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76. Full Metal Jacket (#94)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT, with the occasional weekend off.

This time, Stanley Kubrick’s Full Metal Jacket.

Director Stanley Kubrick crafts a bold and disorienting look at the chaos of the Vietnam War, with a film of two halves. The first half of the feature film unfolds against the backdrop of United States Marine Corps training on Parris Island, before the second half focuses on the disorganisation of the Nam itself.

At time of recording, it was ranked the 94th best movie of all time on the Internet Movie Database.

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The Lone Gunmen – Tango de los Pistoleros (Review)

This October/November, we’re taking a trip back in time to review the eighth season of The X-Files and the first (and only) season of The Lone Gunmen.

In the late nineteenth century, tango reigned not only in brothels and dance halls, where it served as both simulation and stimulation to entertain the men waiting their turn for commercial sex, but also in dance academies, vacant lots, and barrio streets where improvised dances were performed to the tune of the hurdy-gurdy. It was also played in men-only cafés. In these original settings, tango lyrics were very simple and mainly focused on the joys and pains of the arrabales, where the cult of courage and the skilful use of knives were combined with the workings of local political bosses and the police. The main characters were guapos, or tough guys; prostitutes; pimps; and compadritos, men who imitated the tough style of pimps and guapos yet most of the time worked for a living.

Tango was danced by men and women in pairs but also by men alone as they waited their turn in the brothels. It was, above all, a dance of the margins.

– Diego Armus, The Ailing City

lonegunmen-tangodelospistoleros1

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The X-Files – The Walk (Review)

This November (and a little of December), we’re taking a trip back in time to review the third season of The X-Files and the first (and only) season of Space: Above and Beyond.

The approach that The X-Files took during its third season was to hone what had worked during the first two seasons to a fine edge.

The second season had been quite playful and experimental – taking the time to figure out what did and didn’t work. Comedy episodes, like Die Hand Die Verletzt and Humbug, worked; making shows like Clyde Bruckman’s Final Repose or Jose Chung’s “From Outer Space” logical choices. Mythology-driven two-parters during sweeps had paid off, so those returned for the third season. In contrast, the heavy science-fiction of shows like Fearful Symmetry, Død Kälm or Soft Light didn’t work, and were largely forgotten.

Let some light in...

Let some light in…

The result is a third season that plays to the established strengths of The X-Files. Sure, there are still bold and experimental episodes – particularly those credited to writer Darin Morgan. However, the third season is markedly more conservative in tone than the second season – or even the fourth season. This conservatism can work very well. The third season has very few out-and-out bombs, and more than a few classics. However, it comes at a cost.

The Walk is a reasonably well-produced episode that feels a little bit overly familiar. This is the second “supernatural revenge” story that The X-Files has done in so many episodes. There’s a point where The Walk feels a lot less like a unique story than an archetypal “fill in the blanks” exercise, where a unique location and a new set of characters are caught up in an old-fashioned ghost story.

Don't worry, Stans will take good care of him...

Don’t worry, Stans will take good care of him…

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