This Ken Loach film tells the story of a man devoted to his family and his religion. Proud, though poor, Bob wants his little girl to have a beautiful (and costly) brand-new dress for her First Communion.
This Ken Loach film tells the story of a man devoted to his family and his religion. Proud, though poor, Bob wants his little girl to have a beautiful (and costly) brand-new dress for her First Communion. His stubbornness and determination get him into trouble as he turns to more and more questionable measures, in his desperation to raise the needed money. This tragic flaw leads him to risk all that he loves and values, his beloved family, indeed even his immortal soul and salvation, in blind pursuit of that goal.
The Autobiography of Supertramp is simply the international version of the title released in the United States by A&M as Vol. 9 in the rather confusing Classics series – obviously a forced attempt at label-branding gone awry (or at least nowhere). Over its 14 tracks, the collection glosses over a few fine moments from the falsetto-happy art rockers' early career misfires ("Dreamer," "Bloody Well Right," etc.) and sporadic latter-day hits ("Give a Little Bit," "It's Raining Again," etc.), then bites down on the meat, or rather the breakfast meat, of the group's greatest commercial triumph, 1979's multi-million-selling Breakfast in America ("Goodbye Stranger," "The Logical Song," "Take the Long Way Home," the title track). Released in 1990, The Very Best of Supertramp went a step further, arguably bettering this release by adding or supplanting a song or two, but casual fans are guaranteed to get their money's worth with either one.
What in the world (or out of it) made those giant crop circles? Did skydiving skyjacker D. B. Cooper really get away with it? Is Bigfoot a big fake? Are ETs just BS? If you’re tired of scratching your head over persistent puzzlers like these, mystery-buster Albert Jack has the cure for your quizzical itch. He’s gone hunting for the truth behind more than thirty of the most famous and baffling conundrums in history. Did a conspiracy or a calamity kill Marilyn Monroe? Is the Bermuda Triangle a tropical tall tale? Was a dead Paul McCartney replaced by a doppelgänger? How did Edgar Allan Poe meet his doom?
"I'm not very good at pursuing redemption," sings STAIND frontman Aaron Lewis on "The Way I Am," the second track from his band's sixth album The Illusion of Progress [Atlantic]. Honestly, who is any good at redemption nowadays? The theme of salvation blankets STAIND's most cerebral and best offering to date. On "Save Me," Aaron bemoans, "Save me for the fuck of it." We could all use a little saving, and that's his point. However, honest music is the best way for Aaron to provide any kind of solace for his fans. STAIND never set out to save any souls, but they certainly dissect the daily struggle for salvation better than most of their contemporaries do. There's nothing illusive about that…(artist direct review)