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by Michael Barrett

27 Jul 2015

This unusual suspenser brought together several talents at budget-conscious RKO to become a surprise hit of 1939. It’s now available on demand from Warner Archive.

Five Came Back  might be one of the original “high concept” movies, since the whole idea is spelled out in the title. Twelve diverse people, conceived as quickly sketched types, are in a small airplane that gets blown way off course and crashes in a lush jungle en route from Los Angeles to Panama City. Search planes fail to find them, and they must spend weeks repairing the plane and forming a community.

by PopMatters Staff

27 Jul 2015

The song will appear on the Prodigy’s The Night Is My Friend EP releasing the Friday via Take Me to the Hospital/ Cooking Vinyl. The electronic group, which veers closer and closer to industrial metal with every release, will be appearing at three Riot Fest tour dates in Chicago, Denver and Toronto in August and September.

by Adrien Begrand

27 Jul 2015

The forthcoming new album Fall on Your Sword by Connecticut singer-songwriter Daphne Lee Martin is a wonderfully eclectic collection of songs inspired by stories we’ve heard as youngsters, from fairy tales, to cautionary tales, to pop culture events from the 20th century. The lavish track “I’d Take a Bullet for You” draws its inspiration from one of the most romanticized couples of the past century.

by Margaret Finnegan

27 Jul 2015

The Emmy-nominated comedy The Unbreakable Kimmy Schmidt opens with the liberation of four women from an underground Indiana bunker where an apocalyptic preacher has kept them captive and convinced them that the world has been destroyed by a nuclear holocaust. With an armed SWAT officer opening the bunker door, the women rise blinking into a sunny, verdant meadow and are quickly nicknamed “the Indiana mole women” by the surrounding media.

by Paul Duffus

27 Jul 2015

Lifestyle‘s opening trio of tracks ensures its classic status even at this early point in the album. It’s not just the quality of the songs, but their sequencing and the way in which they complement one another, easing the listener into the journey and then quickening the pace with each step. “Slave Wages” of course is the centrepiece of the triptych.

As the dreamy chords of “Contempt” die away and the feminine wiles of Andy Cohen recede in a Tyrrhenian heat haze, the listener’s attention is jolted by a chiming, circling guitar pattern. It is irresistible. It also represents that prenominate quickening of pace, the acceleration from “Contempt” that will continue through “Slave Wages” on to the next track and propel the listener through the first quarter of the album.

//Mixed media
//Blogs

'Five Came Back' Is an Unusual and Seminal Suspenser

// Short Ends and Leader

"This film feels like a template for subsequent multi-character airplane-disaster and crash projects, all the way down to Lost.

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