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(06/02/05 1:24am)
Bands that dress in matching costumes? It's been done. Bands releasing an album all about Valentine's Day? Maybe. Bands playing dodgeball with the audience in the middle of a show? Probably not. But Texas rock quartet the Awesome Cool Dudes don't think they're all that unusual. Their antics may attract fans, but it's the band's music that keeps fans coming back. \nThe four Hoosier natives begin a six-week tour on June 2 that stretches from Portland, Oregon to Portland, Maine, and one stop includes their alma mater -- IU. \nIndeed Jay McElfresh, Cory Plump, Nate Lineback and Nate Cross were all once students in Bloomington. They each played with separate bands in school but eventually met through gigging around town. From there McElfresh, Plump and Lineback formed the Awesome Cool Dudes about three years ago and recorded their first self-titled debut, while Cross moved to New Orleans to pursue his own interests. One year later, the three-piece band contacted Cross and asked him to join them. Since then, the four members have based themselves in Austin, Texas. The city, a melting pot for music, fuels the band's peculiar tastes. \nBecause Austin serves as an intricate music network, the Awesome Cool Dudes have managed to align themselves with many other bands on the scene. An annual concert event, South by Southwest, helps them get acquainted with their peers every year. \n"Austin has this huge history of a music scene that really permeates and informs the scene now," Cross said. "I mean, all these young kids now are still referencing bands like 13th Floor Elevators, Roky Erikson, Butthole Surfers, the Dicks, etc., and all of those bands give Austin this history of a scene that really is true."\n"True" is a value the Awesome Cool Dudes cherish. Like any other band trying to succeed in a cutthroat industry, they maintain part-time jobs and hit the studio and road whenever they can. \n"We'd love to tour as much as possible if we could do it without having to keep jobs," said Cross. \nThe Awesome Cool Dudes have banged out six albums since their inception. Amidst the sweat and toil, the band has adopted a witty appeal. Among their costumes are "Grumpy Old Men"-esque fishing apparel, corporate takeover suits, colorful Haight Ashbury clothes and matching basketball jerseys. \n"Seriously, yes, we do plan on maintaining our comical image to a certain extent," said Cross. "We think it adds more to our music. We want people to see us in a comic way, but we also want people to know that we are serious about our music."\nThe Awesome Cool Dudes experiment with a great number of instruments to create a unique blend that largely contributes toward a 1980s kitsch. They mix and match beats and instruments until they achieve a sound that accompanies their quirky, humorous image. Besides the standard guitar/bass/keyboard/drum combination, the only common denominator in the band is a synthesizer.\nAt times they resemble a combination between Kraftwerk and the Beastie Boys. At other points they take on a Frank Zappa Dadaist approach, as seen in the opening melody for "Tall Green Grass," which simultaneously contains a bouncy hip-hop beat. Then there's "Left Hand in Hornet's Nest," which seems like it could be a number on a 1980's haunted house soundtrack. \nAmong an arsenal of instruments that includes the full advantages of a synthesizer, Awesome Cool Dudes utilize a slide guitar, a glockenspiel and a banjo. They tap into jazzy chord progressions ("4 Chair"), salsa rhythms ("Solito") and ballads ("Tap Dat Ass").\nOne can't forget to pay homage to those who proceeded in the musical realm, and Awesome Cool Dudes are no exception. With covers like "Heart of Gold" by Neil Young and "Drive" by The Cars, they expand their horizons and become more diverse.\nSo where do all these musical influences originate? When asked where their loyalties lay, the band rattles off an elongated list of underground groups, including the Radar Brothers, Giorgio Moroder, Disco Singles and Bruce Haack. A number of bands who play in the SXSW festival include Two Gallants, Chromatics, I Hate You When You're Pregnant and Neil Hamburger. \n"Meeting bands on the road and during SXSW has been really inspiring," Cross says, "as well as getting to chat with them and hear what they have to say from their experience."\nFrom their college home to their adopted hometown, the Dudes feel at home in both, no matter how different they are. \n"Much like Austin, Bloomington ... has more of a supportive feel than a competitive one," says Cross. "I just feel like Austin has a larger, more established scene because of the history. I think ... playing shows in Bloomington during college was just more of a learning experience, and it was just for fun, whereas now in Austin there is more at stake, I guess."\nAwesome Cool Dudes remain inspired by the audience from venue to venue. In return, they strive to make performances energetic, whether it's a crowd of five or a hundred. Attention to the crowd is a necessary part of their repertoire. \n"(Jay) is really great at interacting with the audience, which helps a lot being a touring band that no one knows anything about," said Cross. "It kind of helps calm people and let them get to know us."\nIn addition to costuming themselves and interacting with members of the audience, the Awesome Cool Dudes create their own rendition of the classic synchronization of Pink Floyd's "Dark Side of the Moon" and "The Wizard of Oz." With the aid of Full House episodes, the band has managed to mesh their music with the likes of Danny Tanner and company. \nGuitarist Cory Plump is the evil genius behind the uncanny presentation.\n"It's sort of a secret code involving the episodes when the Beach Boys are guest stars, the Olsen twins and numerology contained in character Joey Gladstone's lines," said Plump. \nAs a way of making their music more accessible to fans, the Awesome Cool Dudes have made a majority of their songs available to be downloaded free of charge at their Web site, www.awesomecooldudes.com. \n"We'll never understand bands that talk about how hard it is to be on the road," said Cross. "You have to remind yourself that you are lucky to even have the chance to be playing for these people in the middle of Nowhere, USA."\nAs far as the future is concerned, Awesome Cool Dudes express a desire to tour Europe and continue "making better music." With devotion to the fans and a keen sense of humor, the band maintains a positive outlook for the road ahead. \n"We know that sometimes our music can seem like a complete joke to some people," said Cross. "But we want people to hear our music and know that we really do take it seriously and spend a lot of time working on it. I guess we just want people to hear something that they wouldn't expect or something that surprises them in a good way"
(06/02/05 1:23am)
Oh the Saturday matinee in the summer... It is always nice to take a break from the sun in an over air conditioned room with a cool beverage the size of your head and watch a film that does not ask you to think. I thought I was going to watch some cute, fuzzy animals gallop around on an exotic island and have a message about true friendship, and mostly that is what happens. However, "Madagascar" tries, unsuccessfully, to make us care.\n"Madagascar" is about a lion (Ben Stiller), a zebra (Chris Rock), a hippo (Jada Pinkett Smith) and a giraffe (David Schwimmer) that are all friends in the Central Park Zoo. Marty, the zebra, is unhappy with his current habitat, and finds himself constantly daydreaming about living in the wild. However, the rest of his friends do not understand and believe living in a place where they are groomed, fed and adored by people everyday is great! After Marty has an interaction with some crazy penguins that are building a tunnel out of the zoo to their freedom in Antartica, he decides to break free. When his friends realize what he has done they take it upon themselves to save their friend from his big mistake. Unfortunately for them, their intervention plan backfires and gets them all shipped to Africa. The ship is taken over and the four friends are suddenly sent flying into the Atlantic, only to be tossed to the sandy shores of Madagascar. Before we know it the wild begins to bring out the "real" animal in the characters and their once strong friendship may meet disaster before they ever get off the island.\nIt would be nice to write about these characters as if I felt close to their sad stories and their beautiful friendships, but "Madagascar" never reaches that point. We have to enter the film caring about Marty's depression because the characters do not offer the audience a reason for sympathy. The film does have an all-star cast with voices all ages should recognize, but the two leads, Chris Rock and Ben Stiller, play the same characters we usually see. Rock is still yelling every line like he is doing stand-up and Stiller is all big eyes and lots of hand motions.\nMaybe I am being too harsh on this film. I mean, the children in the theater definitely laughed a few times behind me. Also, the film does offer a couple interesting sequences that play on famous scenes from movies like "American Beauty" that adults will definitely pick up. In the end, "Madagascar" is a simple animated film failing to be more, but it works for a cheap summer matinee.
(05/26/05 4:00am)
Before using this concert to convince a friend to visit ("So what if they're playing in your home town? If you come see them here, you'll get to see me too!"), I hadn't given the Decemberists much thought. It was just another indie, kind of weird, quite pretentious band that requires patience to dig and I don't have that kind of patience to give. \nAfter seeing them at the Buskirk-Chumley Theater, I realized the quickest way to get into any band is to see them live. With smaller bands, a concert ticket is cheaper than buying a $20 CD. And if they suck, it's as easy to walk out of a venue as it is to delete their pirated album off your mp3 player. \nThe Decemberists rely on a mish-mash of unusual instruments and story-telling lyrics to create fantastical music. They're an "indie" band only because they're on a well-known indie label, Kill Rock Stars. Their music makes me feel like I'm the wife of a pirate on the Black Sea circa the 19th century, drinking at the bar and hanging out with the house minstrel until he returns home. Without the excellent (although sometimes too loud) sound quality and space of the BCT, some of the band's title tracks telling the tale of "The Legionnaire's Lament" or the story of Miranda in "We Both Go Down Together" would have been lost.\nThe band, currently touring for its fifth album, Picaresque, ups the bawdy and downs the obscurity of their music when playing live. They've brought storytelling back into modern music, engaging listeners with what's being described in a song instead of only bobbing their head to the beat. The band's drummer and lead guitarist (John Moen and Chris Funk, respectively) keep the pretentiousness of lead singer Colin Meloy at bay by occasionally laying down to nap during a song or by throwing a cymbal across the stage. \nThe most entertaining moment of evening occurred during "A Mariner's Revenge Song" off the new album. When Funk made up and down chomping motions with his arms, it was the audience's cue they were currently being eaten by a whale and to scream "Bloody Mary!" and for their mother to save them. The screaming lasted longer than the song. \nThe only sore point of the night was any moment Rebecca Gates was on stage, a solo artist and former member of the band the Spinanes. She was the opening act for the Decemberists, contrary to the tickets' claim that Willie Mason was opening. She sucked. Big time. The Decemberists didn't.
(05/26/05 4:00am)
it's about time. After more than 20 years since the release of "Return of the Jedi," Star Wars creator George Lucas gives fans a movie actually worth watching: "Revenge of the Sith."\nForgetting the nostalgia of the original trilogy and the hype created by the first two episodes, "Sith" is undoubtedly the best Star Wars movie directed by Lucas; "A New Hope" falls quickly behind. It is second in the series only to the Irvin Kershner-directed "Empire Strikes Back." \nWhile many fans went into the theaters thinking "I've got a bad feeling about this," they exited praising George Lucas for finally delivering a movie that feels like it "fits" the original trilogy. \nFor the first time Anakin Skywalker (Hayden Christiansen) is seen as more than a whiny brat and Darth Vader is seen as more than simply the galaxy's greatest evil. Confused and frustrated, he reaches out countless times to his mentors and those close to him. Instead of finding answers to these questions his concerns are brushed off by both his wife, Padme (Natalie Portman) and the Jedi Council, who continue to distrust him despite his constant allegiance to them. The only person who truly listens to him is Darth Sidious. \nThe movie does a great job offering a new perspective into the power of the "Dark Side." No longer is the "Force" seen as either black or white and audiences can better understand and relate to Anakin's turn. \nEwan McGregor returns and unsurprisingly does an amazing job as Obi Wan Kenobi adding a great new layer to an already classic character. His acting, as per usual, is terrific. \nThe movie has many great moments from the very first scene to the breathtaking climax as familiar faces from both trilogies show up, including an exciting appearance from Chewbacca. But a few things needed improvement.\nThe movies faults are issues that have plagued the rest of the series. The acting, as typical of most of Lucas' films, can be very wooden at times, specifically the Anakin/Padme love sequences (not helped by the sub-par dialogue.) But having said that, the rest of the film's acting is pretty consistent and good. Another problem is how quickly Anakin seems to turn to the Dark Side. \nRegardless, the film works as the CGI animation is surprisingly seamless. The fight sequences are intense, both visually and emotionally stunning, although they can seem lengthy at times. \n"Revenge of the Sith" is a must-see for any fan of the Star Wars saga, even for those dissatisfied with the past two movies. The movie is great from start to finish and will excite anyone and make them remember what it was like to be a kid again.
(05/26/05 4:00am)
Matt Dillon plays a veteran Los Angles cop in the new film "Crash." His anger and jealousy are racially manifested in the cruelest of ways toward a young black couple early in the story, when he subjects Christine (Thandie Newton) to a form of sexual harassment that is both original and horrifying. But this is not the pivotal moment in the arc of Dillon's narrative, which the viewer finds later in the film when he comes across a burning car wherein Newton is trapped and in desperate need of a rescuer. By far, the most successful and dramatic sequence in the film is neither the most simple nor the most easily explained. His reaction to the situation is both the theory and motive behind Paul Haggis's directing debut, a startling and refreshingly original look at the complexities of human relationships and perceptions of race in modern day America. \nI recently saw Haggis in a TV interview in which he explained to the talk show host that, living in L.A., one can witness both the kindness of human nature, and the devastating toll that racism and intolerance can take on the day-to-day life of a city. He described it as though it was a disease, something that affects not only people, but the city itself, deteriorating the human condition. However, he went on to explain that in living in L.A. he has discovered that racism is not simply a black and white issue. He said that people are three-dimensional, and so are the actions they take. Unlike the certainly dozens and maybe even hundreds of movies that have been made about race relations, Haggis's film dares to take a closer and unflinching look at what makes people do the things they do. And in this, his characters take on a multi-dimensional complexity; he does not simply reduce the small-minded bigot to a well-defined and culturally accepted stereotype, nor does he slot the idealist as a kind and open-hearted hero. \nAs a mainly independent feature, Haggis caught a break when casting Don Cheadle early, attracting other big names like Ryan Phillipe, Sandra Bullock, Brendan Fraser and Ludacris to the project. An ensemble feature, it follows several storylines in and around today's L.A. This may sound familiar to many, especially fans of Robert Altman or P.T. Anderson, and indeed the film does not escape without some minor flaws, most notably a few scenes that "borrow" ideas from films by the aforementioned directors. But the script is genuine and well-written, and the dialogue is true. Take for example a moment when a Hispanic locksmith tries to convince an Iranian store owner that his door needs fixing, not his lock, and the world-weary Iranian automatically assumes the locksmith is cheating him. We watch this scene with sadness and compassion for both characters; the locksmith because he is just trying to do his job and the Iranian because we understand how his experiences with Americans have left him jaded and untrusting. \nThe actors are all very good in their roles, with two remarkable performances by Matt Dillon and Michael Pena as the Hispanic locksmith working night and day to support the young daughter he loves with an almost painful acuteness. Pena's story maintains a complete and very distinctive quality, and I felt convinced his narrative alone would have made for a great film if expanded upon. \nIf you get the opportunity or are interested in seeing a film that not only asks the right questions, but also provides the right commentary, then see "Crash" and become a better person in the process.
(05/26/05 4:00am)
Hailing from Portland, Oregon, Sleater-Kinney brings the grunge flavor to The Woods, which fits considering the fact that their label, Sub Pop Records, released Nirvana's first album Bleach. The all-female rock trio represents the punk mentality by placing an emphasis on a distorted sound, vivacious singing (sometimes shrieking) and a hard work ethic (they've released seven albums in ten years). \nOn some tracks, however, the guitar fuzz thickens so that even at a low volume, I thought my speakers were breaking down. Nevertheless, The Woods could raise some eyebrows not only in the Pacific Northwest but around the rest of the country, too. \nLike The White Stripes, Sleater-Kinney doesn't have a bassist, although guitarists Carrie Brownstein and Corin Tucker create low crunchy tones to fill the void. While Brownstein leads, Tucker tackles rhythm well and stresses the low notes. The solo on "Wilderness" is purely original with the exception of a Hendrix-esque rotary effect. \nThe shining moment of The Woods occurs when, in one raw, unedited cut, the band segues from the eleven-minute inventive "Let's Call it Love" to the unfortunately repetitious "Night Light." \nEven more entertaining is drummer Janet Weiss, who plays with a hint of spontaneity by cutting loose on a few tracks. On "Steep Air" she builds up each measure by filling louder with every beat. Similar to Maureen Tucker of the Velvet Underground, Weiss's beats sound primitive and firm on "Jumpers" and "Wilderness."\nLyrically, The Woods takes on a wide range of topics, jumping from a retelling of a children's parable in "The Fox" to a bash on pop culture in "Entertain." Brownstein's piercing voice sounds like a mix between Gwen Stefani and Cindy Wilson of the B-52's, and Tucker adds a fresh spark by singing harmony on "Jumpers." Intended or not, a low production quality flushes the vocals at times, which is a travesty considering the fact that the lyrics are probably the most powerful element of the album. \nAll told, The Woods is a highly listenable work, but Sleater-Kinney needs to demonstrate experience and professionalism more in the future. A stretch of about three tracks taints the other seven, fizzling the overall quality of the album. There were even some points where I thought a song was fading out, only to pick up again with more volume. If you're new to their material, you may want to pick up one of their older releases like Dig Me Out. Or, statistically speaking, you could just wait another 17 months for their next CD to hit the shelves.
(05/26/05 4:00am)
Team America: World Police" is a movie about a small group with a cool lair that is hidden inside of Mt. Rushmore. As the title implies, they take it upon themselves to police the whole world. They are good at fighting terror, but often leave the cities they visit in ruins. When terrorists kill one of the team members, they must recruit a new member who can help them stop a massive terrorist plot. \nSome movies are offensive and hilarious -- in my opinion that is a good thing. Sadly this film is not nearly as funny or clever as it aims to be or as its creators' (Trey Parker and Matt Stone) hit TV show, "South Park." However, the overall feel of the production is quite similar to "South Park." Many of the voices are done by Trey Parker and will be familiar to fans of the show. Excitingly, the cast of "Team America" is entirely made up of marionettes.\nAlthough the movie is a post 9/11 story about America's relationship to the rest of the world and the war on terrorism, the use of puppets doesn't seem to have a symbolic reasoning. Instead it is done, as explained by the filmmakers on one of the special features that comes on the DVD, as an experiment with an unusual way of "animating" a film. While the film appears to poke fun at American imperialism, it ultimately celebrates it. Along the way it bashes big budget action movies and celebrity activism. \nThe special features mostly focus on what goes into making a movie with puppets. It was impressive to see behind-the-scenes footage of the puppeteers at work. I especially enjoyed the mini-documentary about the construction of the sets. There are a variety of detailed sets which simulate both indoor and outdoor locations all over the world, all built to accommodate the two-foot-tall puppets. They are so fantastic I wish I could go and play around on them. Among several other mini-documentaries on the filmmaking process there is a feature on the pyrotechnics at work in the film. The special features also include storyboards and deleted scenes.\nMany people liked "Team America," but I can only recommend it as a good rental for people who enjoyed the film when it was in theaters (thought I suspect it would have been cooler on a big screen) or who are as into puppeteering as the John Cusack character in "Being John Malkovich" (a good movie which I am in no way comparing to "Team America"). I found "Team America" to be disappointingly unfunny.
(05/26/05 4:00am)
Bloc Party\nSilent Alarm\nThis British band's debut is worthy of a purchase. They sound like the Cars meets the Strokes, with a thick accent, extra-catchy beats and super-wicked riffs.\nParliament\nMothership Connection\nWith Bootsy Collins on bass, this album will get you up on the down stroke. If you enjoy hip-hop, or want to "tear the roof off the sucka" - this is for you.\nThe Smiths\nSingles\nRock the classic eighties synth-melodrama with hits like "There is a Light that Never Goes Out." Put on your leather jacket and lean on a wall somewhere.\nSystem of a Down\nMezmerize\nS.O.A.D. proves once again to be head-and-shoulders above their nü-metal compatriots. Turn this politically \ninsurged CD up to 11.
(05/26/05 4:00am)
Before each performance, Emerson Rose lead singer Andrew Bean scans the crowd and thinks about how to make the audience love his band. There are no pyrotechnics, no fog machine. Their stage presence is their only special effect. The five men of Emerson Rose keep it simple, and let their pure rock n' roll captivate the crowd.\n"We don't parade around and say we're doing something very innovative, but we are doing something that people haven't done in a long time," Bean, 22, said. "The simplicity of style is what we want to get out there, and we take pride in entertainment. People come to see a show. If people wanted to just listen to music, they could stay home."\nBean said the challenges of being a struggling musician make hard to balance the band with other aspects of his life, such as school and personal relationships. He is a senior studying English, classical studies and history.\n"It's tough, because we play Thursday, Friday, Saturday, and I have to commute and come back for classes. It's physically an endurance test." \nBean and guitarist K.C. Carson have been in a band called "Driven" since 7th grade, and drummer Padraig Boyle has been a part of the group since 11th grade. With some line-up changes, the band's name changed as well, to "Breakdown." With more additions to the band, they decided to change their name again. Three years ago, Carson's brother, Michael Alexander, joined as bassist. Four months ago, 28-year-old guitarist and IU alum Jim Crabtree joined the band. \nEmerson Rose is currently working on an 11-track CD to be released in early July. "We're producing this ourselves. It's very hard to get a record deal," Bean said. \nOnce the CD is released, the band will focus on promoting their record and getting bigger, more diverse live shows. They want to land a record deal and make music for a living.\nThe CD will be called "Dead on Arrival" and Bean said though it sounds morbid, the title reflects the personal aspect of their profession. "We don't get to have very personal relationships with people," because of the heavy time commitment of being in a band, Bean said. \n"You have to put your personal feelings aside when you're in a practice room or at a gig. You're not a person, you're a group, you're Emerson Rose." \nBean stressed that the success of Emerson Rose depends on the group contribution. "If you're not doing something that's for the band, or you're not performing up to par, it makes the entire entity look bad."\nThe band surrounds themselves with supportive people. "A lot of times we'll get flack about (wanting to be professional musicians)," Bean said. "If everyone believed that, there'd be no music, there'd be no actors, and so you have to ignore that, you have to separate yourselves from these people."\nBean is the primary lyricist of Emerson Rose, and has help from Alexander and Carson. "Songs have come out of daily experience, but I wouldn't say they are autobiographical. Obviously there's pieces of you in the song, but it's like anything else, I'm wary of anybody who says it's completely them. There's an aspect of fantasy in it," Bean said. \n"A melody line will come into my head, I'll keep humming it to myself. Sometimes I'll put words to it. K.C. might be playing a guitar riff, and I'll say 'play that again,'" Bean said. "We work on writing stuff that's consistent with what we love to hear ... the kind of music that we'd want to hear on the radio."\nTo Bean, good music is catchy and really interesting. He said the way it interacts with you determines if the music is good.\nEmerson Rose plays about half original songs and half covers in a four-hour set, usually in bars in the Indianapolis area, Bean said. The band's dominant musical influence is Led Zeppelin, whose songs the band covers, as well as songs by Tom Petty, Aerosmith, and requests from the audience.\n"We are all a product of rock n' roll and all of that manifests itself through us," Bean said. "That's the music we love." \nBean formerly played rhythm guitar, and now is the lead vocalist. "I'm a completely different person onstage," Bean said. "I'm very energetic, I'm always moving, I get very wide-eyed a lot of the times, I'm very aggressive. (I want) people to know that I'm looking at them." \nNor does Emerson Rose want to look like they walked in off the street. "We do a lot of tight button-up shirts. Most of us wear women's jeans because male cuts are very baggy," Bean said. "We wear eyeliner. We're, in a lot of ways, androgynous sometimes."\nBean said audiences have formed misconceptions about Emerson Rose based on their appearance. "I think especially playing in rural Indiana that happens. But once we start playing, it's all apologies after that," he said.\nBean described lead guitarist Carson as his polar opposite onstage. "He's very spacey; he'll sit there and have a cigarette that defies gravity hanging out of his mouth," Bean said. "He pulls into himself when he plays. He's very mysterious. He emanates something, a rock star kind of swagger." Bean said Carson wears cowboy hats and boots onstage. "He looks like he came off the range, with his beard all over the place," Bean said.\nAlexander, Carson's younger brother, has been playing bass for 3 years and also harmonizes with singer Bean. "After a while, you get more comfortable (onstage). You stop trying to copy your favorite artist and do your own thing," Alexander said. "I love playing live, there's nothing like it."\nGuitarist Crabtree, graduated from IU in 1999 with a degree in general studies. Bean said Crabtree went to an Emerson Rose gig once and said he has always wanted to play that type of music, but could never find the right band. He learned their songs by listening to their CD. \n"I'm usually wary of adding new members because it's hard when you have a group dynamic and a relationship that works," Bean said. "Jim's still finding his niche performatively. Musically he fits in perfectly." \nOnstage, Crabtree focuses on keeping a balance between physically getting into the performance, and giving a strong musical effort. Crabtree has been in various bands for the last 15 years, and fulfils the role of "utility guy." \n"I fill in spaces and make everything sound bigger," Crabtree said. "I play rhythm guitar and lead, going back and forth with K.C. and as of last night, I sing backup."\nSenior telecommunications major and drummer Boyle's nickname is "the Crazy Man."\n"He's pretty insane, actually," Bean said. "I think you have to be pretty insane to play drums, because you're just hitting things over and over," Bean said. At shows, Boyle's numerous tattoos can be seen on his arms and back, because most of the time he is shirtless. \n"He's very animated," Bean said.\nTo bring their four-hour show to an end, Emerson Rose plays a Led Zeppelin medley with "Whole Lotta Love" cutting into "How Many More Times" then "D'yer Maker" and then back to "Whole Lotta Love."\n"We want to give a show. It's fantasy," Bean said. "We want people to have escapism, to feel like "whoa," this is strange and new and wonderful -- and I've got to come back"
(05/25/05 8:34pm)
Before each performance, Emerson Rose lead singer Andrew Bean scans the crowd and thinks about how to make the audience love his band. There are no pyrotechnics, no fog machine. Their stage presence is their only special effect. The five men of Emerson Rose keep it simple, and let their pure rock n' roll captivate the crowd.\n"We don't parade around and say we're doing something very innovative, but we are doing something that people haven't done in a long time," Bean, 22, said. "The simplicity of style is what we want to get out there, and we take pride in entertainment. People come to see a show. If people wanted to just listen to music, they could stay home."\nBean said the challenges of being a struggling musician make hard to balance the band with other aspects of his life, such as school and personal relationships. He is a senior studying English, classical studies and history.\n"It's tough, because we play Thursday, Friday, Saturday, and I have to commute and come back for classes. It's physically an endurance test." \nBean and guitarist K.C. Carson have been in a band called "Driven" since 7th grade, and drummer Padraig Boyle has been a part of the group since 11th grade. With some line-up changes, the band's name changed as well, to "Breakdown." With more additions to the band, they decided to change their name again. Three years ago, Carson's brother, Michael Alexander, joined as bassist. Four months ago, 28-year-old guitarist and IU alum Jim Crabtree joined the band. \nEmerson Rose is currently working on an 11-track CD to be released in early July. "We're producing this ourselves. It's very hard to get a record deal," Bean said. \nOnce the CD is released, the band will focus on promoting their record and getting bigger, more diverse live shows. They want to land a record deal and make music for a living.\nThe CD will be called "Dead on Arrival" and Bean said though it sounds morbid, the title reflects the personal aspect of their profession. "We don't get to have very personal relationships with people," because of the heavy time commitment of being in a band, Bean said. \n"You have to put your personal feelings aside when you're in a practice room or at a gig. You're not a person, you're a group, you're Emerson Rose." \nBean stressed that the success of Emerson Rose depends on the group contribution. "If you're not doing something that's for the band, or you're not performing up to par, it makes the entire entity look bad."\nThe band surrounds themselves with supportive people. "A lot of times we'll get flack about (wanting to be professional musicians)," Bean said. "If everyone believed that, there'd be no music, there'd be no actors, and so you have to ignore that, you have to separate yourselves from these people."\nBean is the primary lyricist of Emerson Rose, and has help from Alexander and Carson. "Songs have come out of daily experience, but I wouldn't say they are autobiographical. Obviously there's pieces of you in the song, but it's like anything else, I'm wary of anybody who says it's completely them. There's an aspect of fantasy in it," Bean said. \n"A melody line will come into my head, I'll keep humming it to myself. Sometimes I'll put words to it. K.C. might be playing a guitar riff, and I'll say 'play that again,'" Bean said. "We work on writing stuff that's consistent with what we love to hear ... the kind of music that we'd want to hear on the radio."\nTo Bean, good music is catchy and really interesting. He said the way it interacts with you determines if the music is good.\nEmerson Rose plays about half original songs and half covers in a four-hour set, usually in bars in the Indianapolis area, Bean said. The band's dominant musical influence is Led Zeppelin, whose songs the band covers, as well as songs by Tom Petty, Aerosmith, and requests from the audience.\n"We are all a product of rock n' roll and all of that manifests itself through us," Bean said. "That's the music we love." \nBean formerly played rhythm guitar, and now is the lead vocalist. "I'm a completely different person onstage," Bean said. "I'm very energetic, I'm always moving, I get very wide-eyed a lot of the times, I'm very aggressive. (I want) people to know that I'm looking at them." \nNor does Emerson Rose want to look like they walked in off the street. "We do a lot of tight button-up shirts. Most of us wear women's jeans because male cuts are very baggy," Bean said. "We wear eyeliner. We're, in a lot of ways, androgynous sometimes."\nBean said audiences have formed misconceptions about Emerson Rose based on their appearance. "I think especially playing in rural Indiana that happens. But once we start playing, it's all apologies after that," he said.\nBean described lead guitarist Carson as his polar opposite onstage. "He's very spacey; he'll sit there and have a cigarette that defies gravity hanging out of his mouth," Bean said. "He pulls into himself when he plays. He's very mysterious. He emanates something, a rock star kind of swagger." Bean said Carson wears cowboy hats and boots onstage. "He looks like he came off the range, with his beard all over the place," Bean said.\nAlexander, Carson's younger brother, has been playing bass for 3 years and also harmonizes with singer Bean. "After a while, you get more comfortable (onstage). You stop trying to copy your favorite artist and do your own thing," Alexander said. "I love playing live, there's nothing like it."\nGuitarist Crabtree, graduated from IU in 1999 with a degree in general studies. Bean said Crabtree went to an Emerson Rose gig once and said he has always wanted to play that type of music, but could never find the right band. He learned their songs by listening to their CD. \n"I'm usually wary of adding new members because it's hard when you have a group dynamic and a relationship that works," Bean said. "Jim's still finding his niche performatively. Musically he fits in perfectly." \nOnstage, Crabtree focuses on keeping a balance between physically getting into the performance, and giving a strong musical effort. Crabtree has been in various bands for the last 15 years, and fulfils the role of "utility guy." \n"I fill in spaces and make everything sound bigger," Crabtree said. "I play rhythm guitar and lead, going back and forth with K.C. and as of last night, I sing backup."\nSenior telecommunications major and drummer Boyle's nickname is "the Crazy Man."\n"He's pretty insane, actually," Bean said. "I think you have to be pretty insane to play drums, because you're just hitting things over and over," Bean said. At shows, Boyle's numerous tattoos can be seen on his arms and back, because most of the time he is shirtless. \n"He's very animated," Bean said.\nTo bring their four-hour show to an end, Emerson Rose plays a Led Zeppelin medley with "Whole Lotta Love" cutting into "How Many More Times" then "D'yer Maker" and then back to "Whole Lotta Love."\n"We want to give a show. It's fantasy," Bean said. "We want people to have escapism, to feel like "whoa," this is strange and new and wonderful -- and I've got to come back"
(05/25/05 8:09pm)
Bloc Party\nSilent Alarm\nThis British band's debut is worthy of a purchase. They sound like the Cars meets the Strokes, with a thick accent, extra-catchy beats and super-wicked riffs.\nParliament\nMothership Connection\nWith Bootsy Collins on bass, this album will get you up on the down stroke. If you enjoy hip-hop, or want to "tear the roof off the sucka" - this is for you.\nThe Smiths\nSingles\nRock the classic eighties synth-melodrama with hits like "There is a Light that Never Goes Out." Put on your leather jacket and lean on a wall somewhere.\nSystem of a Down\nMezmerize\nS.O.A.D. proves once again to be head-and-shoulders above their nü-metal compatriots. Turn this politically \ninsurged CD up to 11.
(05/25/05 8:01pm)
Team America: World Police" is a movie about a small group with a cool lair that is hidden inside of Mt. Rushmore. As the title implies, they take it upon themselves to police the whole world. They are good at fighting terror, but often leave the cities they visit in ruins. When terrorists kill one of the team members, they must recruit a new member who can help them stop a massive terrorist plot. \nSome movies are offensive and hilarious -- in my opinion that is a good thing. Sadly this film is not nearly as funny or clever as it aims to be or as its creators' (Trey Parker and Matt Stone) hit TV show, "South Park." However, the overall feel of the production is quite similar to "South Park." Many of the voices are done by Trey Parker and will be familiar to fans of the show. Excitingly, the cast of "Team America" is entirely made up of marionettes.\nAlthough the movie is a post 9/11 story about America's relationship to the rest of the world and the war on terrorism, the use of puppets doesn't seem to have a symbolic reasoning. Instead it is done, as explained by the filmmakers on one of the special features that comes on the DVD, as an experiment with an unusual way of "animating" a film. While the film appears to poke fun at American imperialism, it ultimately celebrates it. Along the way it bashes big budget action movies and celebrity activism. \nThe special features mostly focus on what goes into making a movie with puppets. It was impressive to see behind-the-scenes footage of the puppeteers at work. I especially enjoyed the mini-documentary about the construction of the sets. There are a variety of detailed sets which simulate both indoor and outdoor locations all over the world, all built to accommodate the two-foot-tall puppets. They are so fantastic I wish I could go and play around on them. Among several other mini-documentaries on the filmmaking process there is a feature on the pyrotechnics at work in the film. The special features also include storyboards and deleted scenes.\nMany people liked "Team America," but I can only recommend it as a good rental for people who enjoyed the film when it was in theaters (thought I suspect it would have been cooler on a big screen) or who are as into puppeteering as the John Cusack character in "Being John Malkovich" (a good movie which I am in no way comparing to "Team America"). I found "Team America" to be disappointingly unfunny.
(05/25/05 7:54pm)
Hailing from Portland, Oregon, Sleater-Kinney brings the grunge flavor to The Woods, which fits considering the fact that their label, Sub Pop Records, released Nirvana's first album Bleach. The all-female rock trio represents the punk mentality by placing an emphasis on a distorted sound, vivacious singing (sometimes shrieking) and a hard work ethic (they've released seven albums in ten years). \nOn some tracks, however, the guitar fuzz thickens so that even at a low volume, I thought my speakers were breaking down. Nevertheless, The Woods could raise some eyebrows not only in the Pacific Northwest but around the rest of the country, too. \nLike The White Stripes, Sleater-Kinney doesn't have a bassist, although guitarists Carrie Brownstein and Corin Tucker create low crunchy tones to fill the void. While Brownstein leads, Tucker tackles rhythm well and stresses the low notes. The solo on "Wilderness" is purely original with the exception of a Hendrix-esque rotary effect. \nThe shining moment of The Woods occurs when, in one raw, unedited cut, the band segues from the eleven-minute inventive "Let's Call it Love" to the unfortunately repetitious "Night Light." \nEven more entertaining is drummer Janet Weiss, who plays with a hint of spontaneity by cutting loose on a few tracks. On "Steep Air" she builds up each measure by filling louder with every beat. Similar to Maureen Tucker of the Velvet Underground, Weiss's beats sound primitive and firm on "Jumpers" and "Wilderness."\nLyrically, The Woods takes on a wide range of topics, jumping from a retelling of a children's parable in "The Fox" to a bash on pop culture in "Entertain." Brownstein's piercing voice sounds like a mix between Gwen Stefani and Cindy Wilson of the B-52's, and Tucker adds a fresh spark by singing harmony on "Jumpers." Intended or not, a low production quality flushes the vocals at times, which is a travesty considering the fact that the lyrics are probably the most powerful element of the album. \nAll told, The Woods is a highly listenable work, but Sleater-Kinney needs to demonstrate experience and professionalism more in the future. A stretch of about three tracks taints the other seven, fizzling the overall quality of the album. There were even some points where I thought a song was fading out, only to pick up again with more volume. If you're new to their material, you may want to pick up one of their older releases like Dig Me Out. Or, statistically speaking, you could just wait another 17 months for their next CD to hit the shelves.
(05/25/05 7:47pm)
Matt Dillon plays a veteran Los Angles cop in the new film "Crash." His anger and jealousy are racially manifested in the cruelest of ways toward a young black couple early in the story, when he subjects Christine (Thandie Newton) to a form of sexual harassment that is both original and horrifying. But this is not the pivotal moment in the arc of Dillon's narrative, which the viewer finds later in the film when he comes across a burning car wherein Newton is trapped and in desperate need of a rescuer. By far, the most successful and dramatic sequence in the film is neither the most simple nor the most easily explained. His reaction to the situation is both the theory and motive behind Paul Haggis's directing debut, a startling and refreshingly original look at the complexities of human relationships and perceptions of race in modern day America. \nI recently saw Haggis in a TV interview in which he explained to the talk show host that, living in L.A., one can witness both the kindness of human nature, and the devastating toll that racism and intolerance can take on the day-to-day life of a city. He described it as though it was a disease, something that affects not only people, but the city itself, deteriorating the human condition. However, he went on to explain that in living in L.A. he has discovered that racism is not simply a black and white issue. He said that people are three-dimensional, and so are the actions they take. Unlike the certainly dozens and maybe even hundreds of movies that have been made about race relations, Haggis's film dares to take a closer and unflinching look at what makes people do the things they do. And in this, his characters take on a multi-dimensional complexity; he does not simply reduce the small-minded bigot to a well-defined and culturally accepted stereotype, nor does he slot the idealist as a kind and open-hearted hero. \nAs a mainly independent feature, Haggis caught a break when casting Don Cheadle early, attracting other big names like Ryan Phillipe, Sandra Bullock, Brendan Fraser and Ludacris to the project. An ensemble feature, it follows several storylines in and around today's L.A. This may sound familiar to many, especially fans of Robert Altman or P.T. Anderson, and indeed the film does not escape without some minor flaws, most notably a few scenes that "borrow" ideas from films by the aforementioned directors. But the script is genuine and well-written, and the dialogue is true. Take for example a moment when a Hispanic locksmith tries to convince an Iranian store owner that his door needs fixing, not his lock, and the world-weary Iranian automatically assumes the locksmith is cheating him. We watch this scene with sadness and compassion for both characters; the locksmith because he is just trying to do his job and the Iranian because we understand how his experiences with Americans have left him jaded and untrusting. \nThe actors are all very good in their roles, with two remarkable performances by Matt Dillon and Michael Pena as the Hispanic locksmith working night and day to support the young daughter he loves with an almost painful acuteness. Pena's story maintains a complete and very distinctive quality, and I felt convinced his narrative alone would have made for a great film if expanded upon. \nIf you get the opportunity or are interested in seeing a film that not only asks the right questions, but also provides the right commentary, then see "Crash" and become a better person in the process.
(05/25/05 7:43pm)
it's about time. After more than 20 years since the release of "Return of the Jedi," Star Wars creator George Lucas gives fans a movie actually worth watching: "Revenge of the Sith."\nForgetting the nostalgia of the original trilogy and the hype created by the first two episodes, "Sith" is undoubtedly the best Star Wars movie directed by Lucas; "A New Hope" falls quickly behind. It is second in the series only to the Irvin Kershner-directed "Empire Strikes Back." \nWhile many fans went into the theaters thinking "I've got a bad feeling about this," they exited praising George Lucas for finally delivering a movie that feels like it "fits" the original trilogy. \nFor the first time Anakin Skywalker (Hayden Christiansen) is seen as more than a whiny brat and Darth Vader is seen as more than simply the galaxy's greatest evil. Confused and frustrated, he reaches out countless times to his mentors and those close to him. Instead of finding answers to these questions his concerns are brushed off by both his wife, Padme (Natalie Portman) and the Jedi Council, who continue to distrust him despite his constant allegiance to them. The only person who truly listens to him is Darth Sidious. \nThe movie does a great job offering a new perspective into the power of the "Dark Side." No longer is the "Force" seen as either black or white and audiences can better understand and relate to Anakin's turn. \nEwan McGregor returns and unsurprisingly does an amazing job as Obi Wan Kenobi adding a great new layer to an already classic character. His acting, as per usual, is terrific. \nThe movie has many great moments from the very first scene to the breathtaking climax as familiar faces from both trilogies show up, including an exciting appearance from Chewbacca. But a few things needed improvement.\nThe movies faults are issues that have plagued the rest of the series. The acting, as typical of most of Lucas' films, can be very wooden at times, specifically the Anakin/Padme love sequences (not helped by the sub-par dialogue.) But having said that, the rest of the film's acting is pretty consistent and good. Another problem is how quickly Anakin seems to turn to the Dark Side. \nRegardless, the film works as the CGI animation is surprisingly seamless. The fight sequences are intense, both visually and emotionally stunning, although they can seem lengthy at times. \n"Revenge of the Sith" is a must-see for any fan of the Star Wars saga, even for those dissatisfied with the past two movies. The movie is great from start to finish and will excite anyone and make them remember what it was like to be a kid again.
(05/25/05 7:36pm)
Before using this concert to convince a friend to visit ("So what if they're playing in your home town? If you come see them here, you'll get to see me too!"), I hadn't given the Decemberists much thought. It was just another indie, kind of weird, quite pretentious band that requires patience to dig and I don't have that kind of patience to give. \nAfter seeing them at the Buskirk-Chumley Theater, I realized the quickest way to get into any band is to see them live. With smaller bands, a concert ticket is cheaper than buying a $20 CD. And if they suck, it's as easy to walk out of a venue as it is to delete their pirated album off your mp3 player. \nThe Decemberists rely on a mish-mash of unusual instruments and story-telling lyrics to create fantastical music. They're an "indie" band only because they're on a well-known indie label, Kill Rock Stars. Their music makes me feel like I'm the wife of a pirate on the Black Sea circa the 19th century, drinking at the bar and hanging out with the house minstrel until he returns home. Without the excellent (although sometimes too loud) sound quality and space of the BCT, some of the band's title tracks telling the tale of "The Legionnaire's Lament" or the story of Miranda in "We Both Go Down Together" would have been lost.\nThe band, currently touring for its fifth album, Picaresque, ups the bawdy and downs the obscurity of their music when playing live. They've brought storytelling back into modern music, engaging listeners with what's being described in a song instead of only bobbing their head to the beat. The band's drummer and lead guitarist (John Moen and Chris Funk, respectively) keep the pretentiousness of lead singer Colin Meloy at bay by occasionally laying down to nap during a song or by throwing a cymbal across the stage. \nThe most entertaining moment of evening occurred during "A Mariner's Revenge Song" off the new album. When Funk made up and down chomping motions with his arms, it was the audience's cue they were currently being eaten by a whale and to scream "Bloody Mary!" and for their mother to save them. The screaming lasted longer than the song. \nThe only sore point of the night was any moment Rebecca Gates was on stage, a solo artist and former member of the band the Spinanes. She was the opening act for the Decemberists, contrary to the tickets' claim that Willie Mason was opening. She sucked. Big time. The Decemberists didn't.
(05/12/05 4:00am)
One night in 1971, Douglas Adams was lying in a field in Innsbruck, Austria staring up at the stars, and pouring over a borrowed copy of a travel book called "Hitch-hiker's Guide to Europe." Then the thought occurred to him that someone ought to write a guide for hitchhiking the galaxy. \nSince then, the "Hitchhiker's Guide to the Galaxy" has appeared in many forms. It has been done and redone as a radio program, video game, television show, and of course the prolific five-book trilogy. It has accumulated a cult following of biblical proportions (and God said unto them "We apologize for the inconvenience"). Millions of "Hitchhiker" fans simultaneously exhaled a deep sigh of relief since first time director Garth Jennings didn't mess up the movie that they have been waiting years to see. Maybe that's why it was so windy on Friday ... \nIf you have never heard of the "Hitchhiker's Guide to the Galaxy," the plot is quite simple. Arthur Dent (Martin Freeman) and his friend Ford Prefect (Mos Def) escape Earth just moments before it is destroyed by Vogons. They do some interstellar hitchhiking and find themselves on a stolen ship with Galactic President Zaphod Beeblebrox (Sam Rockwell), his girlfriend Trillian (Zooey Deschanel) and a clinically depressed robot named Marvin (voiced by Alan Rickman). Together they go on a quest to find the ultimate question to Life, the Universe and Everything ... and some tea for Arthur. Of course I use the term "plot" loosely, since the "Hitchhiker's Guide to the Galaxy" is not as much a story as it is a bunch of funny ideas being constantly interrupted by other tangential funny ideas lazily meandering their way toward a bizarre and seemingly pointless end. But it's funny. Very funny. Probably the funniest movie to come out so far this year.\nThe acting is great; particularly by Rockwell, whose performance can best be described by the phrase "what if George W. Bush was a rock star?" Even the smaller roles brought in great performances from Bill Nighy as Slartibartfast, John Malkovich as Humma Kavula, and a brief cameo by Jason Schwartzman as Gag Halfront. The only possible exception was Deschanel, who's flat performance was still not enough to detract from the great effort by the rest of the cast.\nAdams was working on having a "Hitchhiker's Guide to the Galaxy" film produced at the time of his death in 2001. It is a shame that he isn't alive to see how good of a job they did with his script, but this film is a wonderful tribute to one of the funniest authors of all time.
(05/12/05 4:00am)
Smack in the middle of his two biggest commercial triumphs, 1975's Born to Run and 1984's Born in the U.S.A., Bruce Springsteen released his single finest (and yet somehow most obscure) record. Armed with nothing more than his voice, harmonica and acoustic guitar, Springsteen painted 1982's Nebraska as a bleak, haunting portrait of Reagan's America that clawed its way deep into the brain of anyone who dared give it a listen. 13 years later, the criminally underrated Ghost of Tom Joad proved itself the sequel to Nebraska in terms of tone and topicality. Both albums showcased Bruce virtually solo, telling gripping, first-person stories of individuals left behind by their own society, grasping at any semblance of optimism, affection or self-worth.\nSpringsteen's 13th studio and third solo album, Devils & Dust, quickly proves itself more heavily produced than either Nebraska or Joad (courtesy of Brendan O'Brien, who gave The E Street Band's last collaborative effort a splash of grandeur), but rather than overshadowing the intimacy of the lyrics or sincerity of the performance, the added tonal flourishes only amplify what Springsteen is aiming at here, which is a politely cautionary yet hopeful album designed specifically for these heady times.\nOften heralded as a spokesman for the common working man, especially on earlier classic tracks like "Stolen Car" and "One Step Up," Springsteen shifts gears on Devils & Dust to paint himself as a voice for the chronically disillusioned. The title track is a lament by pawns on both sides of the current war as they mistakenly assume their own personal deity is on their side while at the same time simply doing their best to survive the whole ordeal. \nThe touching "Matamoros Banks" is an elegy for every Mexican who perishes in their attempt to find a better life for themselves and their family by crossing the Rio Grande. "The Hitter" tells the tale of a man who makes his living through violence despite being, in his own mind, a desperate and weary pacifist, while "Leah" emanates from the mouth of someone who desires nothing more than a grounded life and comfortable love in the face of stars that seem to be aligned against him.\nDelving into graphic sexual territory for the first time ever on a Springsteen record, "Reno" is less about the instant, guiltless gratification of a tryst with a prostitute than it is about a piteous search for fleeting companionship. "Long Time Comin'," "Maria's Bed" and "All I'm Thinkin' About" are more upbeat than fans of Springsteen's solo work are used to, but all three exude an air of country flair that are unmistakably infectious. Even the dobro and pedal steel are all-inclusive, and only The Boss could make a washboard seem universal.\nIf Devils & Dust has a single weak moment, it's "Jesus Was an Only Son," which is a competent, if formulaic tune in its own right but feels forced when placed up against the 11 superb tracks that surround it. The track ought to have been left off in favor of one of several possible B-sides that packed more of a punch.\nSpringsteen, solo or with E Street, has not recorded an album as confident, consistent or intimate as Devils & Dust since 1987's Tunnel of Love. It's a remarkable return to form for a man who has recently been preoccupied with partisan politics (however noble) and the resurrection of a more rational pre-9/11 national mindset. As Springsteen says on "All the Way Home," "I know what it's like to have failed, baby, with the whole world lookin' on." Regardless of his recent political failure, he's conjured up the finest record of 2005 so far.
(05/12/05 4:00am)
Hoop Dreams" is the story of the lives of two inner-city Chicago boys, Williams Gates and Arthur Agee, whose grand dreams of careers in basketball precede all other things. Originally released in 1994, "Hoop Dreams" was filmed over a five-year period and over 11 full days of film was shot for the project. Director Steve James, editor Frederick Marx and cinematographer Peter Gilbert painstakingly cut the wealth of footage down to a slim 171 minutes and emerged with one of the most compelling documentaries ever made about the search for the American Dream and the highs and lows that go along with it.\nReleased for the first time on DVD courtesy of the Criterion Collection, the picture quality has been improved drastically from the muddy 35mm-to-VHS transfer, making the boys' journey from grammar school to college all the more vibrant in presentation. As William and Arthur lament their economically lacking lifestyles, while at the same time professing their love for their families and those who support their goals, viewers begin sympathizing with the boys, all the way to the point where a game-winning free throw attempt takes on the same sense of heightened suspense as a hard-boiled action scene in most other films. The boys' deep admiration for the likes of Isaiah Thomas, Bobby Knight and various NBA superstars is tangible, palpable and all the more draining as we become unsure if the boys' dreams will ever come true.\nTrue to form, the Criterion Collection has laced this single disc edition with meaningful extras including two full-length commentary tracks, one featuring the filmmakers and the other featuring Gates and Agee in the present day. Both give unending insight into a film already packed with heady material, but only Gates' and Agee's track packs an emotional punch as the two men wax romantic on their former dreams of stardom. Also offered with this disc is a featurette chronicling Siskel & Ebert's undying devotion to getting this film out to audiences and award show voters and a 38-page booklet with several valuable essays.\nThroughout "Hoop Dreams" we're fully aware that the boys' true talent is there, as is obvious from the get-go, but as the film progresses, and the boys' hopes and aspirations are equally encouraged and dashed, it becomes less a film about whether or not William and Arthur will make it to the NBA and more about whether or not they will make successful lives for themselves.
(05/12/05 4:00am)
"Darkness" is another entry into what is becoming a virtual onslaught of the horror/thriller genre that have been released recently. Unfortunately, the DVD, just like the movie, is a disappointment.\nIn "Darkness," a family -- parents Maria (Lena Olin) and Mark (Iain Glen) and two children, Regina (Anna Paquin -- looking closer in age to her performance in "The Piano" than anything recent) and Paul (Stephan Enquist) -- move into a house in rural Spain (where the "Rain in Spain..." proverb holds ridiculously true). Unfortunately, they've moved into a house where something bad happens. \nWhat exactly takes place isn't revealed until late in the movie. For the first hour, you're only given flashes of what happened ... about every minute. I'm convinced that if you watch the movie in slow motion, you'll eventually see a frame that's just a thesis explaining what in the world is going on. \nAnyway, something bad has taken place in this house and it appears that history may be repeating itself as strange things are taking place in the house -- the power goes out, things move across the room on their own. Also, something with the occult and dead babies is going on. Maybe if you're into the Spanish occult you'll understand -- I didn't. \nI find it hard to say that "Darkness" is really a bad movie; I enjoyed the last half hour, even though it was pretty incoherent. I just think that it's very incomplete. Ironic, since the film was originally supposed to be released nearly three years ago. \nThe film feels a lot like a foreign film -- that is, an extremely watered-down, Americanized version of one. It's tries to have that raw feeling of foreign horror but it just doesn't work. I can't help but feel that Dimension (the company that released the movie) is mostly to blame for this; it makes the most sense, because of their reputation for throwing movies out on the market, hoping to recoup some lost funds without any quality control. \nSince there are only five bonus features, let's just break them down for a minute: "Cursed" preview -- not a real extra. "Sin City" preview -- not a real extra, but it is probably the highlight of the features. Dimension movie catalog: glorified commercial for a bunch of Dimension films on DVD -- not a real extra. "Darkness Illuminated": five minutes of interviews with the main cast and the director. Two movie trailers for "Darkness": I still fail to see how movie trailers for a movie you just watched are worthwhile.\nIn the end, you get five minutes of extra material for your $20 DVD purchase. With all the extra space on the DVD, the entire movie "Cursed" could have been put on the DVD and sold as a double pack. At least you'd be getting ripped off less than before.\nIf you're really into the occult, bad horror movies or Paquin, this might be worth a rental. Otherwise, go watch something else like "Sin City"