Taxi Videohive

Sad as it is to report, Crazy Taxi just isn't very much fun anymore. Though they were once shining examples of over-the-top, wacky-as-heck arcade driving games, the original and its sequels have not been treated kindly by the years, a fact highlighted by Crazy Taxi: Fare Wars for the PSP. This release includes Dreamcast ports of both Crazy Taxi and its follow-up, Crazy Taxi 2, then tosses in a bit of ad-hoc multiplayer, and calls it a day. What it doesn't do is adjust the game in any way, shape, or form for modern times. The shallowness of the gameplay is likely to turn off anyone who isn't intensely nostalgic for all things Crazy Taxi. And even those folk will likely take umbrage with the sluggish gameplay and dodgy controls in this version.

Taxi Galaxi ist das Musikprojekt von Frank Schätzing, mit dem der Bestseller-Autor sein erstaunliches Debut als Musiker, Sänger und Songschreiber vorlegt - elf Titel plus Bonustracks, die sich jeder Vorhersehbarkeit verweigern, einen vielmehr packen und mitnehmen auf einen phantastischen Trip zwischen Art-Pop, Funk und Indie-Rock. Gerade heimisch geworden im luftig dahintreibenden "Clouds Crossing Centuries", sieht man unvermutet Sturmwolken aufziehen, türmen sich Streicherkaskaden dramatisch über Metal-Riffs. "The Both We Were" jagt den Hörer durch die Nachtbars eines geisterhaften Paralleluniversums, "Loser" bettet ihn auf samtige Streicher, im Titeltrack krachen Punkgitarren zu retrofuturistisch wimmernden Damenchören. Es ist die Fülle der Details - zirpende Synthies, Loops und Samples-, die eine durchgehend spannungsgeladene Atmosphäre erzeugt, bevor Neil Armstrong im magisch schönen Observatory Nights das Space Age heraufbeschwört. Pure Experimentierfreude gepaart mit Gespür für die griffige Melodie. So überzeugt Taxi Galaxi vor allem als Album guter Songs, auf denen neben einer exzellenten Stammbesatzung so illustre Gäste wie Peter Gabriel-Bassist Tony Levin und David Bowies langjähriger Pianist Mike Garson zu hören sind.

Travis Bickle is an ex-Marine and Vietnam War veteran living in New York City. As he suffers from insomnia, he spends his time working as a taxi driver at night, watching porn movies at seedy cinemas during the day, or thinking about how the world, New York in particular, has deteriorated into a cesspool. He's a loner who has strong opinions about what is right and wrong with mankind. For him, the one bright spot in New York humanity is Betsy, a worker on the presidential nomination campaign of Senator Charles Palatine. He becomes obsessed with her. After an incident with her, he believes he has to do whatever he needs to to make the world a better place in his opinion. One of his priorities is to be the savior for Iris, a twelve-year-old runaway and prostitute who he believes wants out of the profession and under the thumb of her pimp and lover Matthew.

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"This is perhaps my Ur book, a combination guaranteed to satisfy both my Cornell Woolrich induced taxi-hall obsession and my jones for gritty ethnography. . . . An unflinching, keenly observed portrait of the Chicago tax-dance hall circa 1928.

"All the animals come out at night" – and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind? Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era.