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(02/08/07 5:00am)
Take equal parts "The Sixth Sense" and "The Birds." Add in "The Shining" and garnish with Grant Wood's painting "American Gothic," and you have yourself a tasty horror cocktail called "The Messengers."\n"The Messengers" opens with the Solomon family moving from Chicago to North Dakota to begin new lives as sunflower farmers. There's the obligatory teen female lead Jess (Kristen Stewart), the overly optimistic father Roy (Dylan McDermott), the doubting mother Denise (Penelope Ann Miller) and the mute little brother Ben.\nWhen the family moves into the dilapidated house, they meet a well-natured drifter (John Corbett) who agrees to help Roy in the fields in exchange for a place to sleep. Everything is hunky-dory until Jess and her brother begin to see and be tortured by ghosts.\nTwo things stuck out to me while watching this film. First is the great performance turned in by Kristen Stewart. The way she is both a strong protector and a weak little girl is hard to pull off for any actor, let alone one so young. Corbett's performance was also brilliant. In the first part of the film, he is a great worker and good friend to the family, and in the second act, he is terrorizing them with a pitchfork (what a great weapon by the way).\nAs all great horror films, the mounting tension with music and rapid editing keeps the audience on the edge of their seats the entire film. What is on screen is scary, but what is left off the screen (and in the imagination of the viewer) proves to be the more terrifying than anything special effects could produce. \nThis film is inspired by the classic horror flicks I mentioned before and that's great. However, there is a fine line between paying homage and ripping off, and "The Messengers" dangerously flirts with the latter. But to be fair, whenever an audience sees a flock of black birds attacking a person, it can't help but think of Hitchcock's 1963 masterpiece. Does that mean the premise should never be used again? No, but it should be done sparingly and creatively, and I think overall, the Pang Brothers did a good job with this balancing act.\nAs far as horror movies go, this is never going to be classic, but it is genuinely scary and is worth the price of admission.
(02/08/07 5:00am)
Want the review in brief? Bloc Party's A Weekend In The City is a clear-cut example of the "ambitious second album" -- both in its failings and its successes. Access to greater studio resources has resulted in a grander, more sophisticated sound … along with some fussiness and a diluting of the raw electricity seen in the band's 2005 debut, Silent Alarm. Meanwhile, frontman Kele Okereke's painfully sincere lyrics address every concern he has ever had -- oftentimes with vibrant imagery and sharp phrasing, but occasionally dropping a groan-worthy clunker. There are moments that hew a little too close to Silent Alarm, and others that point to a blazingly bright future -- in short, it's not perfect, but promising.\nSticking around? Good, lets get into it. Since their 2004 self-titled EP, Bloc Party has been one of new-post-punk's brightest lights. By combining the jittery energy, unabashed artistic pretension and political sloganeering of post-punk legends such as Wire and Gang of Four with the romantic, sweeping, pop-friendly sound of The Cure and U2, they made Silent Alarm a "must-have" indie rock album. \nWeekend's finest moments best maintain this balance: The wonderfully orchestrated "Song For Clay (Disappear Here)" is a ripping, twisty rock opera in under five minutes; the slightly-prog-ish "Uniform" is a savvy criticism of Bloc Party's detached hipster fanbase; in "Where Is Home?" Okereke unleashes a ferocious blast against the treatment of black, second-generation Britons like himself; and "I Still Remember" is a terrific, Cure-worthy love song built around an irresistible, chiming guitar hook.\nOther songs are good but flawed. "Hunting For Witches" crackles with energy, but sounds a bit too much like Silent Alarm's "Helicopter," and its message (government and media-fed hysteria is more dangerous than terrorism) has become an indie rock cliché (regardless of its merits). "Waiting For the 7.18" is beautiful, but suffers from some of Okereke's goofiest lines (he says he wants to pick wild blackberries?) -- and evokes another cliché: the drudgery of working 9 to 5. "The Prayer," a mantra against stage fright, is novel but doesn't take off like the dancefloor-burner it seems intended to be. The rest follows this pattern: Plenty of exposition, not enough explosions.\nBut, throughout, the album is enjoyable and band's sheer talent is undeniable -- and this is just album No. 2, after all. So, here's hoping the Party continues.
(02/08/07 5:00am)
It's new, but it's not really new. Alkaline Trio, The Misfits of my generation of punk rock, have compiled a good deal of their B-sides and a few live ones in one affordable, convenient package. I was hoping for a brand new album, but this is the next best thing I suppose. The compilation album is made up of 19 B-sides and three live cuts. You also get a DVD for no extra charge, their first since the live set at the Metro they put out a few years ago.\nThe tracks featured on Remains come from splits with Hot Water Music and One Man Army, as well as tracks from various compilations they appeared on. The Trio blow Hot Water Music's own Rooftops up like a water bottle of nitroglycerin in a microwave. "Warbrain," off the Rock Against Bush comp on Fat Wreck Chords, takes a stab at George W., while "Jaked" on Green Beers discusses the band's love for alcohol. Missing, however, is their respectable cover of TSOL's "Wash Away," as well as their covers of the Misfits, which they put out on a tour EP. \nThe DVD features about 25 minutes of behind-the-scenes tour footage from 2005-06, but very little concert footage. If that's what you're after, you'll have to pick up the 2003 DVD, "Halloween at the Metro." You do get five of their music videos and a making-of for their video for "Burn," if that's any compensation.\nIf you're a Trio fan, you have no excuse to not pick this one up. If you're new to these guys, I would suggest picking up one of their full lengths. I'm personally biased toward their self-titled release or Goddamnit (their earlier releases), but all their albums are solid. The DVD included is weak and did not include "hundreds of hours of backstage, behind-the-scenes, and live footage" as the marketing people will lead you to believe. And it is worth mentioning that the CD cover is pretty morbid, which isn't surprising coming from members of the Church of Satan.
(02/08/07 5:00am)
Before hitting play on Harry Connick, Jr.'s latest album, Oh, My Nola, I solemnly swore that I wouldn't go easy on him just because it was a tribute to his hometown of New Orleans. No, I don't feel pity -- I'm a critic. Fortunately for my sake -- and the sake of my editors who, I suspect, did not want to field hate-mail from Louisiana -- it's quite good.\nA collection of songs either about New Orleans or by New Orleans composers (including Connick himself), Nola is surprisingly upbeat -- rather than stew on that city's tragedies, Connick launches into a celebration of its culture and musical history. As a result, he pulls together strands from funk, big band, musical theater, zydeco -- and, of course, the unique local variant of jazz. \nThings start nicely with a wonderfully off-beat take on Lee Dorsey's "Working in the Coal Mine," where the heavy brass and percussion elements are gradually overtaken by piano, trumpets and other lighter elements. The sad toil of the mine is taken over by a party (and it doesn't take much imagination to see the metaphor here). Other excellent covers include a spirited take on "Won't You Come Home, Bill Bailey?" (the spotlight stolen shamelessly by some fine barroom piano antics); the sunny, laid-back "Something You Got"; an absolutely raucous, barn-burning version of "Jambalaya (On the Bayou)"; a terrific, shuffling cover of the gospel standard "Elijah Rock"; the New Orleans jazz-heavy "Sheik of Araby"; and a version of "Hello Dolly" that puts to use all the big band power at Connick's disposal. \nAnd Connick's originals are no slouch either. "All These People" provides a touching portrait from the midst of flooded New Orleans. Title-track "Oh, My Nola" is a stomping, unabashed anthem to … guess where, and "Do Dat Thing" is a sexy hip-shaker (with a reverent shout-out to jazz greats who've passed on).\nNola does face one basic, predictable problem: The production is too smooth. This should help keep it from disrupting business at the coffee house or dining establishment, but it does a disservice to such soulful, vigorously realized tunes. For example, on high-energy numbers, horns that should rip and tear through the air slice past smooth-as-snot; and Connick's voice is preternaturally calm, even on numbers that, you'd think, could get pretty emotional. But, hey, more reason to see Connick and company live, right?
(02/08/07 5:00am)
Katharine McPhee should have beaten Taylor Hicks for "American Idol." Yeah, that's right, I proudly watch the show. Katharine McPhee actually fits the role of the "American Idol" much in the way Kelly Clarkson did in the first season of the show. She even has the pipes and the image to translate into commercial success and to be something special, but in her self-titled debut album, McPhee presents a dichotomy between the big old-fashioned vocal numbers and modern pop. The album suffers from the lack of an identity and misses out in the process.\nThe modern pop portion of the album is a good step for her if she wants to reach her target audience: teenage girls. But McPhee has yet to develop a personality, and this is an obvious flaw in her more modern-sounding songs. While Clarkson went the pop-rock route, McPhee delves into hip-hop, dance pop and R&B. In the end, she just ends up sounding like she is doing a bad impression of either Beyonce ("Do What You Do") or Christina Aguilera ("Dangerous"). Some songs are better than others, like the album's first two tracks -- "Love Story," which has a cool '70s groove, followed by the catchy single, "Over It." However, musical sins like "Open Toes" (which is a high-speed hip-hop tune about, yes, open-toed sandals) and slow jam "Each Other" bring the album to a halt like an anchor.\nThe old-fashioned ballads, which are more of what she sang on "American Idol," fit her much better. Similar to her well-known cover of "Somewhere, Over the Rainbow," these songs bring back memories of her "American Idol" days. Though these songs allow her to display her singing capabilities and show her fans the Katharine they know, they reach an older crowd than her target audience and are poorly written run-of-the-mill pop ballads. Among this group ("Home," "Ordinary World" and "Better Off Alone"), there seems to be no standouts or defining moments.\nAt this point, McPhee lacks the personality and charisma of "Idol" mate Clarkson. She also clearly lacks the quality songwriting and producing that Clarkson has. However, in "Not Ur Girl," a song Katharine wrote herself, she shows her personality in what is her own "Miss Independent." So although McPhee is unsure of her musical identity and has put out a second-rate debut album, don't lose the McPhever just yet. She is still only 22 and has the potential for the kind of success Clarkson has had. We will just have to wait for a sophomore effort, since her first album is an unusual mix of mediocrity.
(02/08/07 5:00am)
The Pacific Northwest has been a hotbed of musical activity over the previous decades. One of the latest bands from the area to generate some attention is Seattle's own Central Services. Typically, it's best to remain skeptical of the buzz buildup around a band, but Central Services is actually deserving of the hype.\nThe band is composed of two friends and Connecticut natives who moved to Seattle and three additional musicians from the area. Four of the five members of the group are also in another band called Math and Physics Club. Though their time has been divided between various projects, Central Services released their We're All Smarter Now EP in 2005 and their debut record in 2006.\nThough the band put out their self-titled debut in September 2006, it is just beginning to find its way around the rest of America. Following in the path of other notable indie-rock do-it-yourselfers, Central Services have managed to expand their audience without actually being affiliated with a record label. The band's steady introduction into the musical diet of hipsters hungry for smooth indie-pop goodness has been aided by the usual suspects at NPR, KEXP and the increasingly ubiquitous "blogosphere". \nAfter taking a moment to step back from the notable plugs, the album still manages to shine as a simplistic pop patchwork that refrains from being overindulgent. Utilizing peppy melodies and songwriting skills that mirror that of '70s era feel-good pop, Central Services have meticulously constructed an album that is by no means short on hooks or playful ambiance.\nThe album begins with the energetic "Get to You" and strolls through nine more satisfying tracks. Focus throughout the album alternates between tranquil acoustic pieces and songs that utilize the same basic, yet compelling, style of the album's opening. As is the case with similar works, some will undoubtedly attempt to define the songs as Sunday morning soundtrack material, but this doesn't do the songs justice as it qualifies them as nothing more than filler. The album is certainly simplistic and relaxing, but it is also an absorbing work that reflects innocence and youth.\nWhile the title of "next big thing" has been tossed around when discussing this band, the album probably will not have the clout to make the band a household name. However, Central Services have made a record that will calmly find its way into the hearts and minds of many listeners who are aching for the sharpness and sensibilities of pop music from days gone by. This album is well worth a listen, whether it's on a Sunday morning or not.
(02/08/07 5:00am)
As I eagerly looked online at the list of nominees for the 49th annual Grammy Awards this Sunday, I was shocked to see that my name wasn't on the list. I'm so tired of being snubbed by the Recording Academy. Sure, I'm not a recording artist, per se. I've never released an album. I've never even performed karaoke. But if the Black Eyed Peas can get a Grammy nomination for "My Humps," why can't I?\nI never expected to actually win a Grammy. I'm not that naive. But it could at least throw me a nomination as a gesture of its respect for my work. I didn't ask to be nominated for song of the year. But the academy could've at least nominated me for best new age album or maybe best polka album.\nIf you're like me, you weren't nominated for a Grammy, either. I suggest we boycott the ceremony. Here's a list of six things you can do instead of watching the Grammys:\n1. Give back \nto the \ncommunity\nSure, the Grammys have shiny, gilded gramophone statuettes, but there's another kind of grammy that you may find drinking Metamucil or watching "Matlock." And she doesn't always get the attention she deserves. Volunteer at a retirement home and get to know some real grammies.\n2. Try a new recipe \nExperimenting in the kitchen can be liberating. Never underestimate the versatility of crackers, specifically graham-y crackers. They come in honey and cinnamon. Magic happens when you add toasted marshmallows and chocolate. \n3. Explore your spiritual side\n"If we had more hell in the pulpit, we would have less hell in the pew." These are the words of Christian evangelist Billy Graham-y. While you might not agree with his views or his hairstyle, it doesn't hurt to think about and debate the issues he brings up.\n4. Improve your communication skills\nSo you call yourself a master of the English language, eh? Oh … you don't? Well, I don't neither. This Sunday I plan to study grammar-y. I'd like to introduce you to my new best friends Subject-Verb Agreement, Comma Splice, Misplaced Modifier and Ted the Run-on Sentence.\n5. Explore the \nmetric system\nUnits of measurement are always a controversial subject. The United States seems to be sticking with miles, inches and bushels while most of the world thinks the metric system is superior. You can't knock it 'til you try it. Convert your weight to gram-y's.\n6. Check out \nspace-related \ntechnology\nWhen was the last time you looked into what NASA is doing? It has some pretty crazy stuff, like the Global Reference Atmospheric model, otherwise known as a GRAM-y. I'm not entirely sure what this model does, but you should check it out.\nIf these suggestions don't suit your fancy and you still need an activity to do this Sunday during the Grammys, you can take suggestions from the Black Eyes Peas and meet a girl down at the disco, start some drama, spend money on Dolce & Gabbana or find something to do with all that junk, all that junk inside your trunk.
(02/08/07 5:00am)
What can be said about Mel Gibson's gorgeous, graphic-tone poem to his own personal lord and savior that hasn't already been said by every film critic, pundit and biblical scholar on the planet? I won't waste time trying to break new ground; suffice it to say that Gibson and his collaborators had to do something right to puncture my callous, secular shell to impress the hell out of me with this film. \nGibson expertly directs actor James Caviezel through a veritable house of horrors in depicting the hours before and after the crucifixion of Jesus, and Caleb Deschanel's stunning, sometimes brutal cinematography is enough to make cinephiles shed a tear. \nThe first disc of this new two-disc edition contains the original theatrical cut of the film with four separate commentary tracks. The first and most revealing features Gibson, Deschanel and editor John Wright. Two other minor tracks point the spotlight on the producers and original score composer John Debney respectively. The final and most curious track features Gibson and a gaggle of religious theologians discussing the perceived accuracy of "Passion's" depictions of Jesus' final hours as well as dissecting the outrage brought upon the film by the Jewish community. \nGibson's ill-received, and arguably ill-conceived, recut is the definite lowlight of this so-called definitive edition. It was difficult for me to notice if anything had been added to this cut, but what is beyond both obviousness and reproach is Gibson's choice to cut nearly every bit of graphic violence from the film in order to appease some church groups and parents. Considering the rigorous, often adrenalizing workout of torture-porn gore the original cut succeeds in putting audiences through, the recut would as well be a movie-of-the-week if not for Deschanel and Debney's excellent work. \nDisc two consists primarily of a massive, multi-part making-of documentary titled "By His Wounds We Are Healed: The Making of The Passion of the Christ." Chronicling everything from the extensive research into the film's Aramaic language to the character design of the devil himself, it's a multi-faceted doc that ends up exposing more about the motivations that went into making "The Passion" than how it was actually made. Regardless of one's religious beliefs, or lack thereof, it's impossible not to get a little vicariously excited about the film through Gibson's passionate ravings. \nWhile no one I'm aware of was exactly clamoring for this two-disc edition, the second disc is worth the price for those interested in learning more about Gibson's filmmaking style. The recut is an embarrassment of pandering, but I'm sure someone could design a drinking game around every blatantly obvious gore trim. Gibson and Deschanel's original vision still shines through on the theatrical cut, though, and it's enough to crown "The Passion of the Christ" as the most potent, worthwhile example of faith-based cinema since "Ben-Hur"
(02/08/07 5:00am)
Jigsaw is back, and he is up to the same old games. The third installment is bigger and gorier than ever before. It seems to serve as the huge finale to the series, or so we hope. While the first movie was not exactly perfect, it still brought a new element to the horror genre that was a fresh breath of air: making death a game. This novel idea only really lasts so long though. As the series progresses, the traps and twists just get more ridiculous.\n"Saw III" starts off with Jigsaw on his deathbed, with his apprentice Amanda struggling to keep him alive. So Amanda kidnaps Lynn, a depressed doctor, involving her in a game where if Jigsaw dies, she dies as well. There is also another ongoing game of a man coming across people associated with his son's death with the choice to save them from their traps or let them die. All the while there are flashbacks linking the series together. The two games end up coming together for the biggest and most elaborate series of twists in the "Saw" series.\nThis, however, does not make it the best of the series. In fact, it is probably the worst. Although there is more gore, traps and twists than ever, they are more repetitive and less puzzling then ever. Also the acting is extremely poor, not only lacking in known actors, but actual acting. Much of the acting in the trap scenes is over-the-top and not very believable. The general premise is different, but that does not make it a good one. "Saw II's" fun house setup was interesting but was more silly than anything. Horror movies are made scary by the element of surprise, something the "Saw" series now lacks. With its continual use of Billy the puppet, the pig masks and similar traps, "Saw III" is more of the same, something you do not want in a horror series. At this point we can only hope this is the end of "Saw."\nThe special features, however, are better than average. The features include three standard commentaries with varying combinations of the director, writer, editors and producers. It includes some interesting features on the making of the movie, like the making of the traps and props. There is also a director's diary and a few deleted scenes, but overall, I would only recommend this DVD to hardcore "Saw" fans.
(02/08/07 5:00am)
Many things come to mind upon utterance of the word Sweden. Perhaps you think of the country nestled next to Norway, its rolling hillsides or even the country's trouble-free yellow and blue flag gently blowing in the breeze while its national anthem, "Du gamla, du fria," plays gives you a sense of Swedish nationalistic pride. Or, if you're like me, you think of the recent surge of great Swedish indie artists. \nWhile time can be well-spent listening to the likes of other Swede-rock stars such as Lonely Dear, El Perro Del Mar, The Knife, José González or even Jens Lekman, three names have arguably been dropped more than any others when talking about Swedish indie-rock. Those names are Peter, Bjorn and John.\nThis three-piece formed in Stockholm just before the turn of the 21st century and has been slowly becoming a buzz-worthy band with hipsters the world over. Their newest album has been available as an import since 2006, but the release of the American version of Writer's Block, which contains a bonus disc of unreleased tracks, made its way into stores Feb. 6. Although the album has been import-only for some time, it has already been making some waves in the United States.\nDJs on the club circuit, including Diplo, have been using "Young Folks" in their sets for some time now and it's no wonder. While all of the songs have their allure, "Young Folks" has all the markings of a potential break-out single. The song comes complete with infectious whistling, a gentle thumping bass line and serene vocals that pile on top of a rhythmic base composed of a slick drum beat, bongos and other auxiliary percussion. Even though "Young Folks" is a strong tune, the rest of the album is just as absorbing.\nWhat keeps the album fresh as a whole is the variation in instrumentation. No tracks on the album utilize the same set of instruments or vocalists. This constant addition and subtraction of elements helps give each song its own distinct feeling while always retaining some degree of continuity between them. The album also succeeds while tackling the subject of love in the lyrical content. Rather than coming off as trite or corny, the lyrics work well with the musical backdrop and create a very sincere and genuine atmosphere.\nWriter's Block is an album poised to garner a great deal of attention from American media outlets and music fans. It stands as a testament to the quality of the music making its way across the Atlantic and into our stereos.
(02/08/07 5:00am)
Absence, at least as it pertains to me and my reasonably unhealthy obsession with all things "Lost," has made the heart grow fonder. Contrarily over the 90-plus days since its last episode (with its newest installment airing just last night), it has also seen the attention spans of a significant number of once casual "Lost" fans turn tail and seek comfort in such inane pursuits as saving the cheerleader and finding out who's on "the list" and why. Hey, "Heroes" fans, remember that show where there was a mysterious list and people were trying to find out why they were on it? Yeah, it was called "Lost." \nWith "Heroes" surging out of the gate as a sort of ADD-friendly, soap-operatic alternative to "Lost's" glacial pacing and intricately layered mythology, television drama is definitely beginning to play into the hands of the short of attention. When the most recent Emmy and Golden Globe winner for Best Dramatic Series is not only NOT an actual drama but consists primarily of random sex, coached crying and laughably maudlin music cues, I begin to recognize the warning signs. "Grey's Anatomy" fans, your wrath is welcomed. \nThis culture we've created for ourselves, saturated with ever-slimmer cellulars and drive-thru espresso pick-me-ups, seems to be leaving "Lost" in the lurch, and, like an injured bird, I'm compelled to nurse it back to health in any way I can. Far be it from me to assume that one of the few best shows on television (yes, still) needs my advice for increased longevity, but I'm confident that "Lost" can regain its status in the eyes of casual fans in just six easy steps. \n1. Learn a lesson from "24"\nThe producers' haphazard episode spacing games of Season 2 were nearly disastrous, and the three months between episodes six and seven of Season 3 didn't help matters. Luckily, the rest of Season 3 will air uninterrupted, but Jack Bauer's got his shit together with 24 straight episodes with no breaks. If "Lost" can manage to figure out its budget in advance and keep a tighter lid on set-leaked spoilers, it could present Season 4 with no breaks, a proposition sure to delight a viewing public that's become more dependent on iTunes and DVD for their "Lost" fix than planning their schedules by ABC's calendar. \n2. Clean up after yourself\n"Lost's" mysteries and obscurities pile up at breakneck speed, and while a fair amount of our most pressing questions have been answered (what's in the hatch, what exactly is DHARMA?, is Michael a self-serving bastard?), there are still befuddlements lingering from Season 1, which the writers seem less than concerned about clearing up. While the keys to certain overarching mysteries seem more appropriately left to the series' end, at least let us in on the little things, like why there's a skeleton-filled slave ship from the 1800s sitting in the middle of the island and a well-groomed show horse cavorting around the jungle. \n3. Be careful with new characters\nFor a show that already features more than 15 primary characters with their own blossoming back stories, "Lost" seems keen on introducing us to even more. So far this season, Rodrigo Santoro's Paulo and Kiele Sanchez's Nikki have amounted to little more than expository eye-candy, and for a show that's always been more about story and character and less about pretty people gazing dreamily off-camera (ahem "Grey's Anatomy"), the duo's presence sends up a red flag. If you're going to introduce new cast members, make sure they're interesting from the get-go. Rose and Bernard turned out to be great characters, but so far the man with the eyepatch on the Pearl Station hatch camera displays more promise than Nikki and Paulo. \n4. Cool it on the cliffhangers\nSeason 1 ended with one of the greatest cliffhangers in television history, and season 2's ending was close. It's hard for me to remember the last single episode, though, that didn't end on the edge of a moderately steep cliff. Some of the finest moments of the first and second Seasons came by way of more subdued endings and personal character connections, and it's a fallacy for the writers and producers to believe they have to end every week on a moment of extreme tension. If the characters are where they need to be, even if that's in a moment of false comfort with the smoke monster lurking outside their tent flap, then trust your endings. There's no need to manufacture tension for the sake of tension. \n5. Keep flashbacks in focus\nThe best "Lost" flashbacks not only give insight into the lives of the characters they chronicle but illuminate happenings on the island as well. Occasional flashbacks in the last 25 episodes have meandered off course, focusing more on character quirks than character arcs. Charlie's breakup with Driveshaft and Locke's stay at a commune were curious instances within themselves but did little to drive the overall series forward. On the other hand, Ana-Lucia's trip to Australia with Jack's father and Michael and Desmond's on-island flashbacks late in Season 2 displayed "Lost" at its best. In the interest of sustaining interest in each character's individual life story, its best to relate it to the island in one way or another. \n6. Don't leave it open-ended\nIt's no big secret that "Lost" works best in marathon viewings as opposed to week-to-week appointments with ABC. It's statistically the most legally downloaded, TiVo'ed and DVR'ed show on television, and its DVD sales profits have old, crusty ABC execs rolling naked in a bed of money like Demi Moore in "Indecent Proposal." Being that "Lost" flows more like an extended film or lengthy novel than a serial drama, I believe it's detrimental for the producers not to have set an end date by now. After all, movies have a designated running time and novels have a final page. For "Lost" to pretend to be indefinite is a mistake. Be it destined six seasons or seven, the producers should let us know now, providing a sort of early closure that would allow fans to enjoy the show knowing there's a logical, pre-planned conclusion on the horizon, however far the journey.
(02/08/07 5:00am)
1. Something doubly sweet\nIf that small heart-shaped box of chocolates just won't do for the sweets lover in your life and a bottle of nice wine is just too expensive, a trip to Oliver Winery might be the perfect solution. This weekend and next, Oliver, along with several other Indiana wineries, is hosting the third annual "Wine and Chocolate Lover's Weekend." In addition to a tour of the winery, attendees can spend as much time as they'd like sampling various wines and chocolates. The various gourmet, locally hand-painted and "sipping" chocolate, which is meant to be enjoyed only while sipping a glass of wine, can also be purchased at the winery store. Even if you're not 21, you can still come for the chocolate. The best part? Admission is free. Visit www.oliverwinery.com/main.html.
(02/08/07 5:00am)
Though Bloomington is famous for its restaurants, culture and entertainment, students often overlook another form of its nightlife -- dancing. Lessons are available in everything from ballroom to country line dancing, and with Valentine's Day just around the corner, they're a great way to have fun with a current partner or find a new one.\nArthur Murray dance studio, located off Third Street near Borders Bookstore, offers lessons in 18 different styles of ballroom dancing, including smooth dances like the fox-trot and tango, rhythm dances like the salsa, rumba and cha-cha and the popular swing dance, said Barbara Leininger, owner of the Bloomington Arthur Murray dance studio.\nStudents who enroll in one of the studio's programs will learn to dance through a combination of private lessons, group classes and weekly practice sessions designed to feel like a party. \n"Students come in, dance, have fun and practice all of the dances they have been learning," Leininger said.\nThe studio teaches everyone from beginners to advanced dancers of all ages. Leininger said her youngest student is 10 and her oldest is 91.\nDancing is a life skill, Leininger said, and she encourages everyone to try it. She said the skill of dancing can make participants feel good about themselves in a social situation and that good dancers are admired.\n"For all the guys, girls like to dance, so if you know how to dance, you'll be a popular man," Leininger said.\nThe studio offers many programs that cater to the specific desires of each student, including an introductory special that starts at $35. Visit the studio's Web site at www.bloomingtonarthurmurray.com or call the studio at 334-0553 for more information.\nStudents looking for a different style of dancing can head east on State Road 46 toward Nashville, Ind., to find Mike's Music and Dance Barn. Mike's, which is a restaurant as well, offers line dancing, ballroom and freestyle dance lessons, dance instructor Carla Willis said. Line dancing classes are held Monday nights and are available to everyone without an appointment. Admission is $5. Friday and Saturday nights are open to the public. Saturday night the doors open at 6 p.m. There is a DJ from 6:30 to 8 p.m. and then owner Mike Robertson's house band, Smooth Country, plays until about 11 p.m. \n Dancing there is both a way to have fun and a great exercise, too, Willis said. Mike's uses all kinds of music such as "club music" and "top hits" to line dance to.\n"Some people get the misconception that it's all country music," Willis said. "It's certainly not."\nMike's provides a "family atmosphere" so visitors don't have to be 21, which Willis said is good for some college students. For those who are 21, Mike's does serve beer and wine. Visit www.thedancebarn.com or call 327-0493 for more information.\nStudents who want to enjoy lively and energetic dancing on a regular basis can check out the Bloomington Old-Time Music and Dance Group. The group is a nonprofit community organization dedicated to the enjoyment of music and dance, according to its Web site.\nThe group was started in 1972 and has sponsored dances every Wednesday since then, dance coordinator Bill Baus said. There is always live music, and the type of dancing is mostly contra-dancing, which involves partners and a "caller" who calls out the names of many different types of figures. People are usually familiar with some of the figures, like the "do-si-do," Baus said. \nDances are normally held at Harmony School, 909 E. Second St. Someone is available to give newcomers a few pointers if they show up about 15 minutes early, Baus said. Admission is normally $3 for members and $4 for nonmembers, but the group offers free admission coupons for first-timers.\nBloomington Old-Time Music and Dance Group is unlike some square dance clubs that require people to pay for lessons and get certified.\n"We don't do anything like that," Baus said. "You don't have to wear funny outfits either."\nSome female members of the group tend to wear flowing peasant-type skirts so that their skirts flare out when they twirl, but not all do, Baus said. He said he usually wears shorts and a T-shirt because the energetic style of dancing can make people hot.\n"People who show up with heavy sweaters on usually shed the sweaters very fast or end up very sweaty," Baus said.\nThe group also hosts two weekend events. The smaller event, which is coming up the first full weekend in April that is not Easter weekend is called "Swing-into-Spring." The other weekend event is called "Sugar Hill," and is in August. Both events are held at a Boy Scout reservation near Lake Monroe.\nSugar Hill draws about 300 or 400 people from many different states, Baus said. People come in Friday evening and dance until about 3 or 4 in the morning.\n"People are wimpy nowadays," Baus said. "We used to dance until dawn."\nThe cost is $35 to pre-register, which includes camping, dancing and food.\nContra-dancing attracts a wide variety of ages. The group has a number of IU students who are regulars, Baus said.\n"It's funny because on holiday break periods, IU students in the group go home," Baus said. "But the kids who used to dance with the group in high school who are off in college come home and dance."\nBaus said people don't need to know anything or anybody when they first come because the group is always glad to have new participants.\nVisit www.bloomington.in.us/~botmdg/ or call 339-1210 for more information.
(02/08/07 4:52am)
What can be said about Mel Gibson's gorgeous, graphic-tone poem to his own personal lord and savior that hasn't already been said by every film critic, pundit and biblical scholar on the planet? I won't waste time trying to break new ground; suffice it to say that Gibson and his collaborators had to do something right to puncture my callous, secular shell to impress the hell out of me with this film. \nGibson expertly directs actor James Caviezel through a veritable house of horrors in depicting the hours before and after the crucifixion of Jesus, and Caleb Deschanel's stunning, sometimes brutal cinematography is enough to make cinephiles shed a tear. \nThe first disc of this new two-disc edition contains the original theatrical cut of the film with four separate commentary tracks. The first and most revealing features Gibson, Deschanel and editor John Wright. Two other minor tracks point the spotlight on the producers and original score composer John Debney respectively. The final and most curious track features Gibson and a gaggle of religious theologians discussing the perceived accuracy of "Passion's" depictions of Jesus' final hours as well as dissecting the outrage brought upon the film by the Jewish community. \nGibson's ill-received, and arguably ill-conceived, recut is the definite lowlight of this so-called definitive edition. It was difficult for me to notice if anything had been added to this cut, but what is beyond both obviousness and reproach is Gibson's choice to cut nearly every bit of graphic violence from the film in order to appease some church groups and parents. Considering the rigorous, often adrenalizing workout of torture-porn gore the original cut succeeds in putting audiences through, the recut would as well be a movie-of-the-week if not for Deschanel and Debney's excellent work. \nDisc two consists primarily of a massive, multi-part making-of documentary titled "By His Wounds We Are Healed: The Making of The Passion of the Christ." Chronicling everything from the extensive research into the film's Aramaic language to the character design of the devil himself, it's a multi-faceted doc that ends up exposing more about the motivations that went into making "The Passion" than how it was actually made. Regardless of one's religious beliefs, or lack thereof, it's impossible not to get a little vicariously excited about the film through Gibson's passionate ravings. \nWhile no one I'm aware of was exactly clamoring for this two-disc edition, the second disc is worth the price for those interested in learning more about Gibson's filmmaking style. The recut is an embarrassment of pandering, but I'm sure someone could design a drinking game around every blatantly obvious gore trim. Gibson and Deschanel's original vision still shines through on the theatrical cut, though, and it's enough to crown "The Passion of the Christ" as the most potent, worthwhile example of faith-based cinema since "Ben-Hur"
(02/08/07 4:50am)
As I eagerly looked online at the list of nominees for the 49th annual Grammy Awards this Sunday, I was shocked to see that my name wasn't on the list. I'm so tired of being snubbed by the Recording Academy. Sure, I'm not a recording artist, per se. I've never released an album. I've never even performed karaoke. But if the Black Eyed Peas can get a Grammy nomination for "My Humps," why can't I?\nI never expected to actually win a Grammy. I'm not that naive. But it could at least throw me a nomination as a gesture of its respect for my work. I didn't ask to be nominated for song of the year. But the academy could've at least nominated me for best new age album or maybe best polka album.\nIf you're like me, you weren't nominated for a Grammy, either. I suggest we boycott the ceremony. Here's a list of six things you can do instead of watching the Grammys:\n1. Give back \nto the \ncommunity\nSure, the Grammys have shiny, gilded gramophone statuettes, but there's another kind of grammy that you may find drinking Metamucil or watching "Matlock." And she doesn't always get the attention she deserves. Volunteer at a retirement home and get to know some real grammies.\n2. Try a new recipe \nExperimenting in the kitchen can be liberating. Never underestimate the versatility of crackers, specifically graham-y crackers. They come in honey and cinnamon. Magic happens when you add toasted marshmallows and chocolate. \n3. Explore your spiritual side\n"If we had more hell in the pulpit, we would have less hell in the pew." These are the words of Christian evangelist Billy Graham-y. While you might not agree with his views or his hairstyle, it doesn't hurt to think about and debate the issues he brings up.\n4. Improve your communication skills\nSo you call yourself a master of the English language, eh? Oh … you don't? Well, I don't neither. This Sunday I plan to study grammar-y. I'd like to introduce you to my new best friends Subject-Verb Agreement, Comma Splice, Misplaced Modifier and Ted the Run-on Sentence.\n5. Explore the \nmetric system\nUnits of measurement are always a controversial subject. The United States seems to be sticking with miles, inches and bushels while most of the world thinks the metric system is superior. You can't knock it 'til you try it. Convert your weight to gram-y's.\n6. Check out \nspace-related \ntechnology\nWhen was the last time you looked into what NASA is doing? It has some pretty crazy stuff, like the Global Reference Atmospheric model, otherwise known as a GRAM-y. I'm not entirely sure what this model does, but you should check it out.\nIf these suggestions don't suit your fancy and you still need an activity to do this Sunday during the Grammys, you can take suggestions from the Black Eyes Peas and meet a girl down at the disco, start some drama, spend money on Dolce & Gabbana or find something to do with all that junk, all that junk inside your trunk.
(02/08/07 4:49am)
The Pacific Northwest has been a hotbed of musical activity over the previous decades. One of the latest bands from the area to generate some attention is Seattle's own Central Services. Typically, it's best to remain skeptical of the buzz buildup around a band, but Central Services is actually deserving of the hype.\nThe band is composed of two friends and Connecticut natives who moved to Seattle and three additional musicians from the area. Four of the five members of the group are also in another band called Math and Physics Club. Though their time has been divided between various projects, Central Services released their We're All Smarter Now EP in 2005 and their debut record in 2006.\nThough the band put out their self-titled debut in September 2006, it is just beginning to find its way around the rest of America. Following in the path of other notable indie-rock do-it-yourselfers, Central Services have managed to expand their audience without actually being affiliated with a record label. The band's steady introduction into the musical diet of hipsters hungry for smooth indie-pop goodness has been aided by the usual suspects at NPR, KEXP and the increasingly ubiquitous "blogosphere". \nAfter taking a moment to step back from the notable plugs, the album still manages to shine as a simplistic pop patchwork that refrains from being overindulgent. Utilizing peppy melodies and songwriting skills that mirror that of '70s era feel-good pop, Central Services have meticulously constructed an album that is by no means short on hooks or playful ambiance.\nThe album begins with the energetic "Get to You" and strolls through nine more satisfying tracks. Focus throughout the album alternates between tranquil acoustic pieces and songs that utilize the same basic, yet compelling, style of the album's opening. As is the case with similar works, some will undoubtedly attempt to define the songs as Sunday morning soundtrack material, but this doesn't do the songs justice as it qualifies them as nothing more than filler. The album is certainly simplistic and relaxing, but it is also an absorbing work that reflects innocence and youth.\nWhile the title of "next big thing" has been tossed around when discussing this band, the album probably will not have the clout to make the band a household name. However, Central Services have made a record that will calmly find its way into the hearts and minds of many listeners who are aching for the sharpness and sensibilities of pop music from days gone by. This album is well worth a listen, whether it's on a Sunday morning or not.
(02/08/07 4:48am)
Katharine McPhee should have beaten Taylor Hicks for "American Idol." Yeah, that's right, I proudly watch the show. Katharine McPhee actually fits the role of the "American Idol" much in the way Kelly Clarkson did in the first season of the show. She even has the pipes and the image to translate into commercial success and to be something special, but in her self-titled debut album, McPhee presents a dichotomy between the big old-fashioned vocal numbers and modern pop. The album suffers from the lack of an identity and misses out in the process.\nThe modern pop portion of the album is a good step for her if she wants to reach her target audience: teenage girls. But McPhee has yet to develop a personality, and this is an obvious flaw in her more modern-sounding songs. While Clarkson went the pop-rock route, McPhee delves into hip-hop, dance pop and R&B. In the end, she just ends up sounding like she is doing a bad impression of either Beyonce ("Do What You Do") or Christina Aguilera ("Dangerous"). Some songs are better than others, like the album's first two tracks -- "Love Story," which has a cool '70s groove, followed by the catchy single, "Over It." However, musical sins like "Open Toes" (which is a high-speed hip-hop tune about, yes, open-toed sandals) and slow jam "Each Other" bring the album to a halt like an anchor.\nThe old-fashioned ballads, which are more of what she sang on "American Idol," fit her much better. Similar to her well-known cover of "Somewhere, Over the Rainbow," these songs bring back memories of her "American Idol" days. Though these songs allow her to display her singing capabilities and show her fans the Katharine they know, they reach an older crowd than her target audience and are poorly written run-of-the-mill pop ballads. Among this group ("Home," "Ordinary World" and "Better Off Alone"), there seems to be no standouts or defining moments.\nAt this point, McPhee lacks the personality and charisma of "Idol" mate Clarkson. She also clearly lacks the quality songwriting and producing that Clarkson has. However, in "Not Ur Girl," a song Katharine wrote herself, she shows her personality in what is her own "Miss Independent." So although McPhee is unsure of her musical identity and has put out a second-rate debut album, don't lose the McPhever just yet. She is still only 22 and has the potential for the kind of success Clarkson has had. We will just have to wait for a sophomore effort, since her first album is an unusual mix of mediocrity.
(02/08/07 4:46am)
Before hitting play on Harry Connick, Jr.'s latest album, Oh, My Nola, I solemnly swore that I wouldn't go easy on him just because it was a tribute to his hometown of New Orleans. No, I don't feel pity -- I'm a critic. Fortunately for my sake -- and the sake of my editors who, I suspect, did not want to field hate-mail from Louisiana -- it's quite good.\nA collection of songs either about New Orleans or by New Orleans composers (including Connick himself), Nola is surprisingly upbeat -- rather than stew on that city's tragedies, Connick launches into a celebration of its culture and musical history. As a result, he pulls together strands from funk, big band, musical theater, zydeco -- and, of course, the unique local variant of jazz. \nThings start nicely with a wonderfully off-beat take on Lee Dorsey's "Working in the Coal Mine," where the heavy brass and percussion elements are gradually overtaken by piano, trumpets and other lighter elements. The sad toil of the mine is taken over by a party (and it doesn't take much imagination to see the metaphor here). Other excellent covers include a spirited take on "Won't You Come Home, Bill Bailey?" (the spotlight stolen shamelessly by some fine barroom piano antics); the sunny, laid-back "Something You Got"; an absolutely raucous, barn-burning version of "Jambalaya (On the Bayou)"; a terrific, shuffling cover of the gospel standard "Elijah Rock"; the New Orleans jazz-heavy "Sheik of Araby"; and a version of "Hello Dolly" that puts to use all the big band power at Connick's disposal. \nAnd Connick's originals are no slouch either. "All These People" provides a touching portrait from the midst of flooded New Orleans. Title-track "Oh, My Nola" is a stomping, unabashed anthem to … guess where, and "Do Dat Thing" is a sexy hip-shaker (with a reverent shout-out to jazz greats who've passed on).\nNola does face one basic, predictable problem: The production is too smooth. This should help keep it from disrupting business at the coffee house or dining establishment, but it does a disservice to such soulful, vigorously realized tunes. For example, on high-energy numbers, horns that should rip and tear through the air slice past smooth-as-snot; and Connick's voice is preternaturally calm, even on numbers that, you'd think, could get pretty emotional. But, hey, more reason to see Connick and company live, right?
(02/08/07 4:44am)
It's new, but it's not really new. Alkaline Trio, The Misfits of my generation of punk rock, have compiled a good deal of their B-sides and a few live ones in one affordable, convenient package. I was hoping for a brand new album, but this is the next best thing I suppose. The compilation album is made up of 19 B-sides and three live cuts. You also get a DVD for no extra charge, their first since the live set at the Metro they put out a few years ago.\nThe tracks featured on Remains come from splits with Hot Water Music and One Man Army, as well as tracks from various compilations they appeared on. The Trio blow Hot Water Music's own Rooftops up like a water bottle of nitroglycerin in a microwave. "Warbrain," off the Rock Against Bush comp on Fat Wreck Chords, takes a stab at George W., while "Jaked" on Green Beers discusses the band's love for alcohol. Missing, however, is their respectable cover of TSOL's "Wash Away," as well as their covers of the Misfits, which they put out on a tour EP. \nThe DVD features about 25 minutes of behind-the-scenes tour footage from 2005-06, but very little concert footage. If that's what you're after, you'll have to pick up the 2003 DVD, "Halloween at the Metro." You do get five of their music videos and a making-of for their video for "Burn," if that's any compensation.\nIf you're a Trio fan, you have no excuse to not pick this one up. If you're new to these guys, I would suggest picking up one of their full lengths. I'm personally biased toward their self-titled release or Goddamnit (their earlier releases), but all their albums are solid. The DVD included is weak and did not include "hundreds of hours of backstage, behind-the-scenes, and live footage" as the marketing people will lead you to believe. And it is worth mentioning that the CD cover is pretty morbid, which isn't surprising coming from members of the Church of Satan.
(02/08/07 4:42am)
Want the review in brief? Bloc Party's A Weekend In The City is a clear-cut example of the "ambitious second album" -- both in its failings and its successes. Access to greater studio resources has resulted in a grander, more sophisticated sound … along with some fussiness and a diluting of the raw electricity seen in the band's 2005 debut, Silent Alarm. Meanwhile, frontman Kele Okereke's painfully sincere lyrics address every concern he has ever had -- oftentimes with vibrant imagery and sharp phrasing, but occasionally dropping a groan-worthy clunker. There are moments that hew a little too close to Silent Alarm, and others that point to a blazingly bright future -- in short, it's not perfect, but promising.\nSticking around? Good, lets get into it. Since their 2004 self-titled EP, Bloc Party has been one of new-post-punk's brightest lights. By combining the jittery energy, unabashed artistic pretension and political sloganeering of post-punk legends such as Wire and Gang of Four with the romantic, sweeping, pop-friendly sound of The Cure and U2, they made Silent Alarm a "must-have" indie rock album. \nWeekend's finest moments best maintain this balance: The wonderfully orchestrated "Song For Clay (Disappear Here)" is a ripping, twisty rock opera in under five minutes; the slightly-prog-ish "Uniform" is a savvy criticism of Bloc Party's detached hipster fanbase; in "Where Is Home?" Okereke unleashes a ferocious blast against the treatment of black, second-generation Britons like himself; and "I Still Remember" is a terrific, Cure-worthy love song built around an irresistible, chiming guitar hook.\nOther songs are good but flawed. "Hunting For Witches" crackles with energy, but sounds a bit too much like Silent Alarm's "Helicopter," and its message (government and media-fed hysteria is more dangerous than terrorism) has become an indie rock cliché (regardless of its merits). "Waiting For the 7.18" is beautiful, but suffers from some of Okereke's goofiest lines (he says he wants to pick wild blackberries?) -- and evokes another cliché: the drudgery of working 9 to 5. "The Prayer," a mantra against stage fright, is novel but doesn't take off like the dancefloor-burner it seems intended to be. The rest follows this pattern: Plenty of exposition, not enough explosions.\nBut, throughout, the album is enjoyable and band's sheer talent is undeniable -- and this is just album No. 2, after all. So, here's hoping the Party continues.