![]() ![]() Electric guitars are scarce, and never heroic. The songs on Amnesiac are barely populated vistas, subdued and ambient but not at all soothing. The human touch and its visceral impact are no longer central to the music. In “Dollars and Cents,” which bitterly rejects commercial advice, he moans, “Let me out of here,” murmuring as if he can barely remember how to shape human words, while the chords behind him waver between major and minor, perpetually unsettled. ![]() All that’s left to signify Radiohead is Thom Yorke’s pained high-tenor voice, moving ever closer to the end of his tether. They started on Kid A by masking their old identity as a guitar-driven, big-crescendo rock band, and with Amnesiac they have gone on to dismantle whatever they might have taken for granted about songs themselves. Acting like a bunch of artists - not, as in most current rock, a business consortium touting a consistent product - Radiohead continue to slough off the style that made them standard-bearers for anthemic Brit pop in the 1990s. On Amnesiac, which was made during the same recording sessions that yielded Kid A last year, Radiohead have set out to erase all that their listeners once expected. As such, it’s clear proof that the progressive-rock impulse survived the twentieth century. The songs on Amnesiac contemplate suicide, divorce, paranoia and mysterious disappearances, and the music follows them into the ether.Īmnesiac is the work of a band determined to pursue its most wayward and musicianly impulses wherever they might lead. Not a week in Goa or a summer in Provence but a more complete escape: oblivion. ![]() As the movie rolls on, we see glimpses of her temper when challenged, and for an actress like Bosworth, this was fun to see her in a Kathy Bates-like role, but in the same context, she’s always been the cutie-pie in the movies, and it honestly took a while to recognize her in the guise of a controlling head-case with a penchant for violence.In between arena tours and Number One albums, Radiohead want to get away from it all. The woman is eerily serene throughout her caretaking activities, and amid questioning him about if he remembers anything, she randomly drops useless nuggets of information in his lap like, “did you know that it costs more to make a bottlecap than the bottle itself?” – thanks for that intriguing tidbit of knowledge, ya kook! The man tries in vain to remember pieces of his life, and the more his mind works, it starts to form the opinion that this sweet, caring, trivia-infused darling of a wife might not be who she claims to be. The man awakens to find out from his wife that he’s suffered a traumatic brain injury, and he’s going to need some serious rest – his initial fear is cemented when he can’t remember who this woman is, or how he ended up in this big ol bed, in this mansion-esque like domicile. In the blink of an eye the threesome has been involved in a violent crash, and we shoot to the man with a massive amount of blood streaming down his face, with no sight of either female in the car…ooh, this is gettin’ good! Bosworth plays a character simply titled as “the woman,” and she is the spouse of “the man” – seems appropriate, doesn’t it? Anyhow, that man in question is portrayed by Wes Bentley, and as the film opens, we see our couple in the front seat of their car, and a teenaged girl (Keegan) in the back seat. In that personal and professional choice, I can say I found it both a refreshing change, and a perplexing one at the same time. Polish chose a lead actress that was as close to him as any other thespian on the planet: his own wife, Kate Bosworth (who also served as an executive producer). Holding the directorial position allows you to make certain choices that can either enhance or detract from the product that you are presenting, and in this case, Mr. From director Michael Polish comes Amnesiac, an interestingly crafted drama/mystery that takes the idea of cranial blackout to a completely terrifying level. ![]()
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