Perlman (Hellboy) puts in a neat turn as the priest and Irish director Glenn McQuaid's direction is tight and effective throughout.Īlthough I Sell The Dead breathes knew life into a tiring genre, it feels more like a TV film or an introduction to a series than a feature film. Monaghan and Fessenden's on screen chemistry is both well pitched and believable, as is the world they inhabit and the protagonists they tackle. In fact aside from the main partnership there is little other character depth there and nor is it needed! The film isn't really laugh out loud funny but certainly has its fair share of very comic moments, it also refreshingly avoids too many cliché buddy/bromance set pieces, or boy meets woman yawns. The setting of a fog soaked period England creates a perfectly macabre and bleak atmosphere throughout the film, yet somehow the morally obscure duo's humorous exchanges keeps the mood light. The second half shifts to their more profitable and specialist acquisition of the undead, and not to mention their less fortunate encounters with a deranged rival gang. The first half anecdotes/flashbacks concentrate on how a young Blake and Grimes first became a notorious grave robbing partnership. The story is told through a series of death row conversations between Blake and Father Duffy (Ron Perlman). The film centres on the slap stick-esque grave robbing antics of Arthur Blake (Dominic Monaghan) and Willie Grimes (Larry Fessenden). I Sell The Dead isn't really a traditional Zombie film, in fact only in the second half of this low budget period horror comedy does it wave a big spade at that genre. Spawning three singles including 'Caught Out There', 'Good Stuff' and 'Get Along With You', the album also held the distinction of ranking #391 in Rolling Stone's 2020 list of the 500 Greatest Albums of All Time.īlue-in-Green:RADIO is a London-based online internet radio station which celebrates 21st century soul, jazz, funk, Latin & hip-hop music. Despite underperforming in the US, the album was a moderate success overseas receiving a gold certification in the UK. Released in 1999, 'Kaleidoscope' was produced by Pharrell Williams and Chad Hugo of The Neptunes making the album a breakout project for all three. ![]() ![]() This podcast series sees Imran (London, UK) and Rhonda (California, USA) delve into some of their favourite releases from the 90s and this week, the pair revisit the debut album from Kelis, 'Kaleidoscope'. Relish the glorious video for “Midnight Snacks” below, and stay tuned for more from Kelis very soon.Welcome to episode #8 of the 90s State of Mind podcast - a collaborative project between 4ever in Electric Dreams and Blue-in-Green:RADIO. This is no mistake, as she explains, “ I think it’s about when I loved music, you know? I’m looking for the era when I was excited about it, going back to the beginning, and coming full circle.“ The production for the track is immediately undeniably current with its trap-like backing, a throwback (the baby coos inevitably call to mind Timbaland’s work on Aaliyah’s “Are You That Somebody?”), and classically, undeniably Kelis, with its simplicity reaching all the way back to her genre-shaping debut, Kaleidoscope. ![]() “Midnight Snacks” is – yet again – using food as a stand in for sex, something that amuses and inspires the singer: “ It’s funny to me, but I like the fact that you can take sex and food, and you can put these two things together, and they’re totally interchangeable. Returning properly for the first time since 2014, she’s back up to her old tricks, yet they’re as fresh as ever. Just think back to “Milkshake”: on her third album, she set teenagers (and the charts) afire with its winking, playfully sexual nature. When she cares to, Kelis has always been able to – essentially – outplay any given moment in music and make it her own.
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