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(01/26/07 1:22am)
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 1:20am)
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 1:18am)
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 1:13am)
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.
(01/18/07 5:00am)
"Alpha Dog" is based on the true story of Jesse James Hollywood, one of the youngest people to appear on the FBI's Most Wanted List. With a plot like that, you would think that there is a lot of potential to be exciting, fresh and dramatic, but the movie fails on all three accounts. \nI found it to be a mixture between a bad gangsta video and an after-school special gone wrong with a bit of the "Three Stooges" thrown in.\nOne of the biggest problems that the movie has is that the audience laughs throughout the tough guy scenes. The movie has a soccer mom's SUV being borrowed with permission to do illegal deeds, a street thug who wears a tie to work as a salesman and a one-on-eight fight scene that turns in to a cheesy karate flick.\nNow granted, the second half of "Alpha Dog" is much better than the first half, but by that point it doesn't matter. It is hard to empathize with characters that you have spent an hour laughing at for overacting and underachieving.\nAll that being said, there is definitely an audience that will help this movie stay around for a while and make some serious money. That audience includes middle-school aged wannabe thugs who admire the drinking, smoking and swearing, but are not smart enough to realize that the whole movie is a farce. Or at least I hope it is, because if the movie is "real" to too many people out there, we need more than just AboveTheInfluence advertisements on TV. \nThere is one shining star in the movie: Justin Timberlake. Much like Eminem in "8 Mile," Timberlake gives a performance that surpasses what you expect going in. But, like Mr. Mathers, until Timberlake shines in a non-gangsta role, he may have just gotten lucky. \nTimberlake shows emotion, grows throughout the film and has depth -- everything you look for in a movie character. But one good character out of 20 does not make a film good -- it almost makes you feel sorry for Justin Timberlake, something not many of us ever thought we would do.\nThe movie is a bad gangsta video trying to "keep it real," but the closest they ever came to the hard streets of the Valley was at the mall sipping Orange Juliuses. If you are going to make a movie about life on the streets, at least talk to someone who has been there. And if you are going to have unlimited drinking, smoking and swearing, why go out of your way to limit the amount of skin we see?\n"Alpha Dog" is probably best enjoyed on a Friday night, sitting around in the basement smoking up and passing around bottles of cheap beer. But be warned, the end is a real buzz-kill.
(01/18/07 5:00am)
After dabbling in Hollywood fare such as "Blade 2" and "Hellboy," Mexican director Guillermo del Toro returns to his native Spanish tongue with the excellent "Pan's Labyrinth." \nSet during the final days of the Spanish Civil War of the 1940s, the film tells the story of Ofelia (Ivana Baquero -- enough about Abigail Breslin in "Little Miss Sunshine," this is the child performance of the year), a young girl who moves to the countryside after her pregnant mother is remarried to a military captain. The captain, a soulless prick of a man, is set on running out hiding rebels. Complications arise with Ofelia's mother's pregnancy, leaving her in constant bedrest. Left to fend for herself, Ofelia copes by imagining herself immersed in a fairy tale world (whether this world is real or not is up to the viewer to decide). A mysterious looking faun named Pan (who could kick "Narnia's" Mr. Tumnus' ass any day) tells her she is the reincarnated soul of a princess from an underground world who must perform three tasks in order to restore glory to her kingdom.\nDel Toro takes a different approach to the fairy tale story aspect of the film. While the story is of basic structure, its execution is much darker. The creative team uses a mix of fantastic makeup, puppetry and CGI to design the gloomy world of the labyrinth and the creatures that inhabit it. Don't expect beautiful castles and glass slippers -- the film's fairies resemble praying mantis', and no words can do justice to just how creepy the character of the Pale-man is (with his skin hanging off and eyes attached to his hands).\nWhile the fairy tale is fun, it is del Toro's narrative that shines, weaving both reality and fantasy to study how a child deals with living in a hopeless world. The story becomes even more engaging when the captain learns of the villagers' involvement with the rebel forces, and he will go to any length to stop them (lots of violence ensues that's not suitable for the squeamish). \n"Labyrinth" is a lock for Best Foreign Language Film and Best Original Screenplay Oscar nominations and hopefully, but not likely, a Best Picture nod. "Pan's Labyrinth" may leave you emotionally distraught, but it's a film not to be missed.
(01/18/07 5:00am)
When I first saw previews for "Freedom Writers," I thought it was another cliché story about story about a teacher who won't give up on her students. Luckily, I believe in the idea that you shouldn't judge a movie by its previews and gave this movie a chance. \nHilary Swank plays Erin Gruwell, a first time teacher at a voluntarily integrated high school. Ms. Gruwell believes in her students but finds it hard to get them to believe in themselves when the school won't even provide the class with new books. Not ready to give up, Ms. Gruwell takes on two part-time jobs to raise money for new books, even when it begins to strain her relationship with her husband Scott (Patrick Dempsey). \nMs. Gruwell encourages her students to express the pain they feel not through violence, but by keeping a journal and writing down their experiences. The journals, along with field trips Erin put together, help the students come together and recognize what they all have in common.\nSwank gives a beatiful performance as a teacher not willing to give up on her students and you can see the passion in her eyes throughout the entire film. \nThe actors who play Ms. Gruwell's students, including R&B singer Mario, are committed to their roles throughout the entire film. The pain they feel shows not only in their eyes, but in their attitudes and expressions. As hard as it is to see Patrick Dempsey out of his "McDreamy" role, he does a good job as Ms. Gruwell's jealous husband, and I found that throughout the film, I couldn't help but begin to dislike him more and more. \nThough not his first, I would say this is Richard LaGravenese's breakthrough film for writing and directing. The script was tastefully written and emotionally moving. The acting, scene sequence, even the music, were all appropriately put together to set the mood and unfold the story.\n"Freedom Writers" is a remarkable movie, based on a true story which will lift your mood and may even make you leave the theater wanting to start writing in your own journal.
(01/18/07 5:00am)
The Shins' Wincing The Night Away doesn't come out until Jan. 23, but how about an early heads-up? Help you take a bit of the gamble out of pre-ordering, perhaps?\nLets cut to the chase. Shins fans: Don't worry, they've still got it. While Chutes Too Narrow remains my favorite, Wincing is very satisfying -- falling well within that difficult balance between freshness and familiarity. \nFor more casual acquaintances, say, those who just know the songs from "Garden State" -- you'll find that it doesn't have quite the narcoleptic dreaminess of those and other tracks from their first album, Oh, Inverted World. However, with lusher instrumentals and frontman James Mercer's voice incorporated deeper into the mix (making his perennially discontented lyrics a bit less obvious), it has an easier-going sound than the rather angry Chutes, and may be more to your taste.\nIn "Sleeping Lessons," a slightly-vocodered Mercer is accompanied by a quiet, spacey xylophone-like keyboard run, then by a little ambient fill, then a little whisk percussion, then a little guitar strumming, which build and build. Then, at about the two-and-a-half-- minute mark: BANG! Guitars and drums charge in and carry off the listener to sing or bounce along. This rolls into the shamelessly enjoyable guitar-pop swing of "Australia" -- then a pause with the album's least-necessary track, "Pam Berry," a nearly minute-long build-up to the first single, "Phantom Limb." \n"Limb," a gorgeous track ostensibly about a lesbian couple's tribulations among small-- town small minds is, more generally, an anthem for outcasts -- sweeping hooks combine with precise lyrical imagery that should resonate with anyone who grew up artsy or geeky in a rural community. In "Sea Legs," Mercer's voice, bent through trippy effects, soars over a simple drum/guitar beat, while "Red Rabbits" combines sweet, whimsical instrumentals with bittersweet, whimsical lyrics. \nNeither song disappoints, but the next real highlight is "Turn On Me," a piece of classic jangle-pop akin to the dB's and early-'80s R.E.M. "Black Wave" provides a hushed, detached break, followed by the angsty-cool, slightly post-punk (think War-era U2) "Split Needles" and "Girl Sailor," a song reminiscent of Elvis Costello's mid-70's take on doo-wop. Finally, things wrap up with "A Comet Appears" -- the closest the album gets to invoking Oh, Inverted World. In short, get it -- or you'll make Natalie Portman cry.
(01/18/07 5:00am)
There may be a slough of female songstresses scattered about the indie landscape, but few are able to convey their melancholy quite as deliciously as Julie Doiron does. \nDorion began her career playing bass for Canada's own Eric's Trip in 1990 at age 18. When Eric's Trip ended in 1996, she began a promising solo career under the moniker of "Broken Girl." She eventually began releasing music under her own name and has released six full length albums and two EPs prior to I Woke Myself Up. \nDoiron works her way through 11 tracks in an understated and endearing fashion. This is precisely what makes her musical personality so likable. She sings in a manner that is earnest and telling, but never overbearing. The instrumentation of the record complements these qualities well. In addition to Doiron's signature fingerpicking and strumming of her acoustic guitar, simple accompaniments fill in the areas that otherwise may have been too sparse or dreary.\nIn typical Doiron fashion, she gives us the gist of her anguish, but underlying the sting of disappointment is a hope that shines through even in murky and remorseful songs like "The Wrong Guy." Doiron isn't sad just for the sake of it like some artists today seem to be -- she uses her gloom to make poignant songs that help us recognize and embrace our own mistakes and frailties.\nHowever, one respect in which the downtrodden Doiron disappoints is with the length of the album. The whole endeavor is less than a half-hour and no song reaches the four-minute mark. The underdeveloped song "No More" pulls you in with a laid-back groove and karaoke-worthy vocals only to fade out shortly after two minutes. Some of the album left me wanting more, but in actuality, the pacing of the album actually eliminated any opportunity for me to grow weary with the experience. It could be likely that a conscious decision was made to keep things shorter to keep the album more interesting as a whole. Nevertheless, some songs felt like they could have benefited from additional expansion.\nDespite the album's literal shortcomings, it was still a worthwhile and strangely comforting experience. Listening to this album is like hearing a friend pour his or her heart out when their day hasn't gone right. Like a good friend, you should lend a sympathetic ear to this album.
(01/18/07 5:00am)
Mew. If there's any justice left in the world of popular music, you'll be hearing that name in terms of top 40 rock radio and nationwide stadium tours. A big success in Europe since 2003, the Danish band finally brought their huge, spacey, melodic prog-rock to the United States in 2006 with their fourth album, And The Glass Handed Kites, which, despite Pitchfork liking it, is really quite excellent. Now, perhaps as a sign of faith in future U.S. sales, Sony will release their original 2003 breakthrough Frengers in the United States on Jan. 23. So, what should you expect?\nA casual survey of names dropped by other reviewers presents a whole host of competing musical references: Radiohead, My Bloody Valentine, Sigur Ros, The Cure, The Delgados, Stars, Dinosaur Jr… Instead, let's keep things simple: Mew sounds like a cross between Muse and Air. Like the British band Muse, they rock out with big power chords, booming percussion and an embrace of melodrama (although, to their credit, unlike Muse, they keep the lyrical matter simple and generally free of eye-rolling silliness). Like the French electronica duo Air, Jonas Bjerre sings with a tenor (rather than an emo whine or a metal monster-growl, etc.) and the band isn't afraid to lighten things up and let sweet, delicate pop melodies take hold. \nFrom song to song, Frengers is a calculation of ratios between these two tendencies. For example, in "Am I Wry? No," mighty surges of drums and bass begin the song, but are replaced by a tender combination of Bjerre's voice and a ringing guitar progression (and violin strings, and piano); while in "157," bursts from the rhythm section (with soaring choruses) punctuate vocals harmonized with chilly ambient washes. "Snow Brigade" gallops through a more traditional loud-quiet-loud model, while "Eight Flew Over, One Was Destroyed," "She Came Home For Christmas" and "She Spider" likewise play off this tension to varying degrees. On the lighter side are the stirring anthems "Behind The Drapes" and "Comforting Sounds," and two beautiful duets: more conventionally rocking "Her Voice Is Beyond Her Years" (with Stina Nordenstam), and quiet piano/guitar piece "Symmetry" (with Becky Jarrett).\nFrengers' only weakness is it gets a little repetitive, but when an album is this good (and only 10 tracks long), you can forgive Mew. And besides, if you want more variety, there's And The Glass Handed Kites.
(01/18/07 5:00am)
Parliament's 1976 effort, Mothership Connection, is a concept album that begs the question, "What would music sound like if it came from another planet?" \nGeorge Clinton, known for his funky style in music as well in fashion (the braids in his hair look like a Technicolor pompom) teams up with the excellent bassist Bootsy Collins and Fred Wesley (an almunus of James Brown's band), to create an out-of-this-universe sound and P Funk classic. \nThe album consists of seven songs that will improve anybody's "interplanentary funksmenship." "P Funk (Wants to Get Funked Up)" is the first track of the album and sets the tone for the rest of the record. The song transports you from your drab living room to a psychedelic party on the mothership, and everyone is dancing with the music. The party mantra "make my funk the P Funk/I wants to get funked up!" makes it impossible not to have a good time. And this is only the first song!\n"Mothership Connection (Star Child)" is another highlight. The bass guitar is amazing and the many layers of vocals add to the album's otherworldly mystique.\nWhat's amazing to me is this album was released 30 years ago but still sounds as fresh as ever. This is mostly because of the emergence of producer/rapper Dr. Dre, whose classic album "The Chronic" samples two songs off Mothership Connection and the P-funk sound as a whole. Say what you want about the ethics of sampling, but it's because of artists like Dr. Dre that this music is reintroduced to a completely different generation.\nSelling for only $6.93 on iTunes, Mothership Connection can be peppered into your best party mix and perfect it. Or download it to your iPod and funk with the funk on your way to class. It's impossible to have a bad day after listening to the P Funk. So, as the "Star Child" says, "put a glide in your stride, a dip in your hip and come on to the mothership"
(01/18/07 5:00am)
I was really excited when I started "Crank." Jason Statham is solid in everything he does; the concept of a guy who needed to keep moving or face death seemed very compelling, and I love a good action movie. What followed over the next 83 minutes (only 83!?) was a boring, contrived and disappointing exercise in patience. \nThe plot, if it can be called that, is based around contract-killer Chev Chelios (Statham) being poisoned by a rival with a "Beijing Cocktail." This cocktail is a lethal mix with effects that can only be slowed down by constantly getting an adrenaline rush, but will eventually work within a time limit that Verona places at an hour. \nIn between is a predictable series of adrenaline-increasing events, including lots of cocaine, sex in Chinatown, a hand in a waffle iron and driving a car through a mall (a rip-off of "The Blues Brothers" that is completely transparent, yet gives no credit to the original). \nThe jokes are lame, the characters one-dimensional and the jump cuts nauseating. The directors used Google Maps to give overhead shots of buildings and don't even bother to take out the Google logo. \nThe film is shot in the same vein as other highly stylized films such as "Natural Born Killers" and "Requiem for a Dream," except this one is awful. Shot on HD video, "Crank" has a completely goofy and unrealistic look. I also have no idea why it is called "Crank," unless the directors' suggestion was that taking meth would be the only way to appreciate it. This film basically looks like two film students who got some money and wanted to show the world all the cool tricks they've learned. How many directors does it take to ruin a fairly good idea for a movie? As the special features show us: Two. \nThe "Crank'd Out" version of the movie is really just a commentary track with the directors in the corner of the screen, which is actually kind of interesting. The commentary is also good for unearthing other gems about this project, most notably that the script took 4 ½ days to write and that the directors are two of the least funny, most stereotypical douche bags in Hollywood. Other special features include a clean version of the movie (I'll never know how they pulled that off), and a music video for some alleged single from the soundtrack.\nAll in all, the special features come up a little short, which makes perfect sense given the film they accompany.
(01/18/07 5:00am)
Somehow I didn't see either of 2006's magician movies ("The Prestige" being the other) in theaters so I can't compare the two. That's a good thing, because "The Illusionist" is a fine film on its own that shouldn't only be weighed against something similar.\nEdward Norton plays Eisenheim, a popular magician in 1900 Vienna. Eisenheim's shows capture the attention of the city's Prince Leopold (Rufus Sewell), who swears him as an enemy when Eisenheim forms a relationship with his fiancée (Jessica Biel, finally in a role that doesn't require her to just be hot.) Leopold assigns his chief policeman Uhl (Paul Giamatti) to watch over Eisenheim until problems arise and cause Uhl to doubt his loyalties. \nThe film is beautifully photographed, largely thanks to the location (most of which was shot in Prague), the elaborate costumes of the day (done by costumer Ngila Dickinson) and the theatrical sets (designed by Ondrej Nekvasil). Lighting is especially well-used, as electricity didn't exist at the time. Only natural lighting and candles appear to have been used, creating a darkened, entrancing effect that slightly evokes the feel of silent era films. As this is a film about magic there's plenty of eye-candy (eerie spirits arise, objects fly, plants grow at alarming speeds). It's nice to see constant visual effects that don't involve dragons for a change. Norton and Giamatti give calm but always confident performances (traits of musicians and showmen of the time), but then again they rarely ever fail. \nThere's only a few special features including a making-of featurette, which mostly only shows clips from the film and an interview with Jessica Biel (most of which is used in the making-of feature). However, for those who have time to invest a second viewing of the film, director Neil Berger's commentary is fascinating. He discusses many subtleties one wouldn't catch upon first viewing and describes the art of magic. We learn that many of the effects in the film were actually performed rather than using CGI (pretty cool, if you've seen the tricks).
(01/18/07 5:00am)
I love Hollywood, I really do, but sometimes the big studios can really piss me off. Example: "Idiocracy." Here's a good comedy (albeit not great, but better compared to most films released these days) that got shelved for more than a year, barely received a theatrical release (only 125 theaters in seven cities) and was left to die on DVD, all because Fox didn't feel it was marketable. Interesting, because if audiences just gave the film a chance, it might actually have been a moderate word-of-mouth hit.\nIn the film, director and writer Mike Judge ("Office Space," "King of the Hill") imagines a future where evolution didn't quite work out the way it's supposed to. A present day Joe Bowers (Luke Wilson) is selected by the Army to participate in a "hibernation program." He's frozen (think "Austin Powers") and supposed to re-emerge in a year. Complications arise and Joe wakes up 500 years in the future. The world is very different in 2505. Instead of intellectually and technologically advancing as most films imagine the future, society has actually regressed. Landfills cover the world, a Gatorade-like substance has replaced water, Starbucks now offers handjobs, the restaurant Fuddruckers has changed its name to Buttfuckers. People are unintelligent, overweight and basically the epitome of white trash. Joe discovers that he is now the smartest person in the world. And while first persecuted for his intellect ("you talk like a fag" the yokels tell him), it is eventually up to him to return society to its old ways.\nJudge has conceived a smart concept and critique of our current society. The opening sequence that explains how the world came to such a stage seems creepily plausible. The low-brow jokes (farts, asses, sex, etc.) that make up the culture of the new society are funny but do tire out a bit after 90 minutes. \nThe film is inexcusably absent of special features except for a few measly deleted scenes that barely amount to three minutes. Where's Mike Judge's commentary on why he pictures our world this way? Where's the explanation of why the film got screwed over? What a wasted opportunity. Rent the movie though, it's a good candidate to join comedies like "Old School" and "Super Troopers" on constant dorm room rotation.
(01/18/07 5:00am)
Ricky Gervais and Stephen Merchant, several years removed from creating one of the few funniest shows ever to grace television screens, return with "Extras," a much subtler triumph. The team's original U.K. incarnation of "The Office," so vastly superior to the current U.S. knockoff it cannot be overstated, featured Gervais as much-maligned office manager David Brent, a character not very dissimilar from "Extras"' downtrodden quasi-actor Andy Millman. Gervais portrays both men as hollow jokesters screaming for pity and finding none. \nMuch of the humor in "Extras" is deeply rooted in British social norms and spiked with quick barbs of witty dialogue. Each episode focuses on Millman's "background artist" work on a particular film or television show, and co-stars celebrities like Patrick Stewart, Kate Winslet, Ben Stiller and Samuel L. Jackson as themselves in self-deprecating fashion. \nMaking the most out of their supporting roles are the Scottish-accented Ashley Jensen as Maggie, a kind-hearted, unlucky-in-love extra who is Andy's only friend, and Merchant himself as Andy's hapless agent who is largely reminiscent of "The Office's" Gareth Keenan. \nA possible pitfall of "Extras"' appeal to stateside audiences is that a fair amount of the cultural references herein are so obscurely British that they can elicit confusion, but the majority of Gervais and Merchant's writing is still spot-on. With season one consisting of only six 30-minute episodes on two discs, common among British series, there is an obvious focus on quality over quantity, a lesson most television comedies could learn from. \nSupplements on this set include giddy deleted scenes and outtakes, as well as a featurette called "Finding Leo" chronicling the search for an elusive guest star. Lastly, the amusingly titled behind-the-scenes doc "The Difficult Second Album" is a peek into Gervais and Merchant's initial apprehensions with trying to match the critical reception and accolades afforded "The Office." \nI'm sorry to say that Gervais and Merchant didn't succeed, but what a tough order. Instead, "Extras" is more like the What's the Story (Morning Glory)? to "The Office"'s Definitely Maybe, and, all things considered, that's far from faint praise.
(01/18/07 5:00am)
Functioning as the "Empire Strikes Back" of the as-of-yet-unfinished "Pirates of the Carribean" trilogy (dark, anticlimactic, at times\nunnecessarily complicated), "Dead Man's Chest" showcases most of the best and some of the worst in its genre. Not that "Empire" has any flaws, mind you, but those Dagobah scenes are a test of patience.\nOne part rousing, gorgeously shot and choreographed action and one part laborious, overwrought plot progression, "Dead Man's Chest" works primarily because of its two award-worthy lead characters. Already with a Golden Globe nod, Johnny Depp's iconic Jack Sparrow retains his standing as the only heart and soul of director Gore Verbinski's trilogy, and Bill Nighy's performance as the malevolent Davy Jones (with significant assistance from Industrial Light & Magic) guarantees "Dead Man's Chest" the visual effects Oscar.\nThe finer points of Terry Rossio and Ted Elliott's screenplay are tedious enough on paper, suffice it to say that Jack Sparrow's blood-debt to Davy Jones is the crux of all things. What ensues is a series of action set pieces as over-the-top as anything in "Temple of Doom" punctuated by more talky bits and tonal shifts than almost any movie to surpass $400 million at the U.S. box office.\nOne-disc and two-disc DVD editions are available, with the single disc containing a standard blooper reel and, ironically, full-length audio commentary by Rossio and Elliott as they attempt to explain themselves. The two-disc version features pre-, during and post-production diaries, as well as detailed looks at the character design and motivations of both Jack Sparrow and Davy Jones. Most of the supplements feel either forced or perfunctory, but at least they're all still more interesting than the Disney ride on which the movies are based.\nWith the third and final installment, "At World's End," due this summer, Verbinski's trilogy remains a unique phenomenon in Hollywood: movies with enough adult themes and loving shots of Depp, Orlando Bloom, and the stunning Keira Knightley to keep mature audiences in their seats, and sufficient sophomoric humor, amazing production design and visual effects to keep the kiddies clamoring for more.
(01/18/07 5:00am)
In the loaded pantheon of drug cinema, Richard Linklater's "A Scanner Darkly" falls somewhere in the purgatory between "Fear and Loathing in Las Vegas" and "Harold and Kumar Go to White Castle." Based on a Philip K. Dick novel, "Scanner" is the story of Substance D, a sort of crack-on-crack hallucinogen with as many slaves as pushers and quite a reputation in government and law enforcement circles.\nKeanu Reeves is Bob Arctor, a D-addicted divorcee hired by the local police force to rat out his D-addicted buddies, Woody Harrelson, Rory Cochrane, Winona Ryder and a never-punchier Robery Downey Jr. As the film progresses, the opening scene's sense of humor gives way to a melange of paranoia, espionage and the maze of withdrawal. As with many drug films, "Scanner" occasionally takes bigger bites into the drug culture than it can handle, but Linklater does his best to keep everything relatively grounded.\nDespite the quirky performances (especially Downey's hyperactive turn) and Linklater's literate screenplay, "Scanner's" real star is the rotoscoping process. The sole reason we can't take our eyes off the screen as the characters delve ever deeper into their own humorously twisted minds is the graphic novel-esque animation (if you're unfamiliar, think of those unsettling Charles Schwab investment firm commercials) which covers every frame. The effect of this process, which took nearly 500 hours per minute of film to complete, has a trippy quality all its own.\nThe DVD boasts a mostly valuable commentary track with Reeves, Linklater and Dick's daughter Isa, as well as a curious look into the principal live photography of the film. A feature that could've benefitted from further fleshing out is the mini-doc, "The Weight of the Line: Animation Tales," where the painstaking rotoscoping process is briefly detailed, but not afforded an in-depth treatment.\nWhen the credits roll, we're not filled with the sense of redemption and grace of "Trainspotting" or the cathartic jolt of "Fear and Loathing," but more of the lingering malaise that plagues Pink Floyd over Disc 2 of The Wall. For Arctor and the addicted friends upon which he spies, there's no comfort in numbness.
(01/18/07 5:00am)
It took more than a year, but finally Xbox 360's killer app has arrived.\n"Gears of War" is the first truly "next-gen" game, something that could not possibly have been done on older consoles and will make your jaw drop the first time you see it in action.\nThe game plays like a strategic third person shooter, which means that tactics are more important than going in all guns blazing.\nYou will have to move methodically from cover to cover if you wish to eliminate the cunning Locust horde. \nLuckily, simple and intuitive controls ensure a fun experience under heavy fire.\nOn top of that, Epic went the extra mile to put in some truly great, innovative weapons such as the Hammer of Dawn, which directs an overhead satellite to fry enemies on the ground.\nEven the basic assault rifle has been upgraded with a chainsaw on the end, making for some of the greatest fatalities this side of "Mortal Kombat." With the aid of cutting edge, nearly lifelike graphics, "Gears" takes ultra-violence to brand new heights.\nAs satisfying as using these weapons in the single-player campaign is, it's even more satisfying taking the game online and chain-sawing someone on the other side of the world. \nRight now there's only a few team vs. team multiplayer modes, but they're easily the best thing on Xbox Live right now. Sorry, "Halo 2."\nMuch has been written about the game's jaw-dropping looks, and it is hard to look at other games the same way after playing "Gears of War," it looks so damn good even on an old standard-definition TV set. \nAfter seeing it in action with no slow down there are no more excuses for developers to pump out games with "shiny" characters that move like robots.\nSound is another high point in the game, with an orchestrated soundtrack worthy of a big budget action flick, that provides smooth atmospheric pieces during the lulls, and some great fight themes during the chaotic firefights.\nThe voice acting is top notch to, thanks in large part to the main character being voiced by the same guy who did Bender on "Futurama." Bite my shiny metal ass, indeed.\nThe only bad thing I can say about "Gears" it is that it is almost unforgivingly difficult, but it's so much fun that you won't care if you have to redo the same area 10 times over sometimes. This is not just a must-buy game. This is the reason to buy an Xbox 360.
(01/18/07 5:00am)
Ahh January, what a crappy month. All the studios dump movies that weren't good enough to be released last year, and TV has yet to pull stunts for February sweeps. One can't help but fantasize of better things to come. Here's a look at some of the most anticipated entertainment events of 2007:\nThe Sara Silverman Project -- At last the hilarious comedienne finally gets her own TV show on Comedy Central. In the meantime, rent her hilarious concert film, "Jesus is Magic." (Feb. 1)\nPrince at the Superbowl Halftime Show -- The Superbowl has played it so safe in the last two years since the Janet Jackson fiasco (come on, one titty never hurt anyone) it's a wonder they haven't hired The Wiggles for show duties. Sure Prince's Jehovah's Witness beliefs ensure no foul play, but that doesn't mean he still won't funk. (Feb. 4)\n"Zodiac" -- Director David Fincher ("Se7en," "Fight Club") returns with his first film in five years about a journalist following a serial killer over the course of a decade. (March 2)\n"Grindhouse" -- Insane directors Robert Rodriguez and Quentin Tarantino team up to salute violent B movies. Last time Tarantino paid homage to something, the result was the awesome "Kill Bill" series. Did I mention Rose McGowan has a machine gun for a leg? (April 6)\n "Entourage" Season 4 -- For naysayers who felt last season wasn't up to snuff, here are eight words: "Is that something you might be interested in?" It'll be fun to see how Vinny and the boys work (if at all) sans Ari. Plus rumor has it Martin Scorsese has signed up to direct an HBO original movie of "Queens Boulevard." OK, I completely made that up, but how sweet would that be? (April 8)\n"The Nanny Diaries" -- Hollywood hasn't recently provided America with a nanny they'd actually want to take care of them. Getting to tra-la-la around London with Mary Poppins would've rocked, but that was 40 years ago. Newer caretakers have included Fran Drescher and Supernanny Jo Frost, blech. Scarlett Johansson, now that's nurturing. (April 20)\nThe songwriting competition on "American Idol" -- Finally, I've been saying Fox should do this for years! Now contestants will be separated from those who are just good performers and those who actually know something about music. (Spring)\n"Spider-Man 3" -- The Spider-Man films are the best current superhero flicks hands down. And who can blame Spidey for getting all dark (just what the hell is that black sticky crap?) when he's forced to fight a man made of sand. (May 4)\n"On The Lot" -- Yet another reality show contest, this time giving aspiring filmmakers a chance to break out. Yes, "Project Greenlight" already did this, but "Lot" has Steven Spielberg in charge. (May)\nThe iPhone -- Hmm should I be concerned that this everything-in-one device will guarantee machines enslaving mankind, or should I be a good little American consumer and buy one? Option 2, of course. (June)\n"Ratatouille" -- The latest Disney/Pixar offering doesn't look quite as clever as past hits like "Monsters Inc." and "Finding Nemo." That being said, I thought "The Incredibles" and "Cars" were going to suck. Shows how much I know. (June 29)\nHarry Potter -- Harry has two big events coming up this year with the fifth film, "The Order of the Phoenix," and seventh book, "The Deathly Hallows" (hopefully, no date has been set for the book release). Helena Bonham Carter and Imelda Staunton have been perfectly cast as evil-doers Bellatrix Lestrange and Professor Umbridge. While I've been agonizing over the release of the last book, I'm not sure if I want to live in a world where there's no new Harry Potter to look forward to. (Movie: July 13; Book: TBA)\n"The Simpsons Movie" -- As a loyal fan, it pains me to say that the show is wearing in its old age (now in its 18th season.) But top writers from the series' run have been called in, so I'll try to be optimistic. (July 27)\n"Sweeney Todd" -- Tim Burton directs the film based on the popular Stephen Sondheim musical. Recent musicals like "Dreamgirls" and "Chicago" have been all about the flash, but this one will be much darker, revolving around a psychotic barber who murders his enemies and cooks them into pies at his girlfriend's restaurant. Borat himself, Sacha Baron Cohen, co-stars. (Fall)\n"Fred Claus" -- Vince Vaughn doing what he does best: Playing a slacker. Freeloader Fred lives off his famous brother, Santa Claus. It could have "Elf"potential. (Nov. 4)\nThe Whitney Houston comeback -- It's no secret Whitney's itchin' for a return what with her ditching her bacterial husband and looking all dolled up for nights on the town with Clive Davis. But Whitney, pull a surprise attack. Open the Grammys or some other event with an unannounced performance and remind us all just how stunning that voice is.\nJennifer Hudson -- Speaking of Clive Davis and his divas, the producer recently signed "Dreamgirls'" Jennifer Hudson. Her album doesn't even have to be that great. Any time she belts out, my ears orgasm. (TBA)\nKanye West, "Graduation" -- Most people are sick of Kanye's constant over-the-top antics (when you've won Grammys, who cares about an MTV European video award?) but he's got the talent to back his actions. (TBA)\nThe new Die Hard (with "Rocky Balboa" being surprisingly good, maybe John McClane's got it in him), the actual arrival of Guns n' Roses' "Chinese Democracy, "Pirates of the Caribbean: At Worlds End" and "Shrek the Third" should make 2007 an entertaining one.
(01/18/07 5:00am)
After a night out sampling Bloomington's extensive and diverse bar scene, students might stumble home wondering why they've danced the night away under fake ivy or drowned the stresses of a hectic week with a potent concoction named after an animal. Each bar has its quirks and history that have endeared it to students and Bloomington residents alike. Now, WEEKEND goes behind the bars to reveal some of the their best-kept secrets.