The Killing

Mike Oldfield was asked in 1984 to score Roland Joffe’s film about two journalists’ experiences in the ‘killing fields’ of Kampuchea. Although Oldfield’s music is synonymous with film, it is his first and only score to date, The film was highly acclaimed winning two Academy awards and Oldfield’s score was an integral part of it, earning him a BAFTA and Golden Globe nomination. Newly remastered for 2016, The Killing Fields is a well-regarded entry in Mike Oldfield’s illustrious discography. As with all of Oldfield’s critically acclaimed re-release programme, the notes include a new interview with Mike.

Stanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest, twistiest noirs. Aided by a radically time-shuffling narrative, razor-sharp dialogue from pulp novelist Jim Thompson, and a phenomenal cast of character actors, including Sterling Hayden, Coleen Gray, Timothy Carey, Elisha Cook Jr., and Marie Windsor, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony, it’s Kubrick to the core.

The Killing Kind is the eighth studio album released by thrash metal band Overkill in 1996. While staying well within the thrash genre, the album was a departure from its predecessor's more traditional thrash metal style and featured many modern elements, while the vocals showed influences from a broad spectrum of music. Press response to The Killing Kind was very positive, but the album remains a hotly contested topic among the band's audience, with some longtime fans resistant to the new modern elements, and others hailing The Killing Kind as one of the band's finest moments.

[1] Doshin Soh (Sonny Chiba) served in Japans secret service during world war two and during the war he studied various forms of fighting including the ancient fighting techniques of the Shaolin monks. Upon his return, he finds that his family's land has been stolen. Doshin must take back the town from a group of black marketers and rebuild his life.
[2] In the middle of the 16th century, Hideyoshi, a power hungry warlord sets out to destroy the Momochi clan. He sends his war commander in search of the clan's hidden gold only to find that two daggers are the key to the hiding place of the treasured gold. Spanning decades, the quest for the missing daggers takes Shiranui through war and ancient tradition.

is an influential one-shot graphic novel written by Alan Moore (of fame), drawn by Brian Bolland, featuring the superhero and title character Batman and his archenemy the Joker, and published by DC Comics in 1988. The story would affect the mainstream Batman continuity in that it features (spoiler alert!--but of course you know this already) the shooting and crippling of Barbara Gordon by the Joker, an event which would lead her to adopt the role and identity of Oracle, a vital source of information for Batman and other superheroes. The plot revolves around a largely psychological battle between Batman and the Joker, who has escaped from Arkham Asylum. The Joker intends to drive Gotham City Police Commissioner James Gordon insane to prove that the most upstanding citizen can go mad after having "one bad day". Along the way, the Joker has flashbacks to his early life, gradually explaining his possible origins--possible because he himself is unsure: "If I'm going to have a past, I prefer it to be multiple choice!" It is a tale of insanity and human perseverance, one of the darkest ever in the entire Batman mythos. This insanity is further explored in the subtext that Batman may be just as insane as the criminals and super-villains he faces, only manifesting it in a different manner. Alan Moore sums it best: "Psychologically Batman and the Joker are mirror images of each other." And such dichotomy between Batman and the Joker is never more creatively explored, either in words or in pictures--or both--than in .

is an influential one-shot graphic novel written by Alan Moore (of fame), drawn by Brian Bolland, featuring the superhero and title character Batman and his archenemy the Joker, and published by DC Comics in 1988. The story would affect the mainstream Batman continuity in that it features (spoiler alert!--but of course you know this already) the shooting and crippling of Barbara Gordon by the Joker, an event which would lead her to adopt the role and identity of Oracle, a vital source of information for Batman and other superheroes. The plot revolves around a largely psychological battle between Batman and the Joker, who has escaped from Arkham Asylum. The Joker intends to drive Gotham City Police Commissioner James Gordon insane to prove that the most upstanding citizen can go mad after having "one bad day". Along the way, the Joker has flashbacks to his early life, gradually explaining his possible origins--possible because he himself is unsure: "If I'm going to have a past, I prefer it to be multiple choice!" It is a tale of insanity and human perseverance, one of the darkest ever in the entire Batman mythos. This insanity is further explored in the subtext that Batman may be just as insane as the criminals and super-villains he faces, only manifesting it in a different manner. Alan Moore sums it best: "Psychologically Batman and the Joker are mirror images of each other." And such dichotomy between Batman and the Joker is never more creatively explored, either in words or in pictures--or both--than in .

Stanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest, twistiest noirs. Aided by a radically time-shuffling narrative, razor-sharp dialogue from pulp novelist Jim Thompson, and a phenomenal cast of character actors, including Sterling Hayden, Coleen Gray, Timothy Carey, Elisha Cook Jr., and Marie Windsor, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony, it’s Kubrick to the core.