it's so often parodied in comedy shows and it is one of the modern day Romeo and Juliet balcony clichés. Gabriel approved the use of his song, but told Crowe that he was uneasy about the overdose of the main character at the end the studio had erroneously sent Gabriel the film Wired instead. Gabriel asked to see Crowe's film and Crowe asked the production company to send Gabriel a rough cut. 41.Ĭrowe says that Rosanna Arquette, who is believed to be the inspiration for the song, encouraged Peter Gabriel to consider allowing the film to use the song. Repopularized by its usage in the film, the song reentered the US charts but narrowly failed to crack the top 40 in its second run, reaching as high as No. An iconic scene from the film occurs when broken-hearted Lloyd Dobler serenades his ex-girlfriend, Diane Court, outside her bedroom window by holding a boombox up above his head and playing the song for her. The song was used twice in the 1989 US Cameron Crowe film Say Anything., as well as its trailer. This restriction was no longer an issue for later CD releases, and the track was placed at the end of the album. When determining the album's track order, Gabriel wanted to have "In Your Eyes" as the final track, but its prominent bassline meant it had to be placed earlier on the vinyl edition for the phonograph stylus to vibrate. After the chord, Manu Katché enters with some worldbeat percussion rhythms played on instruments such as the African talking drum. The song begins with a sustained keyboard chord from Gabriel. Inspired by a trip to a cathedral in Barcelona, Spain, Gabriel wrote lyrics for another So era song, "Sagrada." This song was scrapped early on, although some elements, including the vocal melody and chord changes, were transferred over to "In Your Eyes". In 2005, the song brought Gabriel his first Gold single, certified in the US by the RIAA. It was included on the US version of his 2003 compilation Hit, but not the European or Japanese versions. The song was the finale of the Secret World Tour and the final track on the 1994 Secret World Live album, where it is over 11 minutes long and includes the extra lyrics from the Special Mix, in addition to solos by the other singers and players. (1989) starring John Cusack and Ione Skye. The track was featured in the teen drama film Say Anything. In Australia, "In Your Eyes" peaked at No. Gabriel released two extended versions of the song as a 12" vinyl single in the US. Billboard Mainstream Rock Tracks on 13 September 1986, and peaked at No. "In Your Eyes" was not released as a single in the UK but was pulled as the third single from So in the US, achieving strong radio airplay and regular MTV rotation. Gabriel's lyrics were inspired by an African tradition of ambiguity in song between romantic love and love of God. It features Youssou N'Dour singing a part at the end of the song translated into his native Wolof. " In Your Eyes" is a song by English rock musician Peter Gabriel from his fifth solo album So (1986). It's only too bad that the message is the same of the previous two films, we get it already. But since they really had to make a Shrek 3, I think they did well to make the adventure a bit more meaningful and make it really count in the end. But if you ask me, Shrek 3 was unnecessary. I felt that this adventure was more meaningful for all the characters, and I know that this is the part where a lot of critics thought it wasn't necessary. Ultimately, Shrek 2 was funnier, but I think I like Shrek 3 better. There were still plenty of big laughs left, I can tell you. I have gotten all I wanted out of the overall storyline, I'm happy with the way things are for the characters now, and I don't mind that the third journey had to replace the "insert joke every few seconds"-mentality of Shrek 2 with a bit more storytelling. We know the characters, and they have all found a place in the world they live in. It's nice to see Donkey, Puss and Shrek get along so well with each other, but there's nothing more they can do to fill another film. All the old characters get to do something funny, but in the end they are all just great to see as old friends you know from the past. Somewhere near the end they do get in a situation that brings back some of the comedy gold of Shrek 2, but it's too little and too late. Both characters do in fact get way too little screen time, and that's a big mistake since both characters were the highlights of Shrek 2. What I did miss, was the bickering between Puss and Donkey. I really liked the dialogue between the characters like in Shrek 1, it's something I kind of missed in Shrek 2, where the characters just jumped from one crazy situation to the next with a few one-liners her and there. As an English student, it really appealed to me. The Medieval high School was just hilarious, especially the mix-up between today's teen slang and Middle English. And if one pops up, than it got more laughs out of me than Far Far Away ever did in Shrek 2. Although it comes nowhere near the quality of the first film, it does try to recreate its pleasant pacing and isn't overstuffed with easy film/commercial/real life-reference jokes (I'm looking at you, Shrek 2). Trying to ignore all the hype around it, I tried to watch it (on DVD) as the second sequel to one of my favourite films, nothing more. I have just been pleasantly surprised by Shrek 3. |
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