Was die Leute nicht alles unternehmen, um Glück zu haben: Manche Leute reiben am goldenen Wamst ihrer Buddhafigur, andere beten zur. Nightwish bleiben bei ihrem bewährtem Rezept und vermischen Metal mit klassischem Gesang; "Wishmaster" wirkt aber ausgereifter und. Online-Musik-Magazin im Bereich Metal, Rock und Gothic mit News,Reviews, Liveberichten, Interviews und Hintergrundartikeln.
Das Metalmuseum: NIGHTWISH - WishmasterNach dem bereits hochgelobten „Oceanborn“ sollte „Wishmaster“, das dritte Nach dem eher religiös geprägten zweiten Album wandten sich die Finnen auf „Wishmaster“ einem breiteren, REVIEW NIGHTWISH - HUMAN. Online-Musik-Magazin im Bereich Metal, Rock und Gothic mit News,Reviews, Liveberichten, Interviews und Hintergrundartikeln. Kritik, Inhaltsangabe & Meinung zu Wishmaster () von ▻ Wertung: 0/10 ▻ Reviews zu Filmen, Serien & Games + DVD-/Blu-ray-News.
Wishmaster Review Vestron Video Blu-Ray Review VideoWishmaster (1997) - Blood Splattered Cinema (Horror Movie Review)
All Critics 33 Top Critics 8 Fresh 9 Rotten Owen Gleiberman. Sends viewers screaming into the lobby demanding refunds.
Marc Savlov. An extravaganza of bad special effects and worse acting. Peter Stack. My best advice to anyone reading this review -- even someone who considers himself or herself a fan of horror movies -- is to stay away.
James Berardinelli. Chris Hewitt UK. It will be of interest to none but goreheads, who are likely to find the gore rather cheesy.
Jeff Millar. David Nusair. Little of it makes sense, but the djinn's powers of deception are quite humorous and the look of the picture is unexpectedly impressive.
Mike Massie. The joy of Wishmaster [is that] it's a game to see if the audience can out-think and out-predict what the Djinn will do and how he'll do it.
Nathanael Hood. It starts well enough, with a Hellraiser-esque moment, but soon dissolves into expected horror trope, after horror trope, before an ending that renders the entire movie defunct and unnecessary.
Kat Hughes. Some of us started our journey with Wishmaster and through its unbridled sense of silliness; it is our 'classic', our entrance to the genre.
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CULT THROWBACK: Critters 2. Now Week Month. See all results. Amazon Share Tweet. The Wishmaster Collection features a nice combo-pack of all four Wishmaster films; however, only two out of four are actually good.
Wishmaster 2: Evil Never Dies. Wishmaster 3: Beyond the Gates of Hell. Wishmaster 4: The Prophecy Fulfilled. Reader Rating 0 Votes.
The Good. All four films in one Blu-Ray collection. Hours of special features for Wishmaster and Wishmaster 2: Evil Never Dies. The Bad.
Transfer on the first two films is good but not great. When the aforementioned irascible imp Divoff - known as the Djinn - is first awoken from his thousand year kip by school teacher Tammy Lauren, he resembles nothing so much as a chewing-gum covered foetus with asthma.
But, driven by an "ancient" voiceover, he has soon assumed human form and is granting wishes left, right and centre a sort of Djinn'll Fix It, if you will with a warped sense of humour - poaching souls he needs to fill the earth with loads of little genie playmates.
I hate to take a crap on this album, because 'She Is My Sin' and 'Deep Silent Complete' actually rule, and the former was the first metal song I really enjoyed.
I also know almost every song on this album by memory in some way; I could sing you a little bit from all but those forgettable longer tracks, which I remember nothing of despite having listened to each of them in-full several times over the course of my adult life.
I have tried so hard to like this album, and have given it crack after crack for the last nearly 15 years, since I love the other three albums with Tarja 'Angels Fall First' barely exists, give me a break -- but it's just not going to happen.
Everything here, with precious few exceptions, is an inferior retread of 'Oceanborn', sometimes just swapping out one problem for another.
There are a lot of strong melodic hooks here without much else going on, much like the first half of 'Oceanborn' was full of strong fanfares but predictable, bland melodies in the verses and, often, unforgivably, in the choruses.
This is the most traditionally power metal album Tuomas ever churned out, and it turns out there's a reason he ended up going with the synth-driven side of his songwriting -- it is what he is better at and he would find the right balance on the masterpiece that would follow this, 'Century Child'!
Those three songs all have moments I really enjoy, but even at their pop-song lengths, they cannot hold my attention. These songs are even less enjoyable than 'Stargazers' or 'Sacrament of Wilderness', which are way less interesting than the first 45 seconds would lead you to believe, because Tuomas is not yet as good at writing catchy choruses as he is at writing atmospheric keyboard lines.
A more-familiar sound is present on 'Deep Silent Complete', with its unusual wordless chorus and wistful verses that actualizes so much of what Tuomas was trying to aim at with his more restrained, gentle tendencies.
It is intense without being overbearing, soft and hard, cold and hot at the same time. He expanded on a lot of these ideas in 'Century Child', I think.
It is very distinctive, and shows him at his most creative. But these songs are not representative. I don't know if 'Wishmaster', the title track, qualifies as a fan favorite anymore, given that nothing about the band today remotely resembles anything about what they were like in this era, and all the old fans like me have shown themselves the door by now, but I call BS on the idea that this song is some kind of career highlight.
There's less there than there appears at first glance, and it overrelies on the shock-and-awe verses showing off Tarja's range and versatility.
Once you're over that, it's just standard-fare Nightwish. The longer songs here are especially disappointing, because they commit the unforgivable crime of being boring.
It's embarrassing enough that Tuomas gives in to his most manchild-like tendencies here, with his big ode to Disney. But then 'Dead Boy's Poem', his crack at a 'serious' piece, more introspective and less fantastical than the magnificent 'Pharaoh Sails to Orion' on 'Oceanborn', can't save the day, because it's such a chore to listen to.
I hardly even know how to talk about it. It's just boring. It almost threatens to become an interesting song between the 4 and 5 minute mark, but then quickly becomes boring again.
Somehow this album has managed to get tagged by many as Nightwish's best, or their peak. This is fake news. Given that 'Angels Fall First' barely qualifies as a Nightwish album since they had not yet decided to play power metal, I consider 'Wishmaster' their sophomore slump, their growing-pains album on the road from brilliant potential to recognized potential before they became an entirely different band post-Tarja, anyway.
There's a lot on this album to like, but it's so fragmented across the album, and what's good here is not that good, that the album is simply not worth listening to, aside from the highlight tracks.
I find myself in the interesting position of being the only person except TrooperEd who mentions Motorhead twice, so he clearly has other fish to fry to review Wishmaster since the release of Nightwish's big game-changer, Dark Passion Play.
That means I'm faced with the choice of talking about "what once was" as old Varg might put it and comparing it to the media snowball that has been mounting and - perhaps, since I haven't bothered to follow it for a few years - hopefully melting with all the odd decisions made in Tuomas Holopainen's mind in the recent decade.
However, it all seems a bit unnecessarily achronological to mess about with comments about Anette Olzon and 'Amaranth' when I could just say that this is an album by a power metal band that sounds like an album by a power metal band.
It's not much of a stretch to say that Nightwish never needed the word "symphonic" in their name until at least Century Child , when the power metal categorization could be questioned for the first time.
Before that, you could simply have walked into a bar and said "Nightwish play Finnish power metal with operatic vocals" and no one would have spilled your drink, though some people may have given you a funny look.
These days, if Tuomas and Floor Jansen entered any boozer from my hometown, the first question would be why pimps still feel the need for a top hat this is a slander against top hats and not against Jansen, although her first name conveniently rhymes with the old occupation.
The second action would be Holopainen's look of confusion as someone punched the top hat right the fuck off his head as a warning shot.
Therefore, you see how troubling it would be for me to compare eras of Nightwish, so it would be better just to stick to Wishmaster. There is a most definite advantage to this period of the band's career, which is that most of the songs tended to be average lengths, here getting everything but the closing two cuts done in under five minutes.
This is officially a Good Idea, because power metal needs to be neither progressive nor a "rock opera" to get the job done, the structuring of this sparkling Euro power improving exponentially the less time is expended between each riff change.
There are a reasonable number of mid- and fast-paced songs here that chop from riff to riff about as swiftly as early Helloween, which propels the excitement of the pieces, not to mention the keyboards that complement the moods and melodicism of the songs without needing to take precedence from the booming drums of Jukka Nevalainen and the exceptionally well-positioned and warm bass of Sami Vänskä.
Another advantage to this go-getting approach is that Tarja Turunen - of all her many uses - has just the kind of voice that conjures atmosphere and drama just by being there, let her sing what she may.
Of all the operatic singers that power metal accrued during the late '90s, her piercing, vibrato-laden vocals simply soar over the rest of the band and make the experience majestic without the keyboards needing to overload the pomp.
This combination is key to Wishmaster 's positive reception, as well as the stellar production of the album. On the topic of songs, it's slightly difficult for me to be neutral, since I had 'She Is My Sin' stuck on an ancient MP3 player for about six months back when I was in my teens, meaning that I listened to that nearly every day during that period because the device only had Mb of memory and I was forced to replay about 30 songs everywhere I went.
It still strikes me as a smart opener to the album owing to its hooky riff and middling pace, whereas faster and more dramatic cuts like 'Crownless' and the title track work better to inject some urgency into proceedings later on.
I've read a lot of positive feeling for 'Crownless' one of TrooperEd's Motorhead comparisons is expended on this point , though I personally think that it goes overboard in the excitement factor, sounding more like something cheesy that would have improved any concurrent Stratovarius release by its presence, especially the keyboard shredding and fast licks between verses.
The more focused drama of 'Kinslayer' and 'Wishmaster' do a much better job with a slightly more restrained template, the stateliness of Turunen's voice and the dark riffing of the former and crashing symphonic parts of the latter proving more suitable for the band's sound.
Nightwish as a more serious power metal unit than marginally older acts like Stratovarius and Helloween, as well as the similarly-aged Sonata Arctica and Rhapsody of Fire, makes the other songs here more convincing than the generic or sometimes filler material present on the albums of these bands.
The ballads work better because they are all about the effect of the vocals, Turunen proving sufficiently diverting during 'Two for Tragedy' and the band playing around with other features such as narration and sudden volleys of power chords during 'Dead Boy's Poem', which is an early indication of an unfortunate tendency for Holopainen to write his autobiography in song form.
Some of the other material is very pleasant without being overly hooky, which might be one small complaint about 'Come Cover Me' and 'Deep Silent Complete' - that despite good instrumentation, the choruses don't always get the best of the deal.
The long closer 'Fantasmic' shows the only hints of the group's early folk affiliation, adding in some flutes before an enormous climax sees Turunen shrieking out over some of the album's heaviest riffing.
In my view, Wishmaster is just the kind of album to show that Nightwish had a definite niche in the power metal scene before they decided they needed larger platforms to satisfy their ambition.
The scope of the album isn't overwhelming yet branches out enough to prevent boredom stirring for 53 minutes, all of the performers doing plenty to justify their contribution to the band and each song doing the same to earn a place on the album.
There aren't quite as many spectacular moments as one might wish for the dark majesty of 'Kinslayer', the billowing rush of 'Wanderlust', and the epic conclusion of 'Fantasmic' steal the show in this regard , though there's every reason for a fan of power metal to be very satisfied here.
Hot on the heels of one of the biggest delightful surprises of comes Wishmaster. Not exactly the most menacing title Nightwish were never good at those but there was some horror movie title with the same name, I guess that counts for something?
The metal quality jam is spread a bit more evenly on this toasty album than it was Oceanborn. Whereas Oceanborn had five of the ten greatest Nightwish songs of all time in the first half, it did seem a bit flat on the bottom.
Inversely, this album's second half is way more white knuckled than the first, depending on which way you wanna slice it in half, and yes that middle child is a massive tiebreaker.
Let's talk about that middle child. The title track's intro might seem a bit boisterous and clunky, but once that main riff gets going your neck will immediately disagree and take control over whatever ridiculous nipick your brain might be cooking up.
I've never been able to find a clear answer over whether "Wishmaster" was the album's first single but if it was it was very worthy of that commercial play.
Its placement in the album is also delightfully tasteless, having lured the listener into a false sense of tranquility with one of two ballads oh dear , before erupting forth from the speakers like a power metal "WAKE THE FUCK UP!
Amusingly, this album pulls this trick again further on down with Deep Silent Complete, but I'm getting ahead of myself. Wishmaster, the song, was and still is an anthem and irreplaceable live staple for the band.
The other speed metal moments from the album come in the form of Wanderlust, The Kinslayer telling "Youth of the Nation's" faux-rap sensitivity to go fuck itself by a full year and a half and the single greatest track of Nightwish's frustratingly inconsistent career: CROWNLESS!
Holy fuck Crownless rips! Never in the world did I expect this band to play so It's Ace of Spades tempo which isn't that fast by 98 standards, but for this band it's as fast as it gets.
It is Nightwish's Fast As A Shark. I actually had the two tracks floating around my iTunes and the two of them made an especially lethal running playlist.
Would I have preferred it if Nightwish just wrote Crownless for the rest of their career? Well, as great as one track can be you don't want to make yourself out to be a one trick pony.
You'd end up like the first two or three Blind Guardian albums. As fun as a series of female operatic Tales From The Twilight Worlds would be, Blind Guardian didn't start becoming legendary until they started fooling around with other structures and tempos.
But I do wish Nightwish would have written SOMETHING else like this. Every note on this song is perfect. Of course Nightwish and their "fans" probably look at this song as an aberration I don't think it was ever touched live and it's a damn shame.
Talk about not understanding what brought you to the dance in the first place. This song is so metal you expect that numbskull Tapio Wilska or god forbid Tuomas again to come in with the "male vocals" to "help carry the heavy load" or whatever the fuck Tuomas thinks he needs male vocals in Nightwish for, but praise Allah he does not.
Matter of fact there is not a single male vocal to be found on this entire album. As far as I'm concerned Nightwish has been better for it.
I can never quite decide whether or not Oceanborn or Wishmaster is the definitive Nightwish album but one big point in the favor of the latter is it has Tarja and only Tarja singing.
Why dilute a perfectly good gimmick? And why did Lacuna Coil never seem to figure that out? Hell, why did Nightwish never seem to figure that out?
At the end of the day, you have to give them full marks for an improvement in consistency. It also offers slightly more variety up this point.
You get your mid-range rockers She Is My Sin, Come Cover Me, Bare Grace Misery , your epics Fantasmic and your ballads Dead Boy's Poem, Two For Tragedy.
Then there's Deep Silent Complete, which seems like it's going to be a ballad, particularly since it comes right after Crownless, so you'd think Tuomas would want to give the fangirls a break, right?
The fangirls haven't shown up yet and this is still very much a metal band. We get about eight bars of Tarja's operatic soul before getting smashed in the face with a lost Somewhere In Time sessions track.
I believe this song is about the mythical Siren four years before the proper song and this plays that role exquisitely. A lovely maiden voice to lure you in and lower your defense before the ocean rips you apart.
Hell, that was Nightwish's metal modus operandi! Bring in the casuals and what not with the girl, then rip their fucking heads off.
I honestly can't think of a single moment to skip on this album.