The tractor drew up alongside the haystack.
In some broadcasting circles it has become fashionable to be cynical about the listener/viewer. It is tempting to go along with that, especially if you have been on the receiving end of those extraordinary letters from ‘the green ink brigade’, criticizing your programmes and often you personally.
Laikwan Pang (2002) Building a New China in Cinema: The Chinese Left-wing Cinema Movement, 1932-1937, →ISBN, page 99: “His later left-wing films prevented any pure and strong emotional attachment between the two sexes from gaining narrative momentum, which might reflect his gradual disbelief in romantic love.”
When the album succeeds, such as on the swaggering, Queen-esque “Nothing’s Gonna Stop Us,” it does so on The Darkness’ own terms—that is, as a random ’80s-cliché generator. But with so many tired, lazy callbacks to its own threadbare catalog (including “Love Is Not The Answer,” a watery echo of the epic “I Believe In A Thing Called Love” from 2003’s Permission To Land), Hot Cakes marks the point where The Darkness has stopped cannibalizing the golden age of stadium rock and simply started cannibalizing itself. And, despite Hawkins’ inveterate crotch-grabbing, there was never that much meat there to begin with.
アカウントを持っていませんか？ 新規登録
アカウントを持っていますか？ ログイン
DiQt（ディクト）
無料
★★★★★★★★★★
