1000 items found for your search. If no results were found please broaden your search.
(08/04/05 4:00am)
"Sky High" is surprisingly good. It is the tale of Will Stronghold (Michael Angarano), the son of not just any two, but the two most super superheroes in the world. Will is a freshman at the school for future heroes and sidekicks. In addition to the typical social problems that come with the transition into high school, Will must deal with the "sky high" expectations of everyone around him and the apparent probability that he might not be able to meet them. Will's mother can fly, his father is so strong he is almost indestructible, and these two things combined should make Will the most super kid at school. But Will has a problem: he may have failed to inherit any powers from his parents.\nBecause it is a "kid's movie" not based on a well-loved book or animated by Pixar, I went into "Sky High" prepared for it to hurt. But I did not write it off, because in addition to it starring Kurt Russell and Kelly Preston (as Will's parents) and Bruce Campbell and it is set in a school equivalent to Xavier's mutant academy. I grew up in the time of "Clueless" and "Scream," I (and I know there are others like me) am starved for a decent high school movie. "Sky High" is full of colorful characters and a story that, while ultimately predictable and sugary sweet, branches in several directions, making it feel entertaining and full. Its great fun to see the kids using their powers, which are well done, as the film is not stingy with the special effects and also doesn't take itself too seriously. Actually, "Sky High" is quite funny at times. The only big disappointments are that it feels too immature to satisfy teenagers and the main villain is the weakest area of the plot. \nWill Stronghold is played by an actual geeky kid, (rather than a thinly disguised, hot 25-year-old as is so often the case in stories about high schoolers), which lends authenticity to the character and makes him more relatable to younger audiences. Like most of the young actors in the film, Michael Angarano is believable, that is to say, they seem like real kids which is most important. Commander Stronghold's school nemesis, played by newcomer Stephen Strait, stands out as being reminiscent of Heath Ledger in "10 Things I Hate About You." Adult cast members Russell and Kelly are fully adequate if not particularly interesting in their roles. Fans of Campbell may be disappointed considering his role is less than pivotal. \n"Sky High" is the rare kind of film that a family can truly enjoy together. I hesitate to recommend it to any random college student, as it truly has the most to offer a younger audience, but honestly I had a good time with it.
(08/04/05 4:00am)
I would not like to think my love life would become so grim that I would resort to meeting my soul mate on the internet ... not that there is anything wrong with it. But, in "Must Love Dogs," the latest film from director/writer/producer Gary David Goldberg, internet dating doesn't seem like such a bad option after all.\nSarah (Diane Lane) is a recently divorced woman from a large, nosy Irish family. Desperate and miserable from her divorce from her ex-husband who stopped loving her and traded her in for a younger model, Lane's family tries to set her up with different men. After some failed attempts, Lane's sister Carol (Elizabeth Perkins) puts a profile for her sister on www.perfectmatch.com. One of the first men to answer the ad is heartthrob Jake (John Cusack). After a few awkward dates, love ensues. \nThe relationship between Cusack and Lane on the screen is priceless and its almost impossible to not either: \nA) want them to fall desperately in love with one another or \nB) pray that someone like Cusack is waiting for you out there somewhere. \nGreat lines and humor are spread throughout "Dogs" and the chemistry between the actors is an accurate portrayal of just how weird and uncomfortable the dating scene can be -- no matter what your age. One critique of this film is that it's predictable, like most romantic comedies. I wouldn't advise going to see this movie in hopes of getting some earth-shaking love advice or tips. Instead, be prepared to wish falling in love was that damn easy. \nWhile this film would appeal to single gals everywhere, it might cater to the 30's and 40's divorced crowd a little bit more. The heartaches and breaks enfolding on the screen might be hard for 20-somethings like me to relate to, similar to "Something's Gotta Give."\nAnother problem is the role of the airheaded, slutty 20-something that always seems to be a man stealer. Movies like this can cater to a 30- and 40-something audience without villanizing 20-somethings like me. Remember: those older women were once in their 20's too.\n This isn't a movie I would rush to the theatres to go see, but definitely worth going to see on a rainy afternoon with a female friend or family member.
(08/04/05 2:26am)
"Sky High" is surprisingly good. It is the tale of Will Stronghold (Michael Angarano), the son of not just any two, but the two most super superheroes in the world. Will is a freshman at the school for future heroes and sidekicks. In addition to the typical social problems that come with the transition into high school, Will must deal with the "sky high" expectations of everyone around him and the apparent probability that he might not be able to meet them. Will's mother can fly, his father is so strong he is almost indestructible, and these two things combined should make Will the most super kid at school. But Will has a problem: he may have failed to inherit any powers from his parents.\nBecause it is a "kid's movie" not based on a well-loved book or animated by Pixar, I went into "Sky High" prepared for it to hurt. But I did not write it off, because in addition to it starring Kurt Russell and Kelly Preston (as Will's parents) and Bruce Campbell and it is set in a school equivalent to Xavier's mutant academy. I grew up in the time of "Clueless" and "Scream," I (and I know there are others like me) am starved for a decent high school movie. "Sky High" is full of colorful characters and a story that, while ultimately predictable and sugary sweet, branches in several directions, making it feel entertaining and full. Its great fun to see the kids using their powers, which are well done, as the film is not stingy with the special effects and also doesn't take itself too seriously. Actually, "Sky High" is quite funny at times. The only big disappointments are that it feels too immature to satisfy teenagers and the main villain is the weakest area of the plot. \nWill Stronghold is played by an actual geeky kid, (rather than a thinly disguised, hot 25-year-old as is so often the case in stories about high schoolers), which lends authenticity to the character and makes him more relatable to younger audiences. Like most of the young actors in the film, Michael Angarano is believable, that is to say, they seem like real kids which is most important. Commander Stronghold's school nemesis, played by newcomer Stephen Strait, stands out as being reminiscent of Heath Ledger in "10 Things I Hate About You." Adult cast members Russell and Kelly are fully adequate if not particularly interesting in their roles. Fans of Campbell may be disappointed considering his role is less than pivotal. \n"Sky High" is the rare kind of film that a family can truly enjoy together. I hesitate to recommend it to any random college student, as it truly has the most to offer a younger audience, but honestly I had a good time with it.
(08/04/05 1:48am)
I would not like to think my love life would become so grim that I would resort to meeting my soul mate on the internet ... not that there is anything wrong with it. But, in "Must Love Dogs," the latest film from director/writer/producer Gary David Goldberg, internet dating doesn't seem like such a bad option after all.\nSarah (Diane Lane) is a recently divorced woman from a large, nosy Irish family. Desperate and miserable from her divorce from her ex-husband who stopped loving her and traded her in for a younger model, Lane's family tries to set her up with different men. After some failed attempts, Lane's sister Carol (Elizabeth Perkins) puts a profile for her sister on www.perfectmatch.com. One of the first men to answer the ad is heartthrob Jake (John Cusack). After a few awkward dates, love ensues. \nThe relationship between Cusack and Lane on the screen is priceless and its almost impossible to not either: \nA) want them to fall desperately in love with one another or \nB) pray that someone like Cusack is waiting for you out there somewhere. \nGreat lines and humor are spread throughout "Dogs" and the chemistry between the actors is an accurate portrayal of just how weird and uncomfortable the dating scene can be -- no matter what your age. One critique of this film is that it's predictable, like most romantic comedies. I wouldn't advise going to see this movie in hopes of getting some earth-shaking love advice or tips. Instead, be prepared to wish falling in love was that damn easy. \nWhile this film would appeal to single gals everywhere, it might cater to the 30's and 40's divorced crowd a little bit more. The heartaches and breaks enfolding on the screen might be hard for 20-somethings like me to relate to, similar to "Something's Gotta Give."\nAnother problem is the role of the airheaded, slutty 20-something that always seems to be a man stealer. Movies like this can cater to a 30- and 40-something audience without villanizing 20-somethings like me. Remember: those older women were once in their 20's too.\n This isn't a movie I would rush to the theatres to go see, but definitely worth going to see on a rainy afternoon with a female friend or family member.
(08/04/05 1:43am)
What do you get if you take HAL 9000, put him in a really fast plane, and blow a bunch of crap up in lieu of a plot? You get "Stealth," the newest, brainless action flick by Rob Cohen ("xXx," "The Fast and the Furious"). The bottom line is if you are prepared to abandon all logic, intelligence and good taste, then this movie truly begins to flourish in its resplendent idiocy. And in a weird "Huh huh, they blowed it up real good" kind of way almost becomes enjoyable. On the other hand, if you are unable to get past gaping plot holes and stilted dialogue then maybe this isn't the movie for you.\n"Stealth" is the story of an elite team of pilots played by Jamie Foxx ("Ray"), Jessica Biel ("Blade: Trinity") and Josh Lucas ("Sweet Home Alabama"). These pilots make up some sort of anti-terrorist squad, but of course it is never quite explained how three jets going Mach 2 are going to be an effective tool against a terrorist riding a pack mule. But then again the movie also features a satellite that can analyze fingerprints from orbit, so it is best not to think while watching this movie. The three pilots are joined by a jet piloted by a computer named EDI whose creators outfitted it with hyper-intelligence but not a surge protector. EDI goes haywire after being hit by a bolt of lightning. The computer then goes on a renegade mission to destroy something in Russia -- that is never quite explained -- and the pilots have to bring it down before it starts World War III.\nAt this point logic takes a vacation. In the second half of this movie one of the pilots makes friends with the computer as they team up to take down an evil Naval officer who teaches an even more evil politician what it is to be a soldier by killing himself. All the while, Jessica Biel is trying to escape from an evil North Korean death squad that has no desire to capture the American soldier, only shoot her or blow her up for what reason I can't quite gather. Throw in copious amounts of explosions and a love story that is about as useful to the plot as running shoes are to a fish, and you have that little slice of heaven that I call "Stealth."\nPossibly the greatest thing about this movie is the abundance of unresolved story points. For example, they destroy Russian airplanes, blow up a large section of the North Korean demilitarized zone and detonate a nuclear weapon in a populated section of Tajikistan, and yet none of these politically catastrophic events are even alluded to after they occur.\nThis movie has the weakest plot imaginable and very little going for it aside from a bunch of pointless special effects and stuff gettin' blown up. On the other hand, if that is what you are in the mood for, then you could do a lot worse than "Stealth." Well, not a lot worse.
(08/04/05 1:40am)
When Joan Allen was making "The Contender," she jokingly asked co-star and screenwriter Mike Binder to write a movie for her. After tossing the idea around, Binder started writing "The Upside of Anger." This is one of the many anecdotes featured in a behind-the-scenes look at the movie on the recently released DVD. \nAllen has always been known for her wide acting range and strong supporting roles, and it is wonderful to see her in such a well-written lead in "Upside." She plays Terry Wolfmeyer, an abandoned wife, mothering four grown daughters, in the early stages of what could turn into severe alcoholism. Kevin Costner plays her drinking buddy Denny, a former baseball star who falls in love with both Terry and her daughters. The story grows from this premise, adding rich layers of family dramedy to Allen's stunning performance. \nIn the making-of featurette, all of the film's main characters are interviewed extensively and discuss how they came to the project and its meaning for them. The feature is excellent, giving much background detail and history of the project. Fans of Mike Binder will find his interviews particularly interesting as he talks about his writing style and comedy past. \nOther DVD highlights include several deleted scenes, a Binder/Allen commentary, some New Line trailers and well-designed menu screens. \nThe Binder/Allen commentary was informative and very interesting, however, I wished throughout that Allen would give more input on her evolution in the role and Binder's writing. Binder talks enough for both of them though, mostly on production aspects and how he came to write the screenplay. Film critic Rod Lurie moderates the conversation and is a close friend of Binder's, adding a few tidbits on Binder's previous films. In its casual nature, there are few lapses in dialogue, which makes the commentary a lot more fun to listen to. \nThe film quality is well-intact and the film is presented in widescreen format, which allows the viewer to see the extensive production value that went into the shoot. \nThe standard features and commentaries available on most new releases are all present here, with good sound and visual transfers. I was very satisfied with the movie and felt the DVD extras served well to enhance the experience.
(08/04/05 1:32am)
At a recent party a buddy of mine and I were discussing horror movies, particularly the "Evil Dead" collection, when I was informed that the original "Evil Dead," an instant cult classic, was to be remade. Now at first this puzzled me as those familiar with the films are aware that the original "Evil Dead" was essentially remade/updated by the same director, Sam Raimi, with the superior sequel "Evil Dead II: Dead By Dawn." Having grown up on these films (father Sills was never much one for censorship) the news still intrigued me, so I did some follow up research.\nIt turns out a remake of the original is in the works with Sam Raimi overseeing, but not in the directors chair, and Bruce Campbell (Ash) also said to be involved. Now, while this news may tickle some fans of the genre (i.e. those who indulge in magazines like Fangoria), I have to wonder why there is a need to remake this already perfect, classic campy horror/comedy flick? In fact, why does it seem like lately Hollywood is out of ideas for films and instead seem to be turning to remakes for the solution?\nDuring this summer alone there have been a number of mediocre film remakes ranging from "The Amityville Horror," and "House of Wax" to the highly unnecessary remake of "Guess Who's Coming To Dinner," "Guess Who," with Bernie Mac as Spencer Tracy's character. And with the upcoming film renditions such as "The Pink Panther," and of course the fairly anticipated remake of "King Kong" (the second large ape remake) by mega director Peter Jackson, it is apparent that Hollywood has a lot of faith in movie remakes. \nIf you think about it, remakes do make sense, financially at least. Take horror films, a genre that has truly embraced the "remake" with updated versions of films like "The Texas Chainsaw Massacre," "Dawn of the Dead," "The Haunting," not to mention a list of future horror remakes including "The Hills Have Eyes," "The Fog," "Suspiria," and even the horrible Jamie Lee Curtis flick "Prom Night." These movies, often based on originals that were unsuccessful to begin with, have done wonders at the box office. This said, the question still stands: Why do remakes? Is there a loss of creativity right now? Is originality dead? \nI am not preaching that remakes as a whole are all horrible, I just believe it is important to pick your winners carefully. In fact, some of the greatest films ever made were actually remakes of previous films. Take for example the Akira Kurosawa classic "Seven Samurai" which I believe was remade twice: once in the form of a western with "The Magnificent Seven," and later with Pixar's animated classic "A Bug's Life" (think about it, seven Japanese samurai saving a village from bandits, versus seven loveable bugs saving an ant farm doomed by grasshoppers.)\nRemakes have also been very affective in introducing American audiences to films from abroad. Before helming "Batman Begins," director Christopher Nolan followed up his hit "Memento" with a dark, quiet remake of the Norwegian film "Insomnia." While "Crying Game" director Neil Jordan took the wonderful Jean-Pierre Melville classic, "Bob le Flambeur," and gave it a nice little modern touch with 2002's "The Good Thief."\nNow in my mind, there is nothing wrong with taking a great story, whether from a book or film, and taking it in a different direction. After all, art has been imitating art for thousands of years. However, the key word here is art, and with that how does one warrant what is worth being remade and what should be left alone?\nI mean could you imagine a remake of the Martin Scorsese classic "Raging Bull" for the MTV generation. Vin Diesel takes on the role of boxer turned glutton Jake LaMotta. You could have Jessica Alba as LaMotta's lover, Topher Grace could shine as his brother/trainer, and Chris Columbus would take the helm as director. Or what about a new rendition of "Casablanca" with Vince Vaughn taking on Humphrey Bogart's memorable role, Tara Reid as Ilsa, and Cedric The Entertainer as Sam. McG would direct. Obviously you see where this is going.\nIt's a shame to see Hollywood go down such an easy route. Sure these remakes are making tons of money, and sure some can be fun (I did rather enjoy the "Dawn of the Dead" update mainly because, although it's a cult classic, the original is so dumb and poorly acted) but I believe ultimately this trend is hurting film as a whole.
(08/04/05 1:29am)
If you trace the evolution of rock music from its early days of Chuck to the present, there have been a few facelifts. Since rock turns 50 this year (the first assumed rock 'n' roll song is Bill Haley & His Comets' "Rockin' Around the Clock," released in 1955), maybe it's time for a reassessment of the family tree. \nMany critics and fans believed that rock music died around the late 1970's. This statement is understandable as disco was dominating the charts and hip-hop was gaining popularity in the streets. Additionally, a number of monumental rock bands were crumbling, including the Who and Led Zeppelin, while others like Aerosmith and the Rolling Stones seemed to be running out of steam. Facing genres like punk and glam, most people assumed the worst -- that the tree had branched out too far from the roots. \nTo some degree, I buy into such a theory. Rock music did indeed experience a drought. Everybody loves the 80's, but let's be honest, if we're talking about good wholesome rock music, that decade didn't bring much to the table, save AC/DC, Guns N' Roses, U2 and maybe a few others that I'm forgetting. And I don't care what anyone says; hair metal does not qualify as real rock music. \nIn the 1990's, there seemed to be a light at the end of the tunnel when grunge got big. That all changed, however, when Kurt Cobain died, and Soundgarden and Alice In Chains disbanded. Yes, Pearl Jam's pistons are still turning, but they can't carry the torch forever. \nThe mid-to-late-90's was a very dark chapter in rock music. One-hit wonders filled the airwaves (does anyone remember Spacehog?), and songs by boy bands and Britneys and Jessicas were heard five times a day. Legitimate bands like Foo Fighters, Oasis and Beck have managed to find their way out of this mess, but the point is that rock music has long been in the shadows until recently. The good news is that it will get better.\nThe reason why classic rock was so good is because bands wrote songs out of complete originality. They had no predecessors to show them the ropes. The Beatles, Jimi Hendrix, the Doors, Eric Clapton and the like broke new ground by being innovative. Who knew what feedback would sound like when George Harrison used it on "I Feel Fine"? Nobody. But he was willing to fall on his face. \nAs members of the Baby Boom generation, our parents grew up with classic rock. It was a way to identify themselves as a generation. As children of the Baby Boomers, many of us had no choice but to listen to our parents' music when they turned it on. I can remember listening to the Beach Boys' "Help Me, Rhonda" in my dad's Buick when I was young and thinking, "I like this." Given that many new rockers today are close to our age (college folk), they probably shared such experiences. So when it comes time to jot down some material, they base it off of classic rock. \nTo demonstrate my hypothesis, I will mention a few bands that have exemplified characteristics of a classic rock band: Jet, The Darkness and The White Stripes. The first two have released very promising debut albums and have tested their work on the road. I've been told that The Darkness sends crowds into a frenzy, and I'm sure that Jet does the same. Their music is filled with balls-to-the-wall attitude, relentless talent and face-melting guitar solos (a rarity today). I would lend an ear to them if you haven't already. \nThe White Stripes have a different format -- one guitarist and one percussionist. Nonetheless, Jack White is a rock fundamentalist with a great sound and lyrics that spin your mind. Meg White beats the hell out of her kit, too. With five albums under their belt, they seem to be leading the march towards rock utopia. \nA number of other noteworthy bands have been brought to my attention and could definitely have staying power. Franz Ferdinand, The Killers, The Strokes and Arcade Fire could function as a generation identifier like the classic rock bands of the Baby Boomers. And, of course, let's not forget the restructured, hybrid rock bands like Audioslave and Velvet Revolver whose members have proven themselves in the past. \nThe future of rock music is optimistic. This revelation came to me about a year ago, and I still hold it to be true. And as always these young guns will have moral support from mentors like Tom Petty and the Heartbreakers, U2 and R.E.M.\nIn the eloquent words of Neil Young, "My my, hey hey/Rock and roll is here to stay ... Hey hey, my my/Rock and roll can never die"
(07/28/05 4:00am)
Out of the dark, murky club, the voices start singing. More voices join in. Some are thin and high, some are low and booming. Soon, all the voices are singing. \nBut this is no traditional group. The voices sing, but the voices are all those of saxophones. \nStarted in April 2003 by saxophonist and composer Benjamin Himpel, the Saxophone Cartel has grown and transformed into a unique, energetic band. With six members originally, the band has decreased its size to five, but the creativity they allow is what initially attracted members.\n"The originality of the music and high level of all the players was a strong incentive to join," senior member Peter Sparacino said. "The creative atmosphere has been an inspiring one."\nCurrent members are Matt Cashdollar, Michael Eaton, Morgan Price, Colin Renick and Sparacino. Cashdollar, Eaton, and Renick have been with the band since the beginning. Each member coming from a different musical background adds to the diversity of the group. Eaton brings a strong classical and jazz background to the band, while Renick, Cashdollar, Price and Sparacino add R&B, funk, rock and hip-hop experience to the group. Each member not only plays with the Saxophone Cartel, but many play in other ensembles and bands that develop their proficiency in many kinds of music. This kind of individuality is exactly what Himpel hoped for when starting the band. \n"I don't know Ben's process in selecting people for the band, but I think he wanted to pick top players who had the creativity, instrumental technique and open-minded qualities he was looking for," Eaton said. "Any individuality in our group is a result of our personal interpretations and original works."\nBut the sound the band creates isn't simply because the band is comprised of saxophones. It's the sound each member creates with the saxophone while performing the original compositions. \n"The cool thing is that each person has a fairly distinct set of interests, and an individual enough voice on his horn that the band draws upon the diversity to achieve its sound," Eaton said.\nHimpel, a Berlin native, was inspired by the German band Kölner Saxophon Mafia. This band and their individual sound influenced the pieces he wrote. \n"Ben unintentionally adopted the strategy of taking an uncommon influence to craft his music, which is one way of sounding more individual," Eaton said.\nHimpel's pieces are in the Saxophone Cartel's book and performed regularly. Their sound is also influenced by well-known saxophone ensembles World Sax Quartet and ROVA.\n"In terms of comparison, we adopt elements of all these big three sax ensembles (Kölner, WSQ and ROVA), but we have enough of our own influences that we don't sound the same," Eaton said. \nAdditionally, Cashdollar and Renick compose music for the band. Although they do perform covers of songs, they write most of their work themselves. \nAnother unique aspect of the band is its incorporation of other instruments in addition to the many different types of saxophones. Each member is a multi-instrumentalist with the ability to play soprano, alto, tenor and baritone sax. Renick adds bass to their work with his bass clarinet. Often times, Cashdollar will throw his didgeridoo into the mix for fun improvisation. The group takes this variety and blends flawlessly in each of their songs. \n"There's really no limit except people's curiosity or interest, and playing other instruments can really change the colors and textures," Eaton said.\nAfter playing several live performances on Bloomington's local radio station, 98.1 WFHB, the Saxophone Cartel was asked if they would like to record a CD. Without hesitation, they began work on their first CD in March 2004. It took about 18 hours of studio recording time followed by a couple months of mixing and editing with their recording engineer, Mike Charstil. But it wasn't until a year later that they found a producer to fund the production of the CD. At a gig, Eaton announced the band was looking for funding, and WFHB co-founder Jeffrey Morris responded. With the help of Farm Fresh Studios and Bellwether Manufacturing Co. in Bloomington, Caught in the Act was finished. It was a long process, but the band members are happy with the result. The official CD release party is scheduled for August 4 at Bear's Place.\n"It is an amazing group to see. Their ideas are fresh. Each person brings their own personality and color to the group, which makes them so different from conventional saxophone groups. Each person has the opportunity to shine in their own way. The members have unlimited imaginations, and a big future in music," said Cameron Collins, former IU saxophone major who is currently playing professionally.\nNot only have they been recognized by the Bloomington music community, the Saxophone Cartel has gained popularity regionally as well as nationally. Most recently, they won a spot to perform at the North Sea Jazz Festival, one of the oldest and most respected jazz festivals in the world. They have also opened for internationally recognized, San Francisco-based saxophone quartet, ROVA. Additionally, they played at the Biennial Conference for the North American Saxophone Alliance, the national saxophone professional and educational organization in Greensboro, N.C. The band is hoping to get more gigs at festivals around the United States and even some in Europe.\n"We are making plans for 2006 summer festivals in the US and Europe. The World Saxophone Congress will be held next summer, and we are going to work on getting a small tour through several countries," Eaton said. "The best-case scenario would be to become established as a nationally or internationally known saxophone ensemble, like ROVA or the World Saxophone Quartet is. We could continue our own solo careers and also take time to play as the Sax Cartel, hopefully several times a year."\nTo catch the Saxophone Cartel in action, visit their Web site at www.saxophonecartel.com.
(07/28/05 4:00am)
In previews for "Bad News Bears," it looks as though Billy Bob Thornton brings back his piss-drunk "Bad Santa" character to play a Little League baseball coach. He drinks, passes out on the pitcher's mound, cusses in every clip and to further add to the "Bad Santa" connection, the "Bears" script is written by the duo that penned the former film. \nWhile the original version of this film (1976 starring Walter Matthau) was made with a more of a childhood audience in mind, you may want to think twice before bringing your 10-year-old to see this remake. The characters, including the young ball players, utilize every cuss word short of the F-bomb, and they do so in just about every scene in the movie. Combine this with hilarious one-liners ("Baseball. You love it. It doesn't always love you back. Sort of like a German chick.), and racial and handicap jokes ("I'm a freaking paraplegic"), and you've got a great comedy probably not intended for all ages. \nThornton plays Morris Buttermaker, a washed-up ex-pitcher whose only moment of glory was pitching 2/3 of an inning for the Seattle Mariners. Over the years, Buttermaker has turned into a lazy, pathetic drunk who works as an exterminator, until he is asked to coach a Little League baseball team full of rejects. These kids would otherwise not be allowed to play baseball if it were not for an ambitious lawyer mom (Marcia Gay Harden) who believes everyone should be able to play baseball. The team line-up includes one wheelchair-bound boy, a fat lard, a tiny weakling and many other misfits. \nAt first, Buttermaker cuts practice to take the kids on his extermination runs and gets drunk while they do the work. But after getting humiliated in the opening game by Coach Roy Bullock (Greg Kinnear) and the Yankees, he decides to teach the kids to play baseball. Buttermaker enlists the help of Amanda (Sammi Kraft), the daughter of a former girlfriend, to be the pitching ace, and local bad boy Kelly (Jeff Davies) to provide some hitting.\nThe great thing about this movie is that it is an underdog story where trickery and mischievousness are tools for success rather than perseverance and teamwork. It would not be believable for a team of complete losers to suddenly turn into all-stars, and so this works well in the film. \nBilly Bob Thornton is excellent as Buttermaker. He is a loser and he knows it -- this makes him likeable, not to mention hilarious. But while he was a one man cussing show in "Bad Santa," the kids help out quite frequently this time around. "Bad News Bears" proves that with a lot of cussing and mit hurling, even baseball can be bearable.
(07/28/05 4:00am)
When Frank Black was forming the Pixies, he ran an ad looking for musicians that were into Hüsker Dü and Peter, Paul & Mary. So it's hardly a surprise that a man of such wide and varied musical taste has made a new album soaked in country, blues, classic R&B and southern soul. What is shocking is how good he sounds doing it. \nFull of tuneful and thoughtful songs, Honeycomb makes it seem like Black has been playing this kind of music his whole career. Unlike many other musicians who dabble outside the genre that they are known for, Black is able to pull it off by remaining true to both himself and the style of music he is playing. Recorded in Nashville in just four days, Honeycomb is greatly aided by the presence of legendary session men Steve Cropper, Spooner Oldham and David Hood, among others. These musicians give the songs real warmth as well as an authentic feel. The guitar solo that ends "My Life Is In Storage" is pure soul, and "I Burn Today," with its bittersweet guitar fills and bells, would sound right at home on a soundtrack to a Wes Anderson movie. \nThe most startling thing about Honeycomb may be Black's vocal treatments. His voice is nearly unrecognizable, as he sings many of the songs in a low-register growl, millions of miles away from his Pixies heyday. This method of singing is very effective in maintaining the sad, but comforting mood of the album. Having recently gone through a divorce, many of the lyrics touch on lost love. On "Strange Goodbye," he even duets with his ex-wife, lamenting their failed marriage. Not everything is so sentimental though. With "Another Velvet Nightmare," Black sings about puking up his heart with liquor, proving he's still the guy that was once slicing up eyeballs. By the end of the album, Black is resolute to continue on by taking solace in music, reminding us to sing for joy and to sing for laughs. \nOverall, Honeycomb is quite a departure from what many people would come to expect from Frank Black. It may not be what some Pixies fans want to hear, but taken in its own honest terms, it can be a worthwhile and moving listen.
(07/28/05 4:00am)
"Constantine" is the story of supernatural detective John Constantine (Keanu Reeves) who serves as the ballast in a war between heaven and hell. Angels and demons are fighting for the souls of every human on Earth with one major rule: no direct contact, only influence. If they break this rule, Constantine destroys them with his arsenal of holy water, scarabs and golden bullets. Eventually, he lends his services to a police officer Angela Dodsen (Rachel Weisz) who is trying to solve the mysterious suicide of her twin sister. Together they uncover a conspiracy of biblical proportions (sorry, I couldn't resist). \n"Constantine" delivers everything that you would expect out of it: a dark storyline, lots of CG and some bad acting from Keanu Reeves. Of course you can't rate Keanu Reeves like you rate other actors, you have to put him on his own scale. I call this scale the Keanu Crapometer. The scale goes from one to ten, ten being "Bill and Ted's Excellent Adventure" and one being "Johnny Mnemonic." And on the Keanu Crapometer his performance in this film rates about a five (let's call that "Speed" territory). He was bad, but not gut-wrenchingly so, which is an accomplishment for him. But you still have to wonder why people are still putting him in movies.\nThe writing is so-so, it has its share of crappy one liners ("This is Constantine. John Constantine. Asshole."), but it also has a couple good ones as well ("Who's the rabbit in the dress now, bitch?"). Actually, one of the biggest problems with this movie, aside from casting Keanu Reeves in the title role, was that they underused Constantine's sidekick Chas (played surprisingly well by Shia LaBeouf of 'Even Stevens'). LaBeouf was by far the best thing in this movie, and I am surprised they didn't put him in more scenes.\nHowever, like the movie or not, they certainly knew what they were doing with this DVD. It has tons of special features, and unlike most DVDs, it has tons of special features that are worth watching. It has director commentary, it has several featurettes on the making of the movie, and it even comes with a copy of the comic book on which the movie is based. If you liked this movie then there is absolutely no reason not to buy this DVD, if you didn't like the movie, convince one of you're more gullible friends to buy it so that you can at least read the comic book.
(07/28/05 4:00am)
Casey Carlyle (hottie and former child-spy Michelle Trachtenberg) is a math whiz on the road to Harvard who just wants to be a professional ice skater. Of course this plan doesn't fly with her overprotective perfectionist mother (a typically strung-out Joan Cusack), and it's not until she accepts the guidance of a disgraced former ice skater (a thoroughly weathered Kim Cattrall), and the cheesy pickup lines fed to her by her mentor's son (Tiger Beat bait Trevor Blumas) that Casey realizes her dreams. "What's wrong with wanting to feel strong and graceful and beautiful?" she asks. From scholastic to fantastic indeed.\nActually, "Ice Princess," as well as Casey's dreams of skating stardom in the face of a rare opportunity to attend Harvard that she treats like a burden, rings false on most every note. When the highlight of a movie is a cameo by Olympic figure skater Brian Boitano, you know you're in trouble. Regardless, it's what we've come to expect from Disney live action over the years, and should fit nicely on a DVD shelf next to Vin Diesel's career-ending "The Pacifier" and Lindsay Lohan's kiddie-pandering in "Herbie: Fully Loaded." Though unlike most recent Disney features, there are no honest adult jokes or situations to be found in "Ice Princess," at least not to the surreal degree of the Lohan-sung theme song to "Herbie" aptly titled "I Wanna Come First."\nOther than a smattering of commentary by the actors, an alternate opening and a few inconsequential deleted scenes, there is no insight here into the making of the force of nature that is "Ice Princess." Possibly the best feature is often-overlooked ability to utilize the French audio track, on which the majority of the film's wooden English dialogue actually translates into better delivered lines.\nYoung girls (ages five to fifteen) might find "Ice Princess" to be a transcendent work of cinema, and I suppose that's the film's intended core audience anyway. (Although the recent hyperdriven success of the sixth Harry Potter novel has opened my eyes to the fact that certain things intended for children have an eerie crossover power.) Avoid "Ice Princess" unless your inner child has a serious hankering to get out on the ice and promptly fall on its ass.
(07/28/05 4:00am)
It is quite safe to say that I have become a junkie for HBO television. While others may be intrigued by the wonders of regular network TV, i.e. rich programs such as "Desperate Housewives," "The O.C," or "Dancing with the Stars," my drug of choice are the brilliant series currently on the HBO line-up. \nThis is not to say I don't enjoy watching some regular TV (after all I do not actually have cable and generally have to get my fix from the beauty of television on DVD.) I continue to argue that Fox's "Arrested Development" is one of the most interesting and well-written comedies since "Seinfeld," and lately, thanks to some friends, I have fallen victim to the allure that is the elegance of Peter Gallagher's eyebrows on "The O.C." (In all honesty I've only seen one or two full episodes, so don't start up with the O.C. trivia just quite yet.) \nThis said however, I believe that nothing can truly beat the raw, fascinating shows that HBO has on its repertoire. In many ways the shows feature episodes that surpass most films being released in Hollywood. However, with the departure of the megahit "Sex and the City" and the future finale of "Six Feet Under" and probably "The Sopranos," the future of HBO is not certain. \nTelevision on HBO only makes sense. Here's a network that does not fall under the ligeance of the FCC, has free range on most issues, language, violence and sex, and has the strongest subscription rate compared to its competitors, Showtime and Starz. The channel still broadcasts hit movies and high-profile sporting events, such as boxing; however its the recent wave of original series that has changed the network's image from being merely a cable movie channel to having cutting edge, Emmy-winning shows (HBO recently received a total of 109 nominations, topping NBC's 77.)\nIf you look at HBO's current line-up they seem to have something for all sorts of audiences. I'm sure Scorsese fans drool at the mouth for the newest "Sopranos" season, "Sex in the City" caught the attention of most single women as well as high school and college female students who will have whole DVD marathons (I have friends who can attest to this,) "Six Feet Under" took the television drama genre to a whole new level thanks to the scribe of "American Beauty," and the show's creator Alan Ball, and fans of regular network crime shows like "CSI," "Law & Order" etc. would be fascinated by the intricate yet beautifully told "Homicide"esque series "The Wire," (if only people would give its complicated storyline a chance.)\nNow while these four shows mentioned have a very strong following, "The Wire" excluded, HBO also has its share of niche audience series. "Deadwood" and "Carnivále" both take actual historical events and characters and transform them all into captivating television dramas. People tired of the American sitcom have escaped to HBO through series like "Curb Your Enthusiasm," "Da Ali G Show" and the recent hit "Entourage." \nNow with a collection of unique shows, like the ones mentioned, sweeping the Emmys and gaining tons of critical support, why does it seem like HBO may be in trouble very soon? \nLike I stated before, the three major powerhouses ("SITC," "Sopranos," & "SFU") are either leaving or already gone, which may turn audiences away from that extra $20 subscription fee on their cable bill. \nNow while this doesn't mean these shows won't still exist ("SITC" has a quite popular edited run on regular cable through TBS, while there is talk of Bravo picking up "The Sopranos" for toned-down syndication), it does mean there will be some interesting, possibly unique changes in the networks future. \nAn example of one of HBO's latest, possibly risky, moves is the series "Rome," which will be premiering at the end of August, right after "Six Feet Under" raps up its fifth and final season. This show will follow in the footsteps of "Deadwood" as an accurate and harsh look at ancient Rome. Will it succeed? Could this be the next mega hit? I know I'm interested to find out. \nIn all honesty there really is nothing yet to fill the shoes of those three shows that transformed television. "The Wire" continues to receive critical support but asks a lot from the viewer and needs a patient audience. "Carnivále" is actually getting canned after its second season due to lack of an audience all together, and "Curb Your Enthusiasm" (about to enter a fifth season) will have to retire eventually, if anything for Larry David's sanity. \nReally "Deadwood" and "Entourage" are the two shows that do have promise right now. "Deadwood" features rich characters, a dark storyline and fascinating dialogue, whereas the lighter "Entourage" has a gained quite a large following and is only in its second season. \nWith all this said, I am very curious to see what happens. Will there every be something to top the family mob epic that is "The Sopranos?" Will Sunday night continue to be "the night of HBO?" I suppose only time will tell.
(07/27/05 10:41pm)
In previews for "Bad News Bears," it looks as though Billy Bob Thornton brings back his piss-drunk "Bad Santa" character to play a Little League baseball coach. He drinks, passes out on the pitcher's mound, cusses in every clip and to further add to the "Bad Santa" connection, the "Bears" script is written by the duo that penned the former film. \nWhile the original version of this film (1976 starring Walter Matthau) was made with a more of a childhood audience in mind, you may want to think twice before bringing your 10-year-old to see this remake. The characters, including the young ball players, utilize every cuss word short of the F-bomb, and they do so in just about every scene in the movie. Combine this with hilarious one-liners ("Baseball. You love it. It doesn't always love you back. Sort of like a German chick.), and racial and handicap jokes ("I'm a freaking paraplegic"), and you've got a great comedy probably not intended for all ages. \nThornton plays Morris Buttermaker, a washed-up ex-pitcher whose only moment of glory was pitching 2/3 of an inning for the Seattle Mariners. Over the years, Buttermaker has turned into a lazy, pathetic drunk who works as an exterminator, until he is asked to coach a Little League baseball team full of rejects. These kids would otherwise not be allowed to play baseball if it were not for an ambitious lawyer mom (Marcia Gay Harden) who believes everyone should be able to play baseball. The team line-up includes one wheelchair-bound boy, a fat lard, a tiny weakling and many other misfits. \nAt first, Buttermaker cuts practice to take the kids on his extermination runs and gets drunk while they do the work. But after getting humiliated in the opening game by Coach Roy Bullock (Greg Kinnear) and the Yankees, he decides to teach the kids to play baseball. Buttermaker enlists the help of Amanda (Sammi Kraft), the daughter of a former girlfriend, to be the pitching ace, and local bad boy Kelly (Jeff Davies) to provide some hitting.\nThe great thing about this movie is that it is an underdog story where trickery and mischievousness are tools for success rather than perseverance and teamwork. It would not be believable for a team of complete losers to suddenly turn into all-stars, and so this works well in the film. \nBilly Bob Thornton is excellent as Buttermaker. He is a loser and he knows it -- this makes him likeable, not to mention hilarious. But while he was a one man cussing show in "Bad Santa," the kids help out quite frequently this time around. "Bad News Bears" proves that with a lot of cussing and mit hurling, even baseball can be bearable.
(07/27/05 10:16pm)
It is quite safe to say that I have become a junkie for HBO television. While others may be intrigued by the wonders of regular network TV, i.e. rich programs such as "Desperate Housewives," "The O.C," or "Dancing with the Stars," my drug of choice are the brilliant series currently on the HBO line-up. \nThis is not to say I don't enjoy watching some regular TV (after all I do not actually have cable and generally have to get my fix from the beauty of television on DVD.) I continue to argue that Fox's "Arrested Development" is one of the most interesting and well-written comedies since "Seinfeld," and lately, thanks to some friends, I have fallen victim to the allure that is the elegance of Peter Gallagher's eyebrows on "The O.C." (In all honesty I've only seen one or two full episodes, so don't start up with the O.C. trivia just quite yet.) \nThis said however, I believe that nothing can truly beat the raw, fascinating shows that HBO has on its repertoire. In many ways the shows feature episodes that surpass most films being released in Hollywood. However, with the departure of the megahit "Sex and the City" and the future finale of "Six Feet Under" and probably "The Sopranos," the future of HBO is not certain. \nTelevision on HBO only makes sense. Here's a network that does not fall under the ligeance of the FCC, has free range on most issues, language, violence and sex, and has the strongest subscription rate compared to its competitors, Showtime and Starz. The channel still broadcasts hit movies and high-profile sporting events, such as boxing; however its the recent wave of original series that has changed the network's image from being merely a cable movie channel to having cutting edge, Emmy-winning shows (HBO recently received a total of 109 nominations, topping NBC's 77.)\nIf you look at HBO's current line-up they seem to have something for all sorts of audiences. I'm sure Scorsese fans drool at the mouth for the newest "Sopranos" season, "Sex in the City" caught the attention of most single women as well as high school and college female students who will have whole DVD marathons (I have friends who can attest to this,) "Six Feet Under" took the television drama genre to a whole new level thanks to the scribe of "American Beauty," and the show's creator Alan Ball, and fans of regular network crime shows like "CSI," "Law & Order" etc. would be fascinated by the intricate yet beautifully told "Homicide"esque series "The Wire," (if only people would give its complicated storyline a chance.)\nNow while these four shows mentioned have a very strong following, "The Wire" excluded, HBO also has its share of niche audience series. "Deadwood" and "Carnivále" both take actual historical events and characters and transform them all into captivating television dramas. People tired of the American sitcom have escaped to HBO through series like "Curb Your Enthusiasm," "Da Ali G Show" and the recent hit "Entourage." \nNow with a collection of unique shows, like the ones mentioned, sweeping the Emmys and gaining tons of critical support, why does it seem like HBO may be in trouble very soon? \nLike I stated before, the three major powerhouses ("SITC," "Sopranos," & "SFU") are either leaving or already gone, which may turn audiences away from that extra $20 subscription fee on their cable bill. \nNow while this doesn't mean these shows won't still exist ("SITC" has a quite popular edited run on regular cable through TBS, while there is talk of Bravo picking up "The Sopranos" for toned-down syndication), it does mean there will be some interesting, possibly unique changes in the networks future. \nAn example of one of HBO's latest, possibly risky, moves is the series "Rome," which will be premiering at the end of August, right after "Six Feet Under" raps up its fifth and final season. This show will follow in the footsteps of "Deadwood" as an accurate and harsh look at ancient Rome. Will it succeed? Could this be the next mega hit? I know I'm interested to find out. \nIn all honesty there really is nothing yet to fill the shoes of those three shows that transformed television. "The Wire" continues to receive critical support but asks a lot from the viewer and needs a patient audience. "Carnivále" is actually getting canned after its second season due to lack of an audience all together, and "Curb Your Enthusiasm" (about to enter a fifth season) will have to retire eventually, if anything for Larry David's sanity. \nReally "Deadwood" and "Entourage" are the two shows that do have promise right now. "Deadwood" features rich characters, a dark storyline and fascinating dialogue, whereas the lighter "Entourage" has a gained quite a large following and is only in its second season. \nWith all this said, I am very curious to see what happens. Will there every be something to top the family mob epic that is "The Sopranos?" Will Sunday night continue to be "the night of HBO?" I suppose only time will tell.
(07/27/05 10:10pm)
Casey Carlyle (hottie and former child-spy Michelle Trachtenberg) is a math whiz on the road to Harvard who just wants to be a professional ice skater. Of course this plan doesn't fly with her overprotective perfectionist mother (a typically strung-out Joan Cusack), and it's not until she accepts the guidance of a disgraced former ice skater (a thoroughly weathered Kim Cattrall), and the cheesy pickup lines fed to her by her mentor's son (Tiger Beat bait Trevor Blumas) that Casey realizes her dreams. "What's wrong with wanting to feel strong and graceful and beautiful?" she asks. From scholastic to fantastic indeed.\nActually, "Ice Princess," as well as Casey's dreams of skating stardom in the face of a rare opportunity to attend Harvard that she treats like a burden, rings false on most every note. When the highlight of a movie is a cameo by Olympic figure skater Brian Boitano, you know you're in trouble. Regardless, it's what we've come to expect from Disney live action over the years, and should fit nicely on a DVD shelf next to Vin Diesel's career-ending "The Pacifier" and Lindsay Lohan's kiddie-pandering in "Herbie: Fully Loaded." Though unlike most recent Disney features, there are no honest adult jokes or situations to be found in "Ice Princess," at least not to the surreal degree of the Lohan-sung theme song to "Herbie" aptly titled "I Wanna Come First."\nOther than a smattering of commentary by the actors, an alternate opening and a few inconsequential deleted scenes, there is no insight here into the making of the force of nature that is "Ice Princess." Possibly the best feature is often-overlooked ability to utilize the French audio track, on which the majority of the film's wooden English dialogue actually translates into better delivered lines.\nYoung girls (ages five to fifteen) might find "Ice Princess" to be a transcendent work of cinema, and I suppose that's the film's intended core audience anyway. (Although the recent hyperdriven success of the sixth Harry Potter novel has opened my eyes to the fact that certain things intended for children have an eerie crossover power.) Avoid "Ice Princess" unless your inner child has a serious hankering to get out on the ice and promptly fall on its ass.
(07/27/05 10:09pm)
"Constantine" is the story of supernatural detective John Constantine (Keanu Reeves) who serves as the ballast in a war between heaven and hell. Angels and demons are fighting for the souls of every human on Earth with one major rule: no direct contact, only influence. If they break this rule, Constantine destroys them with his arsenal of holy water, scarabs and golden bullets. Eventually, he lends his services to a police officer Angela Dodsen (Rachel Weisz) who is trying to solve the mysterious suicide of her twin sister. Together they uncover a conspiracy of biblical proportions (sorry, I couldn't resist). \n"Constantine" delivers everything that you would expect out of it: a dark storyline, lots of CG and some bad acting from Keanu Reeves. Of course you can't rate Keanu Reeves like you rate other actors, you have to put him on his own scale. I call this scale the Keanu Crapometer. The scale goes from one to ten, ten being "Bill and Ted's Excellent Adventure" and one being "Johnny Mnemonic." And on the Keanu Crapometer his performance in this film rates about a five (let's call that "Speed" territory). He was bad, but not gut-wrenchingly so, which is an accomplishment for him. But you still have to wonder why people are still putting him in movies.\nThe writing is so-so, it has its share of crappy one liners ("This is Constantine. John Constantine. Asshole."), but it also has a couple good ones as well ("Who's the rabbit in the dress now, bitch?"). Actually, one of the biggest problems with this movie, aside from casting Keanu Reeves in the title role, was that they underused Constantine's sidekick Chas (played surprisingly well by Shia LaBeouf of 'Even Stevens'). LaBeouf was by far the best thing in this movie, and I am surprised they didn't put him in more scenes.\nHowever, like the movie or not, they certainly knew what they were doing with this DVD. It has tons of special features, and unlike most DVDs, it has tons of special features that are worth watching. It has director commentary, it has several featurettes on the making of the movie, and it even comes with a copy of the comic book on which the movie is based. If you liked this movie then there is absolutely no reason not to buy this DVD, if you didn't like the movie, convince one of you're more gullible friends to buy it so that you can at least read the comic book.
(07/27/05 9:39pm)
When Frank Black was forming the Pixies, he ran an ad looking for musicians that were into Hüsker Dü and Peter, Paul & Mary. So it's hardly a surprise that a man of such wide and varied musical taste has made a new album soaked in country, blues, classic R&B and southern soul. What is shocking is how good he sounds doing it. \nFull of tuneful and thoughtful songs, Honeycomb makes it seem like Black has been playing this kind of music his whole career. Unlike many other musicians who dabble outside the genre that they are known for, Black is able to pull it off by remaining true to both himself and the style of music he is playing. Recorded in Nashville in just four days, Honeycomb is greatly aided by the presence of legendary session men Steve Cropper, Spooner Oldham and David Hood, among others. These musicians give the songs real warmth as well as an authentic feel. The guitar solo that ends "My Life Is In Storage" is pure soul, and "I Burn Today," with its bittersweet guitar fills and bells, would sound right at home on a soundtrack to a Wes Anderson movie. \nThe most startling thing about Honeycomb may be Black's vocal treatments. His voice is nearly unrecognizable, as he sings many of the songs in a low-register growl, millions of miles away from his Pixies heyday. This method of singing is very effective in maintaining the sad, but comforting mood of the album. Having recently gone through a divorce, many of the lyrics touch on lost love. On "Strange Goodbye," he even duets with his ex-wife, lamenting their failed marriage. Not everything is so sentimental though. With "Another Velvet Nightmare," Black sings about puking up his heart with liquor, proving he's still the guy that was once slicing up eyeballs. By the end of the album, Black is resolute to continue on by taking solace in music, reminding us to sing for joy and to sing for laughs. \nOverall, Honeycomb is quite a departure from what many people would come to expect from Frank Black. It may not be what some Pixies fans want to hear, but taken in its own honest terms, it can be a worthwhile and moving listen.
(07/27/05 9:14pm)
Out of the dark, murky club, the voices start singing. More voices join in. Some are thin and high, some are low and booming. Soon, all the voices are singing. \nBut this is no traditional group. The voices sing, but the voices are all those of saxophones. \nStarted in April 2003 by saxophonist and composer Benjamin Himpel, the Saxophone Cartel has grown and transformed into a unique, energetic band. With six members originally, the band has decreased its size to five, but the creativity they allow is what initially attracted members.\n"The originality of the music and high level of all the players was a strong incentive to join," senior member Peter Sparacino said. "The creative atmosphere has been an inspiring one."\nCurrent members are Matt Cashdollar, Michael Eaton, Morgan Price, Colin Renick and Sparacino. Cashdollar, Eaton, and Renick have been with the band since the beginning. Each member coming from a different musical background adds to the diversity of the group. Eaton brings a strong classical and jazz background to the band, while Renick, Cashdollar, Price and Sparacino add R&B, funk, rock and hip-hop experience to the group. Each member not only plays with the Saxophone Cartel, but many play in other ensembles and bands that develop their proficiency in many kinds of music. This kind of individuality is exactly what Himpel hoped for when starting the band. \n"I don't know Ben's process in selecting people for the band, but I think he wanted to pick top players who had the creativity, instrumental technique and open-minded qualities he was looking for," Eaton said. "Any individuality in our group is a result of our personal interpretations and original works."\nBut the sound the band creates isn't simply because the band is comprised of saxophones. It's the sound each member creates with the saxophone while performing the original compositions. \n"The cool thing is that each person has a fairly distinct set of interests, and an individual enough voice on his horn that the band draws upon the diversity to achieve its sound," Eaton said.\nHimpel, a Berlin native, was inspired by the German band Kölner Saxophon Mafia. This band and their individual sound influenced the pieces he wrote. \n"Ben unintentionally adopted the strategy of taking an uncommon influence to craft his music, which is one way of sounding more individual," Eaton said.\nHimpel's pieces are in the Saxophone Cartel's book and performed regularly. Their sound is also influenced by well-known saxophone ensembles World Sax Quartet and ROVA.\n"In terms of comparison, we adopt elements of all these big three sax ensembles (Kölner, WSQ and ROVA), but we have enough of our own influences that we don't sound the same," Eaton said. \nAdditionally, Cashdollar and Renick compose music for the band. Although they do perform covers of songs, they write most of their work themselves. \nAnother unique aspect of the band is its incorporation of other instruments in addition to the many different types of saxophones. Each member is a multi-instrumentalist with the ability to play soprano, alto, tenor and baritone sax. Renick adds bass to their work with his bass clarinet. Often times, Cashdollar will throw his didgeridoo into the mix for fun improvisation. The group takes this variety and blends flawlessly in each of their songs. \n"There's really no limit except people's curiosity or interest, and playing other instruments can really change the colors and textures," Eaton said.\nAfter playing several live performances on Bloomington's local radio station, 98.1 WFHB, the Saxophone Cartel was asked if they would like to record a CD. Without hesitation, they began work on their first CD in March 2004. It took about 18 hours of studio recording time followed by a couple months of mixing and editing with their recording engineer, Mike Charstil. But it wasn't until a year later that they found a producer to fund the production of the CD. At a gig, Eaton announced the band was looking for funding, and WFHB co-founder Jeffrey Morris responded. With the help of Farm Fresh Studios and Bellwether Manufacturing Co. in Bloomington, Caught in the Act was finished. It was a long process, but the band members are happy with the result. The official CD release party is scheduled for August 4 at Bear's Place.\n"It is an amazing group to see. Their ideas are fresh. Each person brings their own personality and color to the group, which makes them so different from conventional saxophone groups. Each person has the opportunity to shine in their own way. The members have unlimited imaginations, and a big future in music," said Cameron Collins, former IU saxophone major who is currently playing professionally.\nNot only have they been recognized by the Bloomington music community, the Saxophone Cartel has gained popularity regionally as well as nationally. Most recently, they won a spot to perform at the North Sea Jazz Festival, one of the oldest and most respected jazz festivals in the world. They have also opened for internationally recognized, San Francisco-based saxophone quartet, ROVA. Additionally, they played at the Biennial Conference for the North American Saxophone Alliance, the national saxophone professional and educational organization in Greensboro, N.C. The band is hoping to get more gigs at festivals around the United States and even some in Europe.\n"We are making plans for 2006 summer festivals in the US and Europe. The World Saxophone Congress will be held next summer, and we are going to work on getting a small tour through several countries," Eaton said. "The best-case scenario would be to become established as a nationally or internationally known saxophone ensemble, like ROVA or the World Saxophone Quartet is. We could continue our own solo careers and also take time to play as the Sax Cartel, hopefully several times a year."\nTo catch the Saxophone Cartel in action, visit their Web site at www.saxophonecartel.com.