How to Download the The Cars Live - Musikladen 1979 - Unlimited Movie Downloads
The Cars Live - Musikladen 1979- To begin, this movie has a great beginning; it pulled me right into it.This is something not usually seen in movies of this type, so it makes it an unusual, yet pleasant experience.The action scenes are really great. Ric Ocasek played his role great. Ben Orr actually caught my interest.
I think Ric Ocasek and Ben Orr worked wonderful in The Cars Live - Musikladen 1979. The great supporting cast includes Ric Ocasek, Ben Orr, Greg Hawkes, Elliot Easton.
All in all, I would rate this movie an 8.5/10. I would definitely watch this movie again.
I left some information, immages, and video previews of The Cars Live - Musikladen 1979 below.
Summary of The Cars Live - Musikladen 1979: This complete, live, television concert, recorded for the long-running German pop music series Musikladen, captures the Cars in their late '70s ascendancy, offering ample evidence of the young Boston quintet's rock-solid performing skills and formidable instincts as writers and arrangers. Poised between arena-rock bombast and punk aggression, the Cars were canny, concise stylists who proudly unleashed hit singles in an album-dominated era, an achievement that could mislead serious-minded rock aesthetes to assume the band was a studio invention. In fact, their major-label deal arose only after the band had honed its playing in Beantown clubs and cracked local airwaves with self-produced prototypes of the songs that popped up on their self-titled debut album.
The 11 songs here tilt toward that collection, with a nod to its sequel, and all share the band's shrewd synthesis of tightly crafted songs that explore a tension between romantic yearning and neurotic anxiety. Principal songwriter Ric Ocasek swaps vocal leads with bassist Ben Orr, establishing their familiar yin and yang, with Ocasek mining neurosis while Orr plucks the heartstrings. David Robinson's muscular, uncluttered drumming transcends its frequent use of electronic drums, Greg Hawkes's keyboards deftly stretch the sci-fi possibilities of then- primitive synths, and not-so-secret weapon Elliot Easton, a southpaw guitarist, tightens the clockwork interplay between his versatile lead guitar and Ocasek's crisp rhythm work. If the band's choral work sounds thinner than on their recordings, it's less an indictment of the band than a measurement of how far producer Roy Thomas Baker carried the heavily layered vocal stamp he had refined with the Cars' labelmates, Queen.
The original program source confines the audio to a monaural mix, and the video transfer suffers from some intermittent raster patterns. Such artifacts are minor handicaps given the caliber of the performance. --Sam Sutherland
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Cecil B. Demented A unique, one-of-a-kind movie! Both Eric Barry and Harriet Dodge has earned overwhelmingly positive reviews and is considered by many to be one of the best films of the year! Maybe thats what makes the movie so good.The great cast includes Eric Barry, Harriet Dodge, Stephen Dorff, Ray Felton, Larry Gilliard Jr.. The movie moves on like a dream and end leaving you wanting for more.
If you love watching Eric Barry or Harriet Dodge, you are deffinetly going to want to watch Cecil B. Demented.
John Waters spoofs independent filmmaking at its most absurd fringe with this affectionate portrait of a guerrilla filmmaking collective that declares war on Hollywood drivel. Bitchy screen queen Honey Whitlock (Melanie Griffith, whose kewpie doll voice and aging baby face are right at home) is kidnapped by would-be auteur Cecil (Stephen Dorff), a slogan-spouting bottle blonde with a cult-like crew of cinema outlaws called "The Sprocket Holes." Cecil has declared war on Hollywood with the ultimate underground movie, "Raving Beauty," and his reluctant star Honey soon adopts her young misfit captors like a worried Mommy as her cultural cachet rises: the falling star has turned into a cult cinema rebel. It's a bizarre revision of the Patty Hearst story (with Hearst herself in a supporting role) full of film insider jokes and '60s revolutionary references, but it's more spoof than satire. Waters's primitive style is often clumsy, and the picture moves in fits and starts, but the cast's enthusiasm brings it to life. Waters has always celebrated misfits, outcasts, and cultural rebels and their self-made families, and this is his most outrageous, anarchic such bunch in decades. Through all the shootouts, bomb throwing, and fights with angry teamsters and suburban moms, there's an odd sense of innocence to the enterprise. It's as if Waters wants to remind us: it's only a movie. --Sean Axmaker