All posts tagged: The Cannon

James Bond Unhinged: Moonraker

Moonraker is probably the silliest James Bond film I’ve encountered so far, sporting absurdities like a Bond girl named Miss Goodhead, and a plot so thin it’s almost impossible to really follow. Luckily, understanding the plot is totally irrelevant when it comes to appreciating the film. Ridiculous scenarios include Bond in space, epic space laser battles, and more scantily clad women than you can possibly count, a high number even for a Bond film. And yet it’s so much fun – the it’s so bad it’s good kind of fun – that you can forgive it for being one of the Roger Moore Bond films. After all, the sheer number of “Goodhead” jokes available make the film worthwhile; listening to the dialogue is more an activity for masochists than something of a necessity. The film begins with Bond being thrown out of an airplane without a parachute by one of the film’s villains, and chased after, in mid-air, by yet another one of the villains, aptly named Jaws for his sharp metal teeth, as they …

A musical offering

On Friday, November 24th, engineering students, professors, and faculty members, alike, congregated in the J.J.R. MacLeod Auditorium at the Medical Sciences building for the inaugural Skule Music Concert. It was an entertaining and enjoyable evening featuring “some of the finest musical talent in Skule” with performances from several ensembles: the Skule Orchestra, The Brass Ring, the Skule Jazz Combo, and the Skule Stage Band. The Skule Orchestra opened the concert with a good rendition of Mozart’s The Marriage of Figaro Overture, followed by an even better, and I might say at times triumphant, rendition of Faure’s Pavane, then Romanian Folk Dances Sz. 77 by Bela Bartòk, and finishing up with the third movement of Bach’s Brandenburg Concerto No. 2. Established only just this year, the Skule Orchestra gave a commendable first performance though they still have a few kinks to work out.

Canadian Films Shine at TIFF

We’re used to thinking of Canadian films as being overt, unapologetic odes to all things Canadiana and often lesser versions of American films, and imitation Hollywood mainstream fare. With the exception of the one Canadian film-of-the-year release, like Les Invasions Barbares or C.R.A.Z.Y., it seems as though there hasn’t really been anything of note in Canadian cinema since Men with Brooms hit the screens many moons ago. And so, as the 26th annual Toronto International Film Festival rolled around, I was shocked that two of the five films I had chosen to see hailed from the Great White North, considering I’d mostly lost confidence in Canadian film. But I was pleasantly surprised with my selections: Douglas Coupland’s first screenplay, Everything’s Gone Green, and some short films from the Shortcuts Canada Programme. What I learned was that we have a good amount of homegrown talent, with innovative ideas about cinematography and storytelling. Everything’s Gone Green could easily be described as a Canadian Garden State, in theme, tone, and soundtrack, and certainly superior in soundtrack. My reaction …