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(02/01/07 3:54am)
Spending time with all three next-gen systems only further convinced me that I made the right decision in purchasing an Xbox 360.\nFrankly, it seems like the best bang for your buck.\nAdmittedly, the PS3 version of "Madden 07" did look a tad bit better, but not worth shelling out an additional $100-$200 for the system. Bring out a true killer-app PS3-exclusive in a couple years though that really shows the graphical difference between the two.\nStill, nothing on the PS3 looks as good "Gears of War" on the 360.\nAnd for some weird reason the new Dualshake controller feels kind of flimsy compared to the weightier Xbox 360 wireless controller.\nThe Nintendo Wii was more of a mixed bag than I expected. On the one hand, "Wii Sports" (included with the Wii) is a definite system seller. \nThe few minutes I had in the bowling and home run derby games were some of the most fun I have had playing a piece of software in years. For that experience alone I will be trading in my Gamecube and getting a Wii as soon as I can find one.\nOn the other hand, "Call of Duty 3" was a complete mess. The Wii-mote seemed completely out of whack with what I was trying to do and I couldn't get past one lowly Nazi without taking heavy damage.\nIf this is a sign of how more traditional games are going to work on the Wii, it's a little troubling. At least it looks like Nintendo will continue to put out great first-party games though.\nBut the IDS staff didn't even get to try out the best feature of the Xbox 360 when we gathered together - Xbox Live.\nMicrosoft easily has the best online service. Finding and adding friends is a breeze (if you want to add me, my gamertag is Fryburg84), as is browsing and purchasing new content. On top of that, almost every game takes advantage of Xbox Live, whether it be with a simple leaderboard, full-fledged multiplayer modes or new goodies to download to extend the life of an older game.\nPlus, every premium console comes with a headset for voice communication (which can be a good or a bad thing depending on how well you deal hearing 13-year-olds scream profanity at you for owning them in "Perfect Dark Zero"), and few games I've played have any lag.\nOn top of that, Microsoft has instituted an achievement system that encourages players to squeeze every last ounce of fun out of a game, if for nothing more than online bragging rights.\nXbox Live is literally light-years ahead of the PS3 (which doesn't have nearly enough content to download) and the Wii (which has some great old games to download, but no online multiplayer as of yet).\nAnd while those two services might be free, $7.99 per month or $50 per year is a small price to pay for what Microsoft has to offer.
(02/01/07 3:51am)
Ever since Nintendo came out with the Wii, marijuana connoisseurs everywhere are a little more confused than usual. Maybe this is just because I'm on a college campus, but I've heard many complaints that "Wii" sounds almost exactly like "weed." Thus, there are many misunderstandings to be had. Where's the best place to score some Wii? Should they legalize Wii? Blaze the Wii out there.\nPsychoactive drugs aside, my first Wii experience was captivating. It was Wii Sports at a friend's house. I made a digital character that looked just like me and I named it Ramrod. I was brand new to the concept of Wii, and the idea of people accidentally flinging their remotes into their televisions in the heat of the moment was both hilarious and exhilarating. God bless wrist straps. \nWhen I was in high school, I played varsity golf and competed twice in the state finals (Are you impressed? Will you go out with me?), but I managed to sextuple bogie playing Wii golf. I gave up after the first hole.\nI managed to redeem myself by pitching a no-hitter in Wii baseball. The best part was when the game zoomed in on my character's carefully chosen condescending smirk every time I struck out my opponent.\nBut I have a confession to make. It wasn't my mad skillz that made me excel at Wii baseball. My friend was just really, really, exceedingly, horribly bad at it. And, well, I don't know how to say this without bringing eternal shame to myself and my family, but…I suck at video games. I just randomly hit buttons and hope for the best.\nI wasn't allowed to have video games when I was a kid. I missed out on a huge part of American culture. I have trouble relating to my video-gaming friends. When my friends were growing up, they played "Donkey Kong." Now, in college, they play Drunkey Kong. Mario was their best childhood buddy, and I didn't really know him that well. Awkward. \nI've been roped into playing "Halo" many times, and I usually die within the first 30 seconds. My killing skills are severely lacking. I wish I could be as blood-thirsty as my peers.\nDuring my childhood I didn't really feel like I was missing out on anything without video games. I was more interested in creativity and imagination. Lame, I know. \nI was, however, allowed to play educational computer games. As a small child I learned basic math from Alf. I learned precision target shooting with a hunting simulation game. Imagine a 7-year-old girl sitting at a dinosaur of a computer shooting clay pigeons. Sadly, those marksmanship skills haven't translated well to high-powered assault rifles.\nBut no one is immune to the concept of gaming. I'm usually the first person to whip out my cell phone and start playing "Tetris" in life's boring situations. I was vaguely interested in "Grand Theft Auto" when my friends taught me the cheat codes for going on a rampage with a golf cart and a chainsaw.\nIf I was handed a video game controller as soon as I emerged from the womb, just like the other members of my generation, I might be better at Wii putting.
(02/01/07 3:44am)
For a movie-goer, Oscar season is like bulimia: There's so much great cinema, glamorous movie stars and Billy Crystal to gorge on, but when your favorites are overlooked and the ceremony is overexposed, Oscar, too, can leave you drained, feeling empty and crying in a bathroom stall. \nAnd the nominees are...\n"Little Miss Sunshine?" Little Miss #$@%&*$ Sunshine? I can't believe it has been nominated for Best Picture. I still don't. Upon reading the nominees, I let out a yell of rage to the surprise of many extremely frightened students sitting in a Ballantine computer lab. Why? Why did this happen? The ruthless for-your-consideration marketing campaign obviously helped. If only the film was as good as its bright yellow poster. No film this year received more undeserved audience and critic adoration. Oh, what a quirky little original indie comedy, people raved. No! The film was anything but that, what with its intentionally contrived characters. A father who divides people into winners or losers, a silent Nietzsche-worshiping teenager, a horny grandpa, among others -- all designed to be so artificially over the top that they become real. Only I didn't fall for the trick. \nTruthfully the movie wasn't terrible. I understand why people find it funny and little Abigail Breslin was fantastic, but is this really one of the top five movies of the year? There were much better films that could have taken up that fifth slot. \nYet, as undeserved as the nomination is, some good does come from it. The Academy is finally recognizing old-fashioned comedy. It's no secret that the Academy isn't the biggest fan of humor. Of the past 50 Best Picture nominees, only nine can be considered comedies and these include movies such as "Life is Beautiful" and "Shakespeare in Love" (which don't necessarily scream happiness). It's great the Academy is learning to smile, but why couldn't the nod have been given to "Borat," hands-down the funniest, smartest movie of the year? And no acting nod for Sacha Baron Cohen? Yes, the foreigner impression is funny, but also consider the danger Cohen put himself in and his insane improv skills. \nThe other four top contenders include "Babel," "The Departed," "The Queen" and another unworthy film, "Letters from Iwo Jima." Now don't get me wrong, "Letters" was an excellent film, but we shouldn't be talking about it until next year. The second part of Clint Eastwood's Iwo Jima epic wasn't supposed to come out until mid-February. But when "Flags of Our Fathers" tanked at the box office (and it just plain sucked), all its Oscar chances were shot down. Warner Bros. then moved the "Letters" release date up to make it eligible for contention, a sneaky albeit very wise move. The Academy loves Clint and he is a great filmmaker. But there's a good chance they'll give him yet another Oscar and well, to be cliché, it's about time Martin Scorsese gets his. Alejandro González Iñárritu deserves the win for "Babel," but if the Academy plans on giving Scorsese an actual Oscar instead of a lifetime achievement award, "The Departed" is the film to do it for. It's a flashback to his older great gangster films and far surpasses his other recent efforts. \n"Little Miss Sunshine's" inclusion meant "Dreamgirls" got kicked out of the top race, but this isn't as big a surprise as people are making it up to be. The film didn't live up to the high prestige its Cannes preview suggested. So much drama was packed into two short hours that the storyline was extremely rushed. The movie was still great though, mainly because of Eddie Murphy and Jennifer Hudson. It's no secret Murphy can sing, he's been doing it since his "Saturday Night Live" days, but he finally put his voice to good use (although "Party All the Time" still rocks). And Miss Hudson, well, her voice is … hard to describe. At the end of "And I am Telling You I'm Not Going," I went to turn to my friend to say "Wow." Only instead of forming words, a giant wad of spit shot out of my mouth. The film still earned the most nominations, mainly because of three Best Song nominees. Beyonce's "Listen" was a no-brainer, but the addition of the wonderful "Love You I Do" means Hudson will be performing as well (insert 867 exclamation points here). \nNo big upsets came in the lead acting categories, although Ryan Gosling was included for "Half Nelson." Initially it was feared that not enough voters had seen the film. Same thing happened last year for "Junebug's" Amy Adams. Here's a new campaign technique: Don't try to get nominated; complain that while you deserve a nomination, it's doubtful it will happen. Voters might throw in a sympathy vote or not want to be the one's who overlooked something great. Helen Mirren and Forest Whitaker still appear to be virtual locks, although (and here's where I go to hell) Whitaker's performance as dictator Idi Amin wouldn't have been half as terrifying if it weren't for his lazy eye.\nDirk Diggler himself, Mark Wahlberg, might be able to accept a different kind of golden statue than he did in "Boogie Nights" for his supporting actor nomination for "The Departed." I was hoping co-star Martin Sheen's much more calm and subtle work would've gotten the nod, but since Warner was pushing for either Wahlberg or Jack Nicholson, Sheen didn't have much of a chance. Other overlooked performances include Emily Blunt and Stanley Tucci in "The Devil Wears Prada" (it's no easy feat to give Meryl a run for her money), Michael Sheen for "The Queen" (creepy how much he resembled Tony Blair), Aaron Eckhart's suave skills in "Thank You For Smoking" and the lack of recognition in general for "Volver." Although Penelope Cruz is nominated, the film deserved much more, including a supporting nod for Lola Dueñas and screenplay and direction for Pedro Almodóvar's insanely original story. Somehow it is inexplicably excluded from the foreign language film race. Constant omission of some favorites always leaves me wishing there could be more than five nominee slots. Also when calling the Academy dumb, I always have to remind myself that this is the combined opinion of thousands of voters, not one single person. At the same time, that means more than one person thought in such idiotic ways. \nFor the most part, the nominees are predictable, but predictability comes for a reason: Those nominated really do deserve it. "The Departed" was such a great mindfuck of a movie I felt like my own parents might murder me. "The Queen" is a fascinating examination of old-time morals and how easily public opinion can be swayed by the media. The scene in "Babel" demonstrating the world of a deaf girl on ecstasy is astonishing. I'm off to inject myself with whatever it is that keeps Joan Rivers going this time of the year.
(02/01/07 3:41am)
If you managed to pick up a Nintendo Wii, chances are you've been playing through Zelda and bowling your ass off. But what else is there to do with your Wii? While Nintendo doesn't preach convergence to the extent of Bill Gates and Microsoft, the Wii does include some interesting features that help it transcend the role of traditional game consoles.\nThe Wii interface divides itself into several "channels"-- 48 of them to be exact. Out of the box, the vast majority of these are empty, but if you have a wireless Internet connection, new channels can be downloaded.\nThe shop channel allows users to browse downloadable content, the vast majority of which consists of "virtual console" titles, vintage games from previous consoles ranging from the TurboGrafx to the N64. \nThe Mii Channel allows users to create personalized avatars for use in certain Wii games. Although the choices are somewhat limited, the system is catchy and the personalized characters (known as Miis) definitely add some flavor to the games that support them. \nNintendo has also recently released news and weather channels. The functionality of each is slightly limited, but they both feature intuitive interfaces that prove fun to use.\nWhile there is a fairly useless photo channel for browsing pictures from an SD card, the Wii lacks any sort of CD or DVD playback capability.\nPerhaps the most interesting and useful of the channels is the Internet channel, which uses the Opera Web browser to grant access to the World Wide Web. Support for Flash paves the way for user-created games to make their way to the Wii, and if you've ever had the urge to watch people ghost ride the whip on the big screen, the Wii's your ticket, as it also works with YouTube. \nThe Wii can also send e-mail, though with no keyboard support and a four-line limit, this feature isn't that useful for now. Although the Wii has two USB slots, I can't really figure out any way to use them yet (however, I did successfully charge my iPod through one). \nWhile the extra features of the Wii have plenty of room for improvement -- and with potential of downloadable updates, improve they very well may -- the Internet channel and virtual console alone give Wii owners much to do without ever buying a Wii game disc.
(02/01/07 3:38am)
Most long-time Nintendo supporters live by their own special calendar, punctuated not by days, weeks and months, but by the release of producer Shigeru Miyamoto and Eiji Aonuma's "Legend of Zelda" games. The three milestones on this calendar, all designed as flagship games for their respective consoles, are 1992's "A Link to the Past" for the Super Nintendo, 1998's "Ocarina of Time" for the Nintendo 64, and now "Twilight Princess" for the Nintendo Wii.\nThe difference with "Twilight Princess" is that not only is it the premiere launch title for the Wii, but it's also sort of a final epitaph for the underappreciated Nintendo Gamecube. Having played the game on both consoles, it is an unquestionable work of genius, as it plays to the strengths of both systems.\nIt all boils down to a player's preferred control scheme, as the Wii and Gamecube versions of "Twilight Princess" are essentially identical otherwise. Having owned and beaten the Gamecube version, I must confess to preferring the more traditional controls, but "Twilight Princess'" masterful implementation of the Wii's nunchuck and motion sensing controllers is an accomplishment of which every Playstation and Xbox game developer should be rightly jealous.\nThe story, certainly the darkest and most ominous of all "Zelda" games, establishes a dichotomy between the real world and the world of twilight. As Link tiptoes between both worlds, taking the form of both his hero self and that of a nimble wolf, you'll tackle the toughest dungeons and trickiest puzzles in any "Zelda" title, and enjoy innumerable side quests and a brilliantly realized and expansive incarnation of Hyrule.\nGraphically, "Twilight Princess" stands tall over every previous console generation title, but, even on the Wii, falls slightly short of current generation standards. Fortunately, this is only a minor quibble when the overall scope and execution of "Twilight Princess" is taken into account. The Wii's utilization of widescreen and high-definition capabilities is impressive, but Miyamoto and Aonuma's vision feels right at home on a 4x3 tube TV as well.\nTowering atop the shortlist of 2006's best video game achievements, "Twilight Princess" is an unparalleled marriage of nostalgia and technology. With the next Wii-only "Zelda" installment, "The Phantom Hourglass," already visible on the horizon, this is a time for celebration for all "Zelda" enthusiasts.
(02/01/07 3:36am)
While the weekly retreads of '80s arcade classics are a fun diversion on Xbox Live Arcade, it's nice to see that the service encourages developers to pump out some good, cheap original games too.\nWhile "Assault Heroes" has some of the best graphics yet for an Arcade game (this could easily be mistaken for an early Xbox 1 title), its gameplay is straight up old school.\nThe left analogue stick controls your vehicle or Rambo-style mercenary. The right analogue stick shoots. And you shoot a lot in this game--from green guys with guns to uh, crazy screaming red guys with guns. And the occasional giant mechanical spider (which might also require a grenade or a nuke).\nI'm not quite sure what the storyline is about or why you're supposed to shoot all these things. I think it has something to do with terrorism, or maybe an argument over a sandwich.\nWhatever the case, I've learned that in situations like this where mechanical spiders are involved, it's better to shoot first and ask questions later.\nThe controls are simple and responsive, which is all that really matters in a game like this. And of course, everything blows up real good too. The accompanying sounds are acceptable, and the few musical tracks don't really get in the way of anything. I found it's better to just jam with a custom soundtrack in the background.\n"Assault Heroes" is just straight up dumb fun, great for marathon gaming sessions with a friend in person or over Xbox Live, or when you have a few minutes to kill between classes.\nAchievements run from the fairly simple "beat the game" to "finish a level without dying once" (not an easy task), giving this game some great replay value.\nHopefully Microsoft will get the message and start giving gamers more software like this on Xbox Live Arcade. This is a game that recognizes its old school roots but presents everything in a shiny new next-gen package. \nFor 800 Microsoft Points ($10), this game is a steal and one of the best yet on the service.
(02/01/07 3:30am)
What makes a movie G, PG, PG-13, R or, most controversially, NC-17? Is gay sex more explicit than straight sex? Why is violence more acceptable than sex in American cinema? Is it all a giant government conspiracy? Documentarian Kirby Dick attempts to answer these questions and more in his independently released feature on the ratings board of the Motion Picture Association of America, "This Film is Not Yet Rated." \nIn addition to side-by-side comparisons, interviews with acclaimed filmmakers and provocative attempts to contact the heads of the MPAA, Dick also hires private investigators to track down the heretofore anonymous group of people who are responsible for rating every theatrical release in America. While this seems like an interesting topic and approach to answer these questions, Dick simply does not make the subject engaging enough for a full-length film.\nFor starters, the film is very unfocused. Parts of it attempt to be an exposé in the vein of "Fahrenheit 9/11" and "Super Size Me," but Dick is not nearly the overwhelming presence that Michael Moore or Morgan Spurlock are known to be. Also, a good portion of the film focuses on the investigators themselves, who (by no accident on the part of the director, I'm sure) happen to be gay. Once the PIs find out the identities of the movie raters, no real attempt to contact and expose them is made, which ends up weakening the position taken by the director. \nThe best parts by far are interviews with filmmakers who have a reputation for being risqué, such as Matt Stone, Kimberly Pierce and John Waters. Their comments are insightful and they appear to have great knowledge and experience in dealing with the frustrations that the MPAA can cause. If the detective angle was scrapped completely and we were just left with more fact-finding and in-depth interviews, there might be some important light shed on this seemingly bribable, elusive and ultraconservative company. As it is, the film just appears sloppy and boring. It yields predictable results and forced conclusions, the most obvious of which is the rating that as you can probably guess is "suspiciously" NC-17. While it may have worked better as an hour-long documentary for TV, "This Film is Not Yet Rated "is hardly the earth-shattering work it intends to be.\nSurprisingly, the special features are what really give this DVD the excitement it badly needs. Aside from a run-of-the-mill commentary track, the extras tacked on to this disc are the best parts of the movie. Deleted scenes featuring extended interviews with Stone, Waters and Kevin Smith are entertaining, as well as a Q&A Dick held at a film festival. New questions about racism in ratings and the effect of technology on the MPAA really get wheels turning and show what the film could've been in the hands of a more exciting filmmaker. As it stands, the movie is rentable just to catch a glimpse of how the ratings system works, and if you've already seen it, the extra interviews are better than the originals.
(02/01/07 3:23am)
If the initial media reaction to Ang Lee's "Brokeback Mountain" was any indication, you'd think homosexuality was as foreign a concept in 2005 Los Angeles as it was in early-1960s Wyoming. Tune out the faux-horror gasps at the story of two part-time cowboys finding unspoken affection on the range and what you get is an essential human drama where the oft-clichéd concept of forbidden love is updated for a new era. \nAnchoring the film is Heath Ledger in a relatively fearless performance as Ennis del Mar, a sometimes ranch hand often painfully lost for words. Strong supporting roles are afforded Michelle Williams, as Ennis' bewildered wife, Anne Hathaway, as a rodeo-performing spitfire turned bitter spouse, and Jake Gyllenhaal as Jack Twist, the emotive yin to Ennis' inward yang. \nIn retrospect, "Brokeback Mountain" hasn't been forgotten a year later, however, little time has passed since its awards-season buzz machine was silenced. Unfortunately, the reason for this release amounts to little more than a hodgepodge of featurettes and a snazzy package with postcards. While loyal proponents of the film will enjoy mini-docs on everything from Ang Lee's dedication to the project to a peek into the composition of Gustavo Santaolalla's beautiful guitar score, there's only so much affirmation of "Brokeback's" speaking to the harsh nature of love, regardless of sexual orientation, that one needs. \nWhile roughly hewn featurettes on pre-production, screenwriting and filming are of interest to some, they don't make up for this set's most glaring omission: The lack of Ang Lee feature commentary. Insisting on one of the docs that "Brokeback" speaks for itself, it's hard to disagree with Mr. Lee, but his Spielbergian aversion to DVD commentary tracks remains frustrating. \nRevisiting "Brokeback Mountain" nearly a year after its controversial Oscar loss, I'm reminded of why its failure to win Best Picture was so shocking then. The hype surrounding Ennis and Jack's homosexual courtship was effective only at shifting the spotlight from a piece of pure, peerless filmmaking rarely seen these days. Conservative pundits had their time in the sun, and their film won, but its director/screenwriter's persistent, gratuitous moral ejaculations and white guilt keeps nudging it ever closer to the $7.50 bin. "Brokeback"is a great film because it doesn't let us off the hook so easily.
(02/01/07 3:19am)
Ever wondered what a science fiction rock-opera about a Marie Antoinette robot would sound like? I hadn't either, but Waking the Mystics by Sophe Lux features a track that is, in fact, a seven-minute rock opera that tackles that outlandish scenario. Miniature rock operas aside, this album is a serious departure from almost anything you can imagine. \nSophe Lux is a five-person collective led by the American Society of Composers and Publishers Songwriter Award-winning Gwynneth Haynes. This art-rock quintet is relatively unknown to most people outside of the Pacific Northwest, but is gaining a reputation for its imaginative music and dynamic concerts. Waking the Mystics is the group's second full-length effort and first release in nearly five years. \nWaking the Mystics is a genuinely unique sonic experience. Blending elements of Western classical music, opera, pop, rock and at times even country and gospel, the album is full of unexpected twists. Not only does the album deteriorate the barriers between genres, but changes in tempo are also surprising and further stir the sonic stew Sophe Lux has created. In addition, the entire experience is anchored by Haynes's creative vocal stylings and artistic lyrical content.\nEven though the vocals are clearly at the center of the album, the instrumentation should not be sold short. Subtle use of electronic elements like loops helps add a unique dynamic to songs that are already soaked in their originality. It is stunning that the band also managed to incorporate the glockenspiel, accordion and saxophone into various songs without detracting from the experience by making the songs seem contrived.\nHowever, what does detract from the album's quality is that most of it doesn't stick. The vocal hooks are interesting and well-constructed, as is the instrumentation, but with the exception of "Target Market" and "Little Soldiers of Time," none of the songs were all that memorable. Waking the Mystics is a great collection that breaks some new ground, but still absent is the element that keeps the songs in your head after the speakers turn off. \nEven with its primary weakness, the album is still unusually satisfying. With well-crafted songs and an expressive leading lady, Waking the Mystics is poised to be a cult classic. It's fresh and inventive in many respects, but it might not have a mass appeal because it seems to be lacking the necessary components to be well-received by many music fans. However, the album is still worth looking into if you're into diverse songs, quality musicianship and creepy albino bunnies who watch young girls sleep on album covers.
(02/01/07 3:15am)
Pop stars don't have a reputation for possessing much in the way of brains. This might be somewhat unfair -- Madonna, for example, has a reputation for savvy-ness (at least, before she started getting weird). I suspect most of us think of Britney Spears' and Jessica Simpson's profound dimness. Or the "American Idol" formula, where folks with vocal talent get ahead by singing others' songs -- where they're automatons shaped and controlled by producers and Svengalis. "Who cares what they're singing," the thinking seems to go, "as long as they sigh on the beat?"\nThus, Lily Allen isn't merely a breath of fresh air -- if Alright, Still catches on in the United States like it has already in Britain, she might be a bit of a revolution. As her sweet, cockney-inflected voice flows over 13 tracks of (mostly) sunny, (mostly) dub/reggae-influenced, highly polished pop, she unleashes rhymes as sharp as razorblades -- and, indeed, just as cutting. Forget mindless seduction, treacly laments or empty "girl power" sloganeering. \nIn Alright's first six songs, Allen revels in the miseries of a cheating ex ("Smile"), shreds sleazy pickup artists ("Knock 'Em Out"), provides vivid (and incisive) tribute to the sordidness of life in London ("LDN"), fires a wave of bitter sarcasm at life's inequities ("Everything's Just Wonderful"), hands-down perhaps the most brutal revenge song against a former boyfriend that you'll hear all year ("Not Big" -- yes, it's about what you think), and paints her sardonic view of club life ("Friday Night"). Lyrics like "in the magazines they talk about weight loss / if I wore those jeans, I could look like Kate Moss" (from "Everything's Just Wonderful") are combined with tight-as-a-drum instrumental backing (listen to how the club noises are incorporated into "Knock 'Em Out"), sing-along choruses and hooks that require surgery to remove from your gray matter.\nThis is a pop album and, true to form, it's a bit uneven. While good, the next four tracks don't shine as bright as their predecessors (although, to Allen's credit, the lyrics are consistently strong). But things are redeemed by the witty character-studies, "Alfie" and (50-Cent parody!) "Nan You're A Window Shopper" -- lampooning Allen's stoner brother and grandmother, respectively. The concluding remix of "Smile" is interesting, but fails to better the original. So do the smart thing -- give the lovely Lily a listen. Before she gets mad …
(02/01/07 3:12am)
In the past year, Bruce Springsteen, Tom Petty and Bob Dylan have all released albums to much critical acclaim. Now Indiana legend John Mellencamp follows suit with his first album since his 2003 cover album, Trouble No More. This album is standard Mellencamp in that it sounds like what he is, a Midwest baby-boomer singing in the name of America's heartland. Freedom's Road is nothing special.\nLyrically, the album covers politics, more specifically injustice and intolerance. He sings songs of hope ("Someday") and protest ("Jim Crow") against injustice in America. The lyrics, which in many ways fall short, seem to rely on simplicity. For example, in "Forgiveness," Mellencamp sings: "Thank God for forgiveness; I don't know how else we could get along; without forgiveness; without forgiveness." Lyrics as simple as these plague the album and really sell the message short. However songs like "Jim Crow" and the finale, "Heaven is a Lonely Place," have this extra bit of lyrical depth that helps make the protest a little more powerful. \nThere are two songs that are not about politics but patriotism, "Our Country" and "The Americans." "Our Country" (which you've heard countless times in Chevy commercials or at Indiana's homecoming football game) is a simple anthem that seems like just an attempt to grab another radio hit. What bothers me most about this song isthat I can see it as a sing-along at rodeos and NASCAR races across the country. "The Americans" also lacks depth.\nMusically, the album covers a few genres, mostly roots, folk, rock and country. Throughout the album, Mellencamp is backed by the country quartet Little Big Town, most notably on "Heaven is a Lonely Place." The album also blends acoustic, electric and fiddle to give Freedom's Road its country flavor. \nThe few album highlights reach back to older styles of music. "Jim Crow," featuring folk legend Joan Baez, provides a fresh change. "Rural Route," an acoustic roots song about a kidnapping and injustice in rural America, is a nice surprise. Other than that, Freedom's Road seems full of already-charted territory, which lacks the charm and ingenuity his blue-collar peers Springsteen and Petty exhibit. Add on an annoying hidden track ("Rodeo Clown") and bad production value, and you have an album that is easily forgetful and dull when held up to the latter work of other heartland rockers.
(02/01/07 3:09am)
Built in 1941, the Cow Palace, originally known as the California State Livestock Pavilion, functioned as a home for cattle before becoming a popular indoor arena. The venue has seen numerous legendary musical acts, including The Beatles, The Doors, Pink Floyd and Nirvana, and developed a lustrous history for hosting legendary shows. (Neil Young's 1978 Live Rust album was recorded at the Cow Palace). \nRhino Records' official release of the Grateful Dead's 1976 performance at the Cow Palace shows the Dead playing one of the best New Year's shows of their career. \nAfter a short introduction by KSAN DJ Glenn Lambert, the pre-midnight show kicks off in typical Dead fashion with a solid version of Chuck Berry's "Promised Land." The first set lasts about an hour and contains several Dead staples, including "Deal," "Bertha" and a particularly long (23:12) and driving performance of "Playing In The Band."\nThe second set starts with the countdown to 1977, before the Dead ring in the new year with a lively "Sugar Magnolia." From here on, the Dead are truly running on all cylinders; playing a faster "Eyes of the World," a rousing "Good Lovin'" and a funky "Scarlet Begonias." An emotional "Morning Dew" rounds out the second set, but a three-song encore -- "One More Saturday Night," "Uncle John's Band" and "We Bid You Goodnight" -- keeps the music playing for almost 20 more minutes.\nThe album is mixed from the original 16-track master tapes and was co-produced by James Austin and David Lemieux, who has acted as the "gatekeeper" of the Grateful Dead vault for the past eight years. Lemieux also wrote a forward that appears in the liner notes. Lambert, who co-hosted the live broadcast of the original concert for KSAN, contributed to the liner notes as well. Both men provide interesting personal takes on this epic show.\nThe only thing that isn't special about this phenomenal three-disc set is the $30 price tag, but you definitely get what you pay for in this release. The sound quality is excellent, especially for Deadheads accustomed to crowd-taped shows. Garcia and company are clearly on their game at this incredible show. Cow Palace holds its own with some of the previous official releases such as 1991's One From the Vault and 2004's Rockin' the Rhein with the Grateful Dead. It's a solid pickup for anyone looking for a high-quality Dead recording.
(02/01/07 3:07am)
Not Too Late, the third release from Norah Jones, which hit shelves Tuesday, is everything one would expect from the sweet-singing Jones. The album is once again centered on Jones' beautiful voice. The combination of jazz, blues, country and pop overtones in her voice provide for an incredible sound that these tracks put on showcase. The album has a more mature, full sound than Jones' two previous albums, 2004's Feels Like Home and 2002's Come Away With Me. \nAlthough it takes strides musically, there are not as many catchy, radio-accessible tunes on Not Too Late. The single, "Thinking About You," is without a doubt the most pop-based song on the album, but it lacks a hook that will get stuck in people's heads the rest of the day after hearing it. The album is full of tunes that are mostly sad -- stories about pain, relationships, love and love lost. All the songs tell stories about characters, or possibly Jones herself, that fit into the theme of the album's title, that it's not too late and that there is some hint of hope. Jones also focuses one song on politics. In "My Dear Country," she talks about what Election Day means in America today, but also leaves a positive feeling for our country and freedom of speech when she says, "I love the things that you've given me/ And most of all that I am free/ To have a song that I can sing/ On election day." One highlight of Not Too Late is the album's second track, "Sinkin' Soon." The music is fun and swinging, and it is one of Jones' best vocal performances on the album. The music and Jones' voice paint such a colorful picture, you can almost see her singing in a saloon in the Wild West. Through the use of metaphor, she describes a relationship that is on the way out. The album's title track, "Not Too Late" is perfectly placed as the album's closing song. It does a great job of summing of the theme of the album and provides a message of hope. \nThe album features many of the same artists who have provided music for all of Jones' albums. Daru Oda is also back providing beautiful harmonies throughout the album. Producer Lee Alexander is credited with co-writing many of the tracks with Jones and should be credited with bringing out Jones' voice on a whole new level with this album. The songs are much more put together and sound less like a jazz singer and her piano. \nThere is not a bad song on the album, but Not Too Late fails to amaze. A third album is supposed to knock the socks off the audience, but this CD fails to do that. It is what we would expect from Jones, nice songs to listen to, but does not make the next step. The album is worth giving a listen, and any Jones fan will certainly enjoy Not Too Late.
(02/01/07 3:02am)
"Epic Movie," the sixth installment in the "Movie" series, uses the familiar formula of loosely basing the plot off a popular movie and then parodying dozens of other films along the way. Going into "Epic Movie," you already know it's not going to have the best acting in the world, and you can be pretty certain it won't snag any Oscars for best director either. So, really there is only one way to judge it: Is it funny? Unfortunately for me and about 100 other paying customers that night in the theater, it isn't. In fact, "Epic Movie" finds a way to make "Scary Movie" look like a cinematic masterpiece.\n"Epic Movie" is mostly based off "The Chronicles of Narnia." It centers around four orphans who are unknowingly related. They all meet at Willy Wonka's factory. Wonka is played by Crispin Glover, who, if you don't remember was the guy in "Willard" and the dad in "Back to the Future." I already find him to be one of the scariest guys in Hollywood besides Steve Buscemi, so Glover dressed as Wonka was pretty damn frightening. The entire opening scene is more vulgar than anything. Wonka ends up ripping parts of the orphans' bodies off to add to the chocolate. I kept asking myself throughout the scene, is this supposed to be funny? Vulgarity ends up being a theme throughout the movie. I feel like the writers said, "Let's just put some gross stuff in here since we can't think of anything funny for this scene."\nThere are some mildly amusing parts though. The "MTV Cribs" parody isn't laugh-out-loud funny, but you don't want to add your eyes to Wonka's chocolate either. The great impressionist Darrell Hammond lends his services to play Jack Swallows, a knockoff of Jack Sparrow, and as always, Hammond does the impression dead on. The problem is that there are so few funny parts that the script should probably just be cut into five or six skits for "Mad TV."\n"Epic Movie" has some known but not well-known actors in it. Kal Penn (Kumar), Jennifer Coolidge (Stiffler's mom), and Carmen Electra all star in it, and the writer's milk their small amount of star power as much as they can. Penn's character sees a White Castle and says: "I think I've been there before." Coolidge is actually referred to as Stiffler's mom, which just emphasizes how obvious and played out this idea is. I guess it doesn't make sense to ask for originality from a movie that parodies others, but when you can see the jokes coming, it's hard to find them funny. \n"Epic Movie" did have some humorous parts, but not enough to make up for the 87 minutes of pain. Besides the sixth-graders who sat behind me, who were crying with laughter, it was mostly awkward silence from the audience. If you liked "Date Movie," it doesn't matter; you still won't like "Epic Movie"
(01/26/07 5:00am)
As the kid behind me in the theater put it, the preview for this movie made it look "fuckin' bad ass." Looks can be deceiving. I expected a stylized action movie where top-flight actors run around trying to kill Jeremy Piven's latest incarnation since Ari Gold, Buddy Israel, with witty, quick dialogue and terrific action scenes. \nIt started just how I expected: about 20 minutes of introducing all the hit men vying for the million-dollar bounty on Isreal's head. A motley crue of independent contract killers trying to get to Israel before the FBI can get their lead witness for a reason that isn't really clear until the end, at which point the audience is left feeling a resounding, well, so what? The setup leads nowhere. The shootout is anti-climactic, most characters have loose ends that never get tied, and the plot twist means little to nothing. \nI wouldn't have minded a ridiculous plot as long as there were some garish, fun action sequences. I could have handled a preposterous twist at the end as long as there was some fresh, interesting dialogue and even one character worth caring about. No luck here.\nIt could have been a little better if director Joe Carnahan had focused on fleshing out a handful of characters from the great actors they had in their arsenal. Instead, every character is as paper-thin as the playing cards Israel incessantly tosses around the room. Piven isn't bad playing the strung out, has-been coke head, but he is never given enough screen time to establish a solid character.\nYou're left with a pointless performance by Ben Affleck, a laughably bad accent from Andy Garcia and wasted talent like Richie Aprile from "The Sopranos" and Matthew Fox from "Lost."\nIn a room filled with Andy Garcia, Ray Liotta, Ben Affleck and Jeremy Piven, who would turn to Ryan "Van Wilder" Reynolds and say, "You're my lead?" It's not even Reynolds' fault that the movie sucked so bad. None of the actors are particularly bad except for Garcia with his "what accent are you trying to pull off" tough guy FBI roll. \nThere are maybe two good lines in the whole movie. One guy groggily wakes up and says to a prostitute, "I just realized how messed up I was last night. You went from Beyonce to Bigfoot in six hours." Ari, I mean Israel, has a decent line about how there are no cleaning products in the world that can "get off" the ejaculate stain his friend put on his $12,000 jacket. I would have preferred to be the jacket than to sit through another minute of this movie. \nI wouldn't say it was the most trite, pathetic excuse for a film I've ever seen, but I don't know how to finish that sentence. When the lights went up, there were a couple of awkward clappers. Then, a number of people like me, offended by the clapping, responded with a loud round of boos. Someone yelled: "I want my money back." It was a free showing.
(01/26/07 5:00am)
Blur's Damon Albarn has created a new side project, and unlike the surprisingly transcendent experiment that was the Gorillaz, this new group may only be around for one shining moment. The Good, the Bad and the Queen is the improbable combination of vocalist/pianist Albarn, the Verve guitarist Simon Tong, the Clash bassist Paul Simonon and afrobeat legend Tony Allen on drums. \nIf that isn't an all-star super group lineup for you, the self-titled album is produced entirely by Danger Mouse. While the band's concept closely parallels that of the Gorillaz, there is a world of difference. As Gorillaz works tend to extend over several genres and sounds, GBQ follows a much more focused template. The Good, the Bad and the Queen is a tightly controlled alternative pop and indie rock album with a hint of neo-psychedelica.\nEach seasoned performer brings his own expertise to the work, but Danger Mouse's uncanny ability to construct beats and ambiances is what perfectly complements the other artists' talents, giving this album its character. As was the case with 2004's Demon Days, Danger Mouse shows that his DJ skills can beautifully dovetail the work of any songwriter -- even a raspy Brit-pop performer. Unlike Gorillaz works, there are no cameo appearances to be found here; GBQ is truly about the five parties involved. The album features a great deal of dark, ominous tones, accented by minor chords and a real sense of despair from Albarn's whisper. Yet it is effortlessly sprinkled with airy, esoteric piano, guitar and synthesizer parts. \nThe album opens with "History Song," a foreboding piece that sets the tone with themes of destruction and a state of delusion in post-materialist England. A waltzy organ gives the song an imbalanced, panicky quality. It is followed by "80's Life," which brings a more upbeat tone. It features a delicate doo-wop rhythm and wanders up and down with arpeggio triplets. Don't be fooled by the sweet melody, however. Albarn continues to opine on the subject of war and Armageddon. Listeners can't help but share his despondency with lyrics like, "'Cause I don't want to live a war/That got no end in our time."\n"Kingdom of Doom" enters with great pomp and garners the listener's attention from the first note. Staccato piano and guitar drives the rhythm, and Albarn's call for a change becomes increasingly frantic. Like "Kingdom of Doom," "Hurculean" is another marvelously crafted pop song. Allen and Danger Mouse crank out a snug drum beat as the synthesizer swells in and out.\nThis is an album that could have gone in many directions, but Danger Mouse pulls it all together with near flawlessness.
(01/26/07 5:00am)
If you're part of an electronically inclined indie duo, odds are that last year went well for you. Over the past 12 months, we've seen outstanding new works from twosomes including The Knife's Silent Shout, The Blow's Paper Television and the Junior Boys' So This is Goodbye, among others. This year may be young, but another duo is poised to continue the streak with an infectious new LP released on the legendary Blue Note record label.\nThe debut self-titled release from The Bird and the Bee showcases wonderfully crafted indie-pop songs from the team of Inara George and Greg Kurstin that truly deserve to be associated with such a prestigious label. George and Kurstin allow their differing tastes and musical backgrounds to be woven together into a chic tapestry of drum machines, keyboards and the laid-back vocal styling of George herself.\nBoth George and Kurstin have been recording and releasing music for a decade in different scenarios. Kurstin, a multi-instrumentalist who studied under jazz pianist Jaki Byard, has collaborations under his belt including work with The Red Hot Chili Peppers, The Flaming Lips, Peaches and Lily Allen. George, the daughter of Little Feat's Lowell George, gained her stripes in a different manner when she formed the band Lode with friends from high school during a trip home while she was studying theater in college. Based on their musical past, it's no surprise that The Bird and the Bee have managed to create such a fluent debut record.\nFrom the start, the duo comes at you with the incredibly infectious "Again & Again" and continues on with finesse and entrancing hooks provided by George. Kurstin often subtly shows his chops by sprinkling energetic keyboard breaks to breathe more life into songs which are already brimming with it. Though a better portion of the album relies on upbeat tunes, there are some very enjoyable songs that take on a slower or more sullen tone. A prime example is the gloomy aural carousel, "I'm a Broken Heart," which manages to turn heartbreak into an enjoyable listening experience, complete with a wonderful horn accompaniment provided by guest musician David Ralicke. Even after subsequent listening, the album still retains all of its more absorbing qualities and charm.\nIt may be early in the year, but this is certainly my favorite release of 2007 thus far. The Los Angeles Times may have already put The Bird and the Bee on its "10 bands on the horizon in 2007" list, but they are now being placed on the equally esteemed "10 bands that Craig Shank enjoyed immensely in January 2007" list.
(01/26/07 5:00am)
As usual, 2007's Grammy nominees are an extremely mixed bag. Playing as a kind of semi-discerning alternative to the NOW! That's What I Call Music compilations, this particular mix showcases both a tiny bit of the best and a whole mess of the worst of what 2006 had to offer, with everyone from Paul McCartney to the Pussycat Dolls chipping in. As with any record-exec-arranged mix, especially one that's been hastily compiled by a label dubiously known as "Strategic Marketing," it's best to separate the good from the bad and the bad from the just plain ugly. \nThe Good:\nGnarls Barkley kicks the album off on a high note with "Crazy," a song so good it's virtually hater-proof. The Dixie Chicks' cathartic redemption song "Not Ready to Make Nice" is the year's hottest fuck-you. John Mayer is no friend of the dwindling Bush crowd either with his passively anti-war "Waiting On the World to Change," and The Red Hot Chili Peppers' "Dani California" and Keane's "Is It Any Wonder," both infectious pleasures that are anything but guilty, remind us that rock 'n' roll isn't quite dead yet. \nThe most inspired choices here are also the easiest on the ears. Imogen Heap's seductive, electronic "Hide and Seek" is a rare gem, and Death Cab for Cutie's "I Will Follow You Into the Dark" is an old-fashioned acoustic respite amid a jumble of radio hits. Sir Paul McCartney makes a brief appearance with "Jenny Wren," the best track from his last solo record. \nThe Bad:\nJustin Timberlake's overplayed and over-quoted "SexyBack" is the best of the bad, but that's not saying much. James Blunt's cloying, syrupy "You're Beautiful" is here, too, just in case you wanted to hear it 50 more times, and Pink's "Stupid Girls" was cool the first time I heard it, but there are certainly far better songs on her latest album to choose from. Of course The Fray is here, representin' the safety-sealed corporate rock stable with "Over My Head (Cable Car)." Advice for The Fray: If you really want to be the next Coldplay, start by writing good songs. Also, I apologize to her legion of fans in advance, but I wish Mary J. Blige and her formulaic "Be Without You" would just go away. \nThe Ugly:\nOnly three of the 23 tracks could be categorized as unlistenable. The Pussycat Dolls' trudging R&B yawn-fest "Stickwitu" is even worse than its title would suggest, and American Idol-winner Carrie Underwood's paean to the Bible Belt, "Jesus, Take the Wheel," is odiously skippable. Bringing up the rear is possibly the worst song in recorded music history, The Black Eyed Peas' painfully awful "My Humps." \nIt's always hard for me to recommend an album that's essentially comprised of cherry-picked hits, but like it or not that's what the Grammys have always been about, or at least the parts of the Grammys that are televised. For a year that saw brilliant LPs by the likes of Bob Dylan, The Decemberists, My Chemical Romance and TV on the Radio, this year's nominee list, as always, just feels thin. At least the Chili Peppers finally get their due.
(01/26/07 5:00am)
If there's one lesson to take away from Clap Your Hands Say Yeah's second album, Some Loud Thunder (out Jan. 30), it's this: Ambition is a fine thing, but ambition alone is not enough. Indeed, for those of us who love out-of-the-mainstream music, it could serve as an aesthetic test: Can we distinguish complexity from quality? Can we tell the difference between something that's difficult-but-rewarding and something that's simply difficult?\nIn recounting the indie-Cinderella tale surrounding CYHSY's debut album -- "unsigned band catapulted to success by Web-based tastemakers" -- not enough credit is given to the actual quality of the band's songs. Sure, it was a neat example of how Internet buzz can translate into sales, but it never would have happened if the album itself (save the irritating opening track) hadn't been terrific fun. The hook-filled instrumentals rung out and shuffled and charged, while singer Alec Ounsworth's unique love-it-or-hate-it nasal yelp managed "the Michael Stipe thing," unleashing cryptic but intriguing lyrics. The result was uncompromising, but deeply fulfilling to those who "got it."\nSome Loud Thunder, on the other hand, is mostly just uncompromising. On first hearing the album, those without adventurous tastes (or who aren't already CYHSY fans) will likely retreat in horror at what sounds like a discordant mess. For those few who stick around: Sure, it gets better with multiple listens. Buried under a layer of distortion so heavy as to make it sound like a bootleg on its 1,000th reproduction, opening and title-track "Some Loud Thunder" could otherwise have fit on the debut album. With its hell-as-dance-club motif, "Satan Said Dance" has a neat concept (although its lack of compelling beats or hooks undercuts ol' Beezlebub's command). And careful listening (with a good pair of headphones) will allow you to pick out all sorts of interesting little tidbits buried throughout. Repeat this practice enough, and you'll find that many tracks are all right -- but that's the problem, they're just all right. "Emily Jean Stock," "Mama, Won't You Keep Those Castles In The Air & Burning," "Goodbye To The Mother & The Cover," "Yankee Go Home" all slowly reveal their merits, but there are no grand revelations, no sublime moments, no overarching purpose to the madness. It's an awful lot of work for an album that turns out to be, ultimately, kind of boring -- and, really, life's too short.
(01/26/07 5:00am)
Green Day was a completely different band before American Idiot. Before being signed to major label Warner Bros., the trio released two albums on Bay Area independent label Lookout!. The first was a compilation of various EPs titled 1039/Smoothed Out Slappy Hours, while the latter, Kerplunk!, featured what would become the definitive lineup of Billie Joe Armstrong on guitar and vocals, Mike Dirnt on bass and Tre Cool on drums. Both albums are being reissued through Warner Bros.\nKerplunk! came out in 1992 when three-chord power punk was in its prime. Green Day led the way and dominated over other bands of this caliber, landing them a major label record deal and casting them into the spotlight as one of the most popular punk bands of the '90s. Kerplunk! is a more melodic, rougher album than any of their later offerings.\nSongs like "2,000 Light Years Away" showcase the energy and emotion these guys have (this song being about the girl Billie Joe would eventually marry). Every track is a standout, but few would become hits. "Welcome to Paradise" is a familiar effort, being redone on 1994's epic, Dookie. \nCatchy, hook-laden songs abound on Kerplunk! Songs like "80" and "Sweet Children" are solid examples of Billie Joe's signature voice and the excellent cohesion between the three guys. "Dominated Love Slave" is a hilarious off-kilter attempt at country, sung by Tre Cool. The guys even take a well-received stab at The Who's "My Generation." Plus, the album cover is great (the hand-drawn artwork that many Lookout! releases would feature).\nThis version, however, has little more to offer than the original. The songs have been re-mastered and sound a little bit fresher, but this sort of takes away from the raw and passionate feel that Lookout! bands in the early '90s are known for. There aren't any added tracks, so if you already own this amazing album (which you already should, it came out an astonishing 15 years ago!), then there's no incentive to buy this. \nSadly, many Green Day fans only know them because of American Idiot, the rock opera Green Day -- the every-song-on-the-album-is-on-the-bloody-radio Green Day. Kerplunk! is for the true Green Day fans. These guys were only 17 when they recorded this, and the results are pretty amazing. As for the reissue, bottom line: If you already have Kerplunk!, then there's no damn reason why you should get this. Warner Bros. is just trying to make more money. Get the Lookout! version if you can find it.