Limitless: Fun Pulp Sci-Fi

Basically a contemporary,sci-fi version of the theme of medically-assisted hyer-intelligence from Flowers For Algernon, Limitless serves up a glossy, campy take on smart drugs, along with the usual narrative involving the apex of personal achievement: corporate stardom.  A failed writer in a creative rut accidentally finds and takes NZT, a laboratory drug bestowing extraordinary intelligence and learning ability. Abandoning writing, Eddy takes up the role of a guru stock market genus; learning languages at an alarming rate; absorbing economic data and creating spot-on predictions; and reaping the bacchanalian benefits.

Limitless offers a kitschy escape, a tale that leaves nothing after viewing, despite its happy ending suggesting the hallucinatory side effects, and likelihood of death from NZT, can be reverse engineered or simply provides a learning boost in the post-addiction period (I couldn't tell which). But it's blast, the kind of sci-fi that reminds me of The Island: a stylish, sci-fi B-movie with an exciting action narrative.

Down the Road: Rescue or Eradication?

It's often suggested that FEMA was lukewarm in  responding to relief for Hurricane Katrina victims; the presence of an aggressive militia (many Blackwater mercenaries) contributed to civilian abuse; and the alleged militarization of U.S. disaster relief made matters worse.

It's little wonder that along comes a zombie story that takes this narrative or conspiracy on. Bowie Ibarra in On The Road  launches his survival tale through the lens of George Zaragosta, a skeptic, a teacher with little patience for empty rhetoric. Learning that FEMA criminalizes citizens who refuse evacuation to official refugee camps, he acidly remarks, "Helpful FEMA Centers, sounds like an oxymoron to me."

As he begins to trek from Austin to San Uvalde, George realizes that a confused FEMA military force poses just as much of a threat as the newly undead. With warnings from FEMA that "Non-compliance will result in neutralization," he makes plans to escape the wretched conditions at a FEMA camp. Soon, he meets up with a survival community with same disdain for these 'rescuers.' Indeed, many in the compound allege that FEMA's job is to prune the US population to enable reconstruction. That's the real horror of Down the Road: in any widespread disaster leading to civil breakdown, government is the last entity to be trusted. From the good people at Permuted Press.

DogHouse - Zomedy

The smart take on zombie-comedies always seem to come from the British. Who could resist the droll wit of the working class in Shaun of the Dead? Another entry in the growing popularity of zomedies, Doghouse sets up zany hijinks through the prism of guys with jilted girlfriends, recently divorced middle agers and well, just slackers. It's the weekend, time for all the boys to be boys, throw back pints, and be somebodies.

And yes, looking to get their yas-yas out, they encounter gulp...undead militant feminists! So the boys have to thwack these bio-weaponized undead, like the psycho hairdresser, Gothic bride and other flesh-obsessed bad girls. As visually pleasing as it is, Doghouse really scores with its acerbic, witty characters and sharp-edged satire.

Horror Music Masterpiece

Who could forget the strident violins in the shower sequence in Psycho? Or the 'duhduh-duhduh' in Jaws presaging the arrival of the Great White Terror? Some of the best horror films have the most memorable soundtracks: Halloween (original), Session 9, The Exorcist, Carnival of Souls, Suspiria, and the list goes on.

Released back in 2000 on BSI records, The Unspeakable by electronica musician Raz Mesinai (aka Badawi) is a rarity: a stand-alone soundtrack without a film. Using 3 vocalists, violins, viola, contrabass, harpsichord, piano and bass, Badawi creates an almost classical soundtrack reminiscent of old Hammer films, yet with aspects of 20th century music. But with 'doom dub,' off kilter vocals, and creepy counterpoint, this is one contemporary scary ride.



Creepy Vintage Doll: A Baaad Sign!

It begins with an orchestra tuning up, followed by applause. Then 'Intro/Chamber of Souls' morphs into a gentle, dissonant mix of wispy processed keyboards. Next, 'The Child Sleeps' begins with Badawi's feel for harmonizing weird vocals with strings and keyboards; this sound approach serves as a creative template for the rest of the piece. Until midway point, The Unspeakable also gives a nod to soundtracks like The Shining.

That film score included pieces from Ligeti and Pendereckski. These brooding, intense pieces stretched the limits of massed, solo, or small group violins, cellos, violas and more into truly ominous atmospheres. Badawi uses a much smaller group to achieve the same effect, but doesn't ignore the beats in the process. 'The Bitches' bustles with staccato, processed strings, while 'Skeleton Dub' sounds like a corrupted, hacked music box. Combining his talent for orchestrating, processing, mixing and picking like-minded musicians, Rez's The Unspeakable boasts that not all soundtracks need a film to call home. A welcoming ear will just do fine.

Next Up: Barry Adamson's film noirish Moss Side Story.