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(08/23/07 4:00am)
n 2007, the formula for a successful rap album looks something like this: One "chopped and screwed" song, two "snap" tracks and three appearances by Akon. Southern greats UGK abandon this mold for one of the year's most refreshing releases, Underground Kingz. Kingz is an uncompromising effort that reunites members Pimp C and Bun B for their first album since 2001 for more tales of pimping, crime and extravagance that fans have come to expect over the last two decades.\nThe album's excellence lies in UGK's ability to showcase equal parts of past, present and future in their songs. The music is deeply rooted in '60s and '70s soul, sounding like a lost album from the Stax/Volt label. \n"International Players Anthem" is a song-of-the-year candidate and the most complete example of what Kingz is about. Flawless verses by UGK and a fantastic rap from OutKast's Andre 3000, coupled with an outstanding Willie Hutch sample, create the most enjoyable anthem since since Francis Scott Key wrote "The Star-Spangled Banner." The only downside is that it's the second track on the album, making every other great song pale in comparison. \nKingz is not without flaws. UGK recycles several lyrics throughout its 29 tracks and they spend too much time calling out "MySpace haters." Furthermore, clocking in at more than two hours, it's hard to ingest in one sitting. Finally, outside producers like Lil Jon are clueless about working with these slow-speaking, drawling MCs. As is, it's a great album best listened to in chunks that will leave a lasting influence on future generations of pimps, pushers, hustlers and those who rap about them.
(07/12/07 4:00am)
If ass shaking is the new "walking on water", then French duo Justice is the second coming of Christ. On †, their oddly titled debut album, they prove this by playing epic electronic music that makes dancing seem like the 11th commandment.\n "Genesis", the opening track, is a song of Biblical proportions. A daunting organ leads into a timeless-sounding electronic song (if such a thing were possible), replete with a heavy bass line, thumping drums, and laser sounds. It blends into the equally ambitiously titled "Let There Be Light", a pressure filled song that waits until the last five seconds to give the listener a reprieve that truly sounds like seeing light for the first time. Many of the songs that follow offer similar ideas. "New Jack" combines elements from Kraftwerk, Garage music, and Funkadelic into a robotic, yet soulful stew. The two-part "Phantom" dares the audience to stop dancing, but slices of pure feedback taunt them to figure out what dance works.\n The album also takes some needed diversions from the pounding keyboards, stiff drums, rinse, and repeat formula. "D.A.N.C.E." is pure bliss; a Michael Jackson homage that sounds so classic you'll swear you grew up with it. "Stress" is just that, resembling music from a horror movie in the year 3000. Female MC Uffie further adds an interesting dimension in "The Party".\n Whether you want to know what it would be like to watch an hour-long episode of Sprockets in Siegfried and Roy's bedroom, or you just want to spice up a party, this will not disappoint. † is a fun and challenging listen, and by the end of it you won't know whether you've just heard keyboards that sound like guitars or guitars that sound like keyboards, but one thing is for sure: it is Divine.
(07/05/07 4:00am)
T.I. is a solid MC, strong enough to take on the challenge of great beats without interfering, letting the music take precedence to create party-friendly hits. That's what made the thought of this concept album about the struggle between his street and business personas so intriguing. If done correctly, it could've shown a completely different side of T.I. and cemented his status as the King of the South. Sadly, T.I.Vs.T.I.P. is weak in execution and the King might be looking at a short reign. \n The album kicks off with "Big Shit Poppin'" a Mannie Fresh-produced single with an epic beat and a catchy hook. The lyrics are pedestrian, typical braggadocio, but are recited fiercely to mask some of their weakness. This is a perfect track to let the listeners in and get them hyped for more. However, the "more" never comes. Every song follows this exact format: music too powerful for its own good, lyrics deliberately crafted with no creativity, and short, memorable hooks ready for the club. This could mean an incredible amount of singles, (by my count there could be 11) but makes for a boring album experience. Since the album is in 5th gear the entire time, there is no where to go when it needs a boost.\n T.I. is also sorely lacking confidence on Vs.T.I.P.. All of his vocals are triple-tracked to give a false sense of strength, he recites his lyrics way too fast, and he rarely enunciates. I've taken Speech, and this is a textbook case of a man who is unsure of his speaking ability. Producers know this too, and his vocals are sent to the back of the mix.\n The content is nothing new either. Songs like "Tell 'Em I Said That" rehash the clichéd theme of having more street credibility than other rappers. But in 2007, it's not about who's the most real, it's about who's the most surreal. (Don't believe me? Go ask Ghostface, Clipse, Andre 3000, Cam'ron, or the Martian himself, Lil' Wayne.) This may have worked in 2004, but not anymore. In other old news, Jay-Z pops up on "Watch What You Say To Me" to reassure us that he's as gassed as Barry Bonds without steroids, and that 30 is in fact the new 70. Also in the washed up department, Nelly drops by and shockingly outshines T.I. on "Show It To Me". \n This album is a step back from 2006's King. T.I. has nothing to say, and while it sounds okay, it's like he's practicing layups when everyone else is dunking. And since he only gave it an afterthought, so will I: T.I. and T.I.P. are not different at all, both are drug-dealing, overpaid, mediocre MCs and no matter which one is performing the songs, they both sound the same.
(06/28/07 4:00am)
It seems like Ryan Adams has found a new demographic with his latest release, Easy Tiger: baby boomers. That is not to say that this release feels uninspired or unfocused, especially compared to the storm of albums he put out in 2005, or his drunken posts on the Internet, but it lacks a certain punch. Gone are the post-Whiskeytown, exploratory wonders of Heartbreaker, or the head-banging rock of Gold. In their place are stylized singer-songwriter confessions, tunes for people who loved Neil Young growing up but can't listen to hard rock today.\nThe best track on the album is "Halloweenhead," a comparatively heavy song that describes a guy with way too much on his mind. The only problem is that Adams sabotages the would-be radio hit with multiple curse words and a goofy shout ("Guitar Solo!"). If there is a smash hit from this album, it will be "Two," a song dedicated to the power of a relationship, featuring background vocals from the queen of adult contemporary herself, Sheryl Crow. "Tears of Gold" is good, classic country music made for a slow dance, and "Off Broadway" is a sweet, tender song reminiscent of Joni Mitchell. But on the whole, the album feels plain, and by the second half, the songs run into each other in an indistinguishable pit.\nEasy Tiger is a dedicated genre exercise, but it's hard to tell if Adams hasn't aged himself prematurely with this effort. Lyrics about Murphy Beds and moping all night make him sound much older than his 33 years. It's understandable why he would take this route, the same one Wilco and others have tried lately. Putting out a adult contemporary album will sell more because that crowd doesn't get music for free online as much as the younger generation.\nWhichever demographic he's shooting for, on Easy Tiger, Adams shows that he wasn't joking when he wrote the album's last song, "I Taught Myself How to Grow Old"
(06/07/07 4:00am)
R. Kelly is everywhere these days, lending his powerful, sexy voice to just about any artist who can afford him, and nearly guaranteeing a hit in the process. On Double Up, his eigth solo album, Kelly attempts to duplicate the success of these collaborations and retread other styles that brought him his current seat on the throne of R&B.\nThings really get going with the title track, a duet with Snoop Dogg that tells a story about Kelly leaving a club with two girls. It may be offensive and misogynistic, but it's too catchy to complain about. The standout rap collaboration is "I'm a Flirt (Remix)" with T.I. and T-Pain, a fun song that makes me more afraid to bring my girlfriend anywhere near Kelly than I already was.\nKelly has never been at a loss for sexual euphemisms, and the tracks on this album are full of them. In "The Zoo," he promises to be a "sexasaurus," and in "Sex Planet" he swears he won't stop until he gives you "meteor showers." The only females that could possibly find this attractive are under 16 -- but then again, I've heard that is his target audience.\nPart Marvin Gaye, part Richard Pryor and part Michael Jackson (and not the part that sings), Kelly is a mad genius who knows exactly what he needs to do to get attention. Some might consider his songs disgusting and brainless, but they are not in the majority. While there is enough filler and repeated ideas throughout the album to make you think he might actually mean what he says, Kelly is way too tongue-in-cheek for this to be true. He may be past his days of collaborating with Celine Dion, but there is no doubt that his new material is still great music. Double Up is a solid -- if somewhat bloated -- effort, and a great way to kick off the summer.
(05/31/07 4:00am)
Let's face it: Summer TV sucks. Reality programming dominates, and titles like "National Bingo Night" and "America's Got Talent" are poor substitutes for entertainment. The NBA playoffs haven't brought many exciting moments since the Golden State Warriors' early exit. Even old standards like "The Sopranos" and "Entourage" are clinging to life because of reputation, not inspiration or innovative storytelling. However, the unbearable summer heat and the relative lack of events in the city make the occasional veg-out session in front of the TV a necessity. So next time you are stuck choosing between watching the 85th replay of Barry Bonds going 1-3, 2BB, or Jim Clark from Little Rock, Ark. screaming "NO DEAL!!" like he's on fire, I suggest option C: go rent or buy DVDs of "The Wire."\nYou might've heard of "The Wire" before, HBO's critically acclaimed series on inner-city Baltimore and how it is affected by the drug trade and law enforcement. You may have even started watching it accidentally On Demand when you were trying to get reruns of "Sex and the City." But if you are looking for a complex show to grab your attention and characters you can identify with on a much deeper level than your mutual love of expensive shoes, "The Wire" is the only way to go.\nIt is almost impossible to pick one point from which to begin discussing the show. Unlike typical cop and lawyer shows, gangsters in "The Wire" are much more than an evil presence that needs to be eliminated, and unlike "The Sopranos," cops on this show are much more than an unseen enemy who try to destroy the criminals. The closest thing the show has to a main character is Jimmy McNulty, a homicide detective who trusts killers on the street more than his own supervisors. He isn't in the job of solving murders because he feels sympathy for the victims, a position you might see on a simpler show like "CSI." Instead, he does it because he gets a thrill from figuring out a puzzle. Together with his partner Bunk, McNulty regularly consults drug dealers and thugs to get to the root of what he sees as the real problem facing the city: murder. Despite a knack for sticking up for what he believes in no matter what his superiors tell him to do and his beautiful friendship with Bunk that seems as genuine and authentic as any friendship you've had, he is a compulsive drinker and an unfaithful husband -- just one example of the complexity of the characters on the show.\nCops and drug dealers aren't the only important roles on the show either. Omar Little is a stick-up man and arguably the most popular character on "The Wire." While he doesn't participate in the drug trade, he is seen as a modern-day Robin Hood on the streets of Baltimore, stealing heroin from the dealers and giving it to the addicts or selling it back to its original owner for a pretty penny. Everyone is afraid of Omar, and when he is heard whistling "The Farmer in the Dell" or seen carrying his trademark shotgun down the street, word spreads incredibly quickly and people fly into back alleys. When he isn't brandishing a weapon or stealing heroin, he is a valuable informant to the police department, acting as a key witness in murder trials. In addition, Omar is also openly gay -- something that is considered a cardinal sin, punishable by death in the tough code of the streets.\nThere are at least twenty other characters deserving of a full column, such as Bubbles, a friendly addict and informant who tries to teach his nephew the value of staying in school and not using drugs, and Clay Davies, the outlandish senator who depends on campaign contributions from drug dealers. And I haven't even mentioned Stringer Bell, Ziggy Sobotka or Dookie. "The Wire" does an incredible job of showing how the war on drugs is a lot more difficult than throwing a dealer or two in jail, and how even people who want to improve the situation on the streets have to go through a lot more institutional red tape than the results are worth. It is also the clearest and rawest depiction of institutional racism I've ever seen, making city services and public schools seem like a joke compared to the secure infrastructure of the drug trade. The show's fifth and final season is coming up later this year or early 2008, so now is a perfect time to catch up on old episodes. You will learn more than you ever thought existed about politicians, police and drug dealers, and you may even become bilingual (if the West Baltimore street slang isn't a different language, I don't know what is). If you want to spend your summer watching something much more real than "reality" TV, pick up "The Wire"
(04/26/07 4:00am)
Before 2004, the biggest contribution Lil' Wayne made to rap music was the phrase "Drop it like it's hot." \nWhile the 25-year-old has been rapping for more than a decade, over the past three years he has acquired a depth in the knowledge and style of his lyrics that is so fresh and innovative, it can fairly be compared to Rakim, Nas or Jay-Z in their primes. To showcase the full breadth of his skills since reaching this level, Wayne has released an incredible amount of mixed tapes. Da Drought 3, his first major mixed tape release since last fall's Lil' Weezyana, collects some of Wayne's best cuts since then and adds several more. This double-disc effort shows Wayne flexing his skills over instrumental versions of some of the most popular songs today, including hits by Rich Boy, Mike Jones, T.I., Mims, Swizz Beatz and even Gnarls Barkley. He takes on all of these beats with consistent ferocity, embarrassing the original owners in the process. \nRapping over "It's Me, Bitchez," Wayne plays with the opening verse of the original and raps "Chillin in the Phantom, listenin' to Opera, gun is my Bodyguard, call it Kevin Costner." He also manages to name-check George Gervin, Buffalo Bill, Emmett Till, Johnny Gill, Jayson Williams, Erik Dampier and Bill Laimbeer in the song without losing focus.\nThe highlight of Drought is "Put Some Keys On That," where he spits intricate verses over the "Throw Some D's" beat, rich with references, metaphors and wordplay. As far as rapping about money goes, "I'm a vegetarian, I only eat beats (beets), wear a lot of carats (carrots), and I smoke the best green" is unparalleled among today's MCs who are complacent just to say they have rims or a fancy chain. \nIf this isn't enough, Wayne is able to rap from a socially aware standpoint as well, frequently discussing life in his hometown, New Orleans, post-Hurricane Katrina and the government's response to the tragedy. In "Ride 4 My Niggas," Wayne proudly asserts "the majority of my city is violent, they tryin' to make a brand new map without us, but the tourists come down and spend too many dollars, and no matter how you change it, it will still be ours." \nThe album spans nearly 30 tracks, and at least five of them fall flat and do not warrant repeat listening. The 10-minute "Outro" is completely pointless except where he tells listeners he hopes they got the album for free. Despite these setbacks, this is some of the wildest, freshest, funniest and toughest rap out today. Lil' Wayne is clearly ready to take the "Greatest Rapper Alive" throne that he already claims ownership over. Any fans of rap who don't listen to this album are doing themselves a disservice, equivalent to being a basketball fan but refusing to watch Jordan in his prime.
(04/19/07 4:00am)
After playing WiiSports for the first time, I immediately began to anticipate the release of two games that would expand on the foundation that it had laid down; those games were "Fight Night" and "Tiger Woods." \n This version is clearly unlike any others, as it is the first where you actually swing your controller like a golf club. The game has instantly become far more interesting than its predecessors because it no longer helps to know buttons, you must know how to hit a ball with fade, draw and topspin. Luckily for novices there are tutorials and tips to help out. \n Once you get on the links there are plenty of options to keep you entertained. You can play as Woods, Vijay or about 50 other golfers (including personal favorite John Daly) or create your own player to take on the PGA Tour. This option is amazingly similar to the real life Tour; different tournaments are held every weekend on the calendar and to stay for Saturday and Sunday, you must make the cut after the first 36 holes. Other game modes include match play, stroke play and a golf version of H-O-R-S-E called "T-I-G-E-R." \n The main problem with "Tiger Woods" is the accuracy of the controller. The majority of the shots register pretty well, but every once in a while the ball will be hit before you actually took a swing, or it will have unwanted fade placing you square in the bunker you aimed so hard to avoid. There also seems to be no real control over the strength of your swing, as every successful swing is hit with "110 percent" power and usually lands farther than anticipated. While the Game Face mode has an incredible amount of customizable options to design your own player (including three different follicly challenged hairstyles: combover, receding and balding), the courses feel uninspired and repetitive.\n This game runs miles around its closest competition, the golf game in WiiSports, but that's not saying much; it was supposed to. When judged on its own, it has a ways to go in terms of performance and graphics, two components which I'm sure will be improved in subsequent versions. In the end, playing "Tiger Woods" replicates the feelings of real golf: One minute you'll be extremely relaxed and enjoying the scenery, but the next minute you'll have to do all you can not to throw your Wiimote into the television.
(03/29/07 4:00am)
In the early '90s, I lived and breathed the Teenage Mutant Ninja Turtles. I watched the cartoons and movies, had the pizza shooters and toothpaste, and words like "Cowabunga!" and "tubular" were staples in my vocabulary. After a decade without Ninja Turtles, I was absolutely ecstatic to hear that a new movie would be coming out. This is why it killed me to see the latest incarnation of the TMNT franchise.\nThe film follows a painfully unclear backstory involving a man named Max Winters (Patrick Stewart), who gained eternal life at the expense of turning his friends into stone. He then reanimates the stone figures in order to capture 13 evil beasts with the aid of another army of ninjas at the 3,000-year anniversary of the stars aligning, so he can realize his vision of world domination. Or not. In the few minutes, the film makes Winters appear evil because he wants to cause destruction, but in the end, I'm reasonably sure that wasn't his intent. If that isn't murky enough for you, try watching it. It only makes less sense.\nOf course, it's not the story that us old-timers come for; it's the chance to relive our past and get another look at the heroes who meant so much to us in our youth. The problem with this expectation lies in that nothing is how it used to be. At the beginning of the movie, the Turtles are no longer working together. Leonardo is training in Central America, Michelangelo and Donatello are both holding down day jobs, and only Raphael continues his vigilante justice under the disguise of The Nightwatcher. \nThese are not the characters who we grew up with. Their personalities from the show and old movies are barely touched upon, and the Turtle who gets the most screen time is the brooding, dark Raphael, easily the most boring of the bunch. Every Turtle is such a wuss, I'm tempted to check under those shells and make sure nothing is missing. Also, April O'Neil (Sarah Michelle Gellar) no longer works as a news reporter, is dating Casey Jones, and somehow picked up a third-degree black belt in every martial art, a boob job, bug eyes and Brian Urlacher's calves. \nFirst-time director Kevin Munroe does his best to distance himself from old storylines as much as possible and succeeds, to no one's enjoyment. The CG is a far cry from the two-dimensional show we knew and loved, and while the choice to update the Turtles for a new generation is understandable, aside from one skateboard trip in a sewer, the graphics are nothing special. The faux-anime style of the film is disappointing for old fans who were expecting something a little more upbeat, as the general mood of the film is somewhere between "darker" and "darkest." Of the handful of jokes that do exist, all but one or two fall completely flat. There is nothing uniquely TMNT in here, as pretty blatant rip-offs of franchises such as "Lord of the Rings" are seen in the first 10 minutes. \nThis film does nothing for fans of the original looking to get one of their first true tastes of nostalgia and won't get a younger crowd to embrace the "Heroes in a Half-Shell." The only thing it makes me want to do is find my TMNT pajamas, crawl under my TMNT sheets and think about the good old days.
(03/07/07 5:00am)
It's hard to believe, but in less than a year there have been two movies starring Samuel L. Jackson with the word "Snake" in the titles. Both have featured gimmicks so goofy that most viewers can't wait to fast-forward to the "good part." In this case, it's seeing Christina Ricci chained to Jackson's radiator while a bewildered observer states: "A half-naked white woman chained up in your house?!" While "Black Snake Moan" doesn't disappoint when it comes to delivering this scene, it does on almost every other level.\nRicci plays Rae, a sex-addicted, drug-abusing maniac with a dark and shadowy past. When she is left for dead on the side of the road after being attacked by her boyfriend's brother, she is discovered by Lazarus (Jackson), a deeply religious Southern farmer who hopes to "cure" Rae of her "sickness" by chaining her up in his house until she changes.\nJackson gives a spirited performance as Lazarus, pulling off the stereotypical Southern character costume of a thick accent, gold teeth and religious devotion with credibility. He also plays his own guitar parts in the film, which are passable. \nThe bond that forms between Rae and Lazarus is forced and isn't given the time it really needs to build up. Anyone who woke up chained to a radiator in a stranger's home wouldn't cozy up to her captor as quickly as Rae does. Other themes, such as Lazarus' past life as a bluesman or Ricci's history of abuse, are never built on and leave the viewer wanting more. When Ricci is first chained up, she attempts to seduce Jackson in a struggle between Jackson's good character and Ricci's evil, which would've been an interesting concept to expand upon, but after that scene it is never discussed again.\nThis film does not have the same passion as writer/director Craig Brewer's "Hustle & Flow." None of these characters possess the richness and depth of the characters in that film, making this experience much less engaging. It is obvious, however, that one thing Brewer knows very well is Memphis, Tenn. Its lush green landscape and rural dirt roads are shot with such passion that you can almost feel the Southern sun beating down on your neck. Although these backdrops are very enjoyable to watch, it would've been nice if Brewer focused more on the plot. The music also appears carefully chosen and brings authenticity to the film.\nJust like the other "Snake" movie, "Moan" is built around a corny gimmick that is more fun to talk about than to watch. When snakes were on a plane, however, the campy element was played up to a tee, but the tone of this film is much too serious and preachy to even joke about. Here's to hoping that this is just a sophomore slump for Brewer and that the era of "Snake" movies with Sam Jackson comes to an abrupt end.
(03/07/07 5:00am)
I did not see this coming. I don't know who could've. When I put on Rjd2's latest release, The Third Hand, I expected more of the instrumental rap songs I loved from his previous efforts such as Deadringer. Even the intro, a short, wordless throwaway, had me ready for some head-nodding hip-hop. Instead, as soon as "You Never Had It" kicked in, I spent the next 45 minutes trying to figure out if I was playing the right album.\nOver the first half of the album there is barely any evidence that this is made by the same guy who is known for putting dozens of samples in a single song; in fact, there isn't a sample to be found, RJ plays all of the instruments and is the only singer on the entire album. The music on here is closer to Of Montreal or Eels than anything resembling rap, as the majority of the cuts use keyboards and synthesizers in a decidedly un-hip-hop way. RJ's voice sounds cold and mechanical, like a guy afraid of singing, and the vocal tracks appear buried in the mix to make the lyrics seem muddled and incomprehensible. This is not necessarily a bad thing, however, because the lyrics that are decipherable don't offer anything particularly new and mostly stick to common pop themes, making the need for this release all the more confusing.\nEven the three instrumental cuts on the album do not resemble much of his old work at all. The greatest strength of old tracks like "Ghostwriter" was that they were fully fleshed rap songs even though they lacked the lyrics that are usually thought of as the basis of rap music. The songs without words on here, like "The Bad Penny," sound as if they are tossed off and incomplete.\nTo Rjd2's credit, this is the first album I have heard in a long time that actually picks up as it goes on. Some vestiges of his old persona shine through on cuts such as "Beyond the Beyond," which has melancholy, haunting background vocals, soft drums and funky keyboards worthy of a hip-hop record. In fact, while none of the songs totally deviates from the danceable-pop sound, the second half is filled with familiar-sounding drum loops and keyboards resembling the old RJ.\nFans of music are a fickle bunch, accusing their favorite bands of unoriginality when they make records similar to their earlier ones, but calling them sellouts or abandoning them as soon as they attempt an artistic leap. As badly as I want to go along on the leap, I just can't. I know that the intentions of an artist shouldn't affect the music he creates, but the feeling that RJ is just jumping on the indie-pop bandwagon stops me from diving in and appreciating this for what it is. Only time will tell if his jump from indie-rap powerhouse Def Jux to indie-pop haven XL has changed his style forever, but in the meantime this album is worth checking out just to hear a master at his craft experimenting with something completely different. I wanted to give the album an incomplete, because given Rjd2's output to this point, it seems unfair to give an album with such a radically new output a letter grade, but that shouldn't prevent fans of RJ fans of this style from giving this album a try.
(02/22/07 5:00am)
It's taken nearly 22 years, but last Tuesday something I never thought possible came true: I was rewarded for picking a nose. If that's not enough, I've also been honored for clipping nails, slapping grown men in the face and doing the wave. Suffice it to say, it's been a pretty good week. And you don't have to be as handsome or famous as me to get away with these things without fear of ridicule or an attack. With Nintendo's latest installment of the WarioWare franchise, "Smooth Moves," you too can do all of these things and more. \nThe first Wario release for the Wii lives up to the hype. Not only do players get to shave sheep, put in dentures and shake bugs off of bananas, it contains more than 200 other microgames (short tasks lasting about three seconds) spread across 17 levels and 19 forms (ways to hold the Wiimote). The forms use funny names such as Big Cheese and Mohawk and open up revolutionary new ways to play the Wii. In one game, a player holds the Wiimote like a champagne bottle and must shake it up and pull his thumb off in order to spray it everywhere. In another, the player puts the Wiimote in front of his face like an elephant's trunk and collects apples from trees. The majority of the microgames are easy enough that even the most novice of players will achieve success in no time at all, but they also increase in difficulty to challenge more experienced players. Succeeding in the microgames is crucial, because each completed level opens the path to more games, levels and options. \nAfter getting halfway through the single-player mode, a multi-player option is unlocked that adds much more depth and excitement. Most of the multi-player levels consist of playing the microgames against others in sudden-death- style matches, but there are other games as well, such as a realistic darts game that may be the successor to WiiSports' bowling game in terms of addictiveness and a cooperative running game where two players must work together to jump over potholes.\nOverall, this is a very fun game that is enjoyed best when other people are around to see how ridiculous you look holding a Wiimote on your head or playing tug-of-war against a television screen. The graphics leave a lot to be desired, but it's the game play that is the most important aspect of "Smooth Moves." While the play is usually very accurate, some of the forms are better in theory than practice, and some of the games will undoubtedly have you shouting at the screen, swearing you performed the moves correctly. However, this game is a lot of fun and it should hold me over until they figure out a way to give me a prize for binge-eating and chain-smoking.
(02/15/07 5:00am)
Every once in a while a rap album comes along that makes me re-evaluate my whole music repertoire and wonder why I listen to anything other than great rap music. Sean Price's Jesus Price Supastar is the latest in that category. Price, once known as Ruck in the duo Heltah Skeltah, is incredibly consistent on his 16-track sophomore solo effort.\nThis album has something for every fan of rap music. Lyrics lovers will delight in the intricate wordplay Price displays on cuts such as "Oops Upside Your Head," where lines such as "Rap like P, don't rap like P/I'll back smack a rapper backwards who try and act like me" will have backpackers reaching for the rewind button. Beat junkies will be impressed with the great music, which is produced by stars such as 9th Wonder of Little Brother and newcomers like Illmind and contains great soul samples as well as head-bobbing drums and keys. \nPrice, a member of the constantly underrated Boot Camp Clik, brings fellow members Buckshot and Steele to collaborate on "Cardiac" and "Oops…" respectively. Former partner Rock contributes verses to two songs, "P-Body" and "Church," and their exchanges bring some of the most exciting moments on the album. The most famous contribution on the album comes from Sadat X on "Da God," which is also its most fun and memorable track. On Jesus, Price is mostly concerned with boasting and tongue-twisting lyrics, but the self-proclaimed "Brokest Rapper You Know" isn't above selling drugs or committing random acts of violence if he can't gain wealth by rapping. However, the difference between him and many of the other MCs today who rap about similar topics is that his way of saying it comes off fresh and funny, such as his claims that "if my record ain't spun, I'll network with some guns" and that you can find him "selling crack after the show".\nAs is the problem with many rap albums today, it simply contains too many songs. This could've been a flawless 12-track album, but songs like "Violent" and "One" are needlessly included and bring down the overall tightness. Also, Price may have great skills, but his voice is too generic and even hard to distinguish amongst some of the lesser-known collaborators such as Skyzoo and Rustee Juxx. With that said, this is a solid effort that people with all different levels of rap experience can enjoy. \nFans of the latest "Young" or "Lil'" rapper of the week should challenge themselves by giving this a listen, and people who claim they listen to "hip-hop, not rap" should put this on to see there really is no difference and great music can evolve no matter the subject matter. Now, if you'll excuse me, I have to go listen all the other acclaimed rap I've neglected over the last two years.
(02/15/07 5:00am)
Twenty-three years after it was one of the first HBO comedy specials, Eddie Murphy's long awaited DVD release of "Delirious" is finally here. "Delirious," which chronicles a performance at Washington, D.C.'s Constitution Hall in 1983 is raunchy, controversial and very funny. It shows a brash 22-year-old fresh off the success of an incredible three-year run on "Saturday Night Live" looking more confident than ever. His appearance alone, with the familiar red leather suit and shiny perm, is the epitome of early '80s cockiness. \nThe routine runs the gamut, covering topics such as homosexuality, women, singers and growing up. Murphy's best moments come when he is imitating the likes of James Brown, Michael Jackson and Stevie Wonder or telling stories about his childhood. Bits about getting excited for the ice cream man and the disasters of family cookouts are timeless, and Murphy's spot-on impression of himself as a child gives any viewer something to identify with. Frequent references to his brother Charlie sound much funnier today given his recent rise to fame on "Chapelle's Show."\nAnother great bit is Murphy imitating the people who will try to retell his jokes at work the next day and the reaction they are bound to get. While many of the jokes are still uncanny in their relevance to today's world, some of them are just as outdated as Murphy's Jheri curl. For instance, Murphy's liberal use of the word "faggot," his accusing homosexuals as being the only group of people with AIDS and condoning of violence toward women no longer sound the same to ears in 2007 as they once may have. \nFurthermore, the jokes within these topics appear to be more mean-spirited than they are funny. It's easy to see why Murphy tried to block the commercial release of this performance for so long, since he's matured greatly and renounced several of these stances. The act ends with Murphy explaining how amazing it is that less than 50 years ago, in the same building where he is performing, a black opera singer named Marian Anderson was banned from singing because of segregation and now he can get paid to go there and "hold (his) dick on stage." While it is understandable for this 22-year-old to bask in his incredible ascent to fame, it is this kind of statement that the older Murphy may no longer be so proud of.\nThe special features are somewhat thin given such an important release and only contain two deleted scenes, as well as a 30-minute interview with Byron Allen that borders on insightful but is mostly marked by poor questions and a lack of chemistry between the interviewer and his subject. All in all, the DVD does a great job of showing a fantastic star at an early stage of his career and is a must-see for fans of stand-up comedy.
(02/15/07 12:06am)
Twenty-three years after it was one of the first HBO comedy specials, Eddie Murphy's long awaited DVD release of "Delirious" is finally here. "Delirious," which chronicles a performance at Washington, D.C.'s Constitution Hall in 1983 is raunchy, controversial and very funny. It shows a brash 22-year-old fresh off the success of an incredible three-year run on "Saturday Night Live" looking more confident than ever. His appearance alone, with the familiar red leather suit and shiny perm, is the epitome of early '80s cockiness. \nThe routine runs the gamut, covering topics such as homosexuality, women, singers and growing up. Murphy's best moments come when he is imitating the likes of James Brown, Michael Jackson and Stevie Wonder or telling stories about his childhood. Bits about getting excited for the ice cream man and the disasters of family cookouts are timeless, and Murphy's spot-on impression of himself as a child gives any viewer something to identify with. Frequent references to his brother Charlie sound much funnier today given his recent rise to fame on "Chapelle's Show."\nAnother great bit is Murphy imitating the people who will try to retell his jokes at work the next day and the reaction they are bound to get. While many of the jokes are still uncanny in their relevance to today's world, some of them are just as outdated as Murphy's Jheri curl. For instance, Murphy's liberal use of the word "faggot," his accusing homosexuals as being the only group of people with AIDS and condoning of violence toward women no longer sound the same to ears in 2007 as they once may have. \nFurthermore, the jokes within these topics appear to be more mean-spirited than they are funny. It's easy to see why Murphy tried to block the commercial release of this performance for so long, since he's matured greatly and renounced several of these stances. The act ends with Murphy explaining how amazing it is that less than 50 years ago, in the same building where he is performing, a black opera singer named Marian Anderson was banned from singing because of segregation and now he can get paid to go there and "hold (his) dick on stage." While it is understandable for this 22-year-old to bask in his incredible ascent to fame, it is this kind of statement that the older Murphy may no longer be so proud of.\nThe special features are somewhat thin given such an important release and only contain two deleted scenes, as well as a 30-minute interview with Byron Allen that borders on insightful but is mostly marked by poor questions and a lack of chemistry between the interviewer and his subject. All in all, the DVD does a great job of showing a fantastic star at an early stage of his career and is a must-see for fans of stand-up comedy.
(02/14/07 11:32pm)
Every once in a while a rap album comes along that makes me re-evaluate my whole music repertoire and wonder why I listen to anything other than great rap music. Sean Price's Jesus Price Supastar is the latest in that category. Price, once known as Ruck in the duo Heltah Skeltah, is incredibly consistent on his 16-track sophomore solo effort.\nThis album has something for every fan of rap music. Lyrics lovers will delight in the intricate wordplay Price displays on cuts such as "Oops Upside Your Head," where lines such as "Rap like P, don't rap like P/I'll back smack a rapper backwards who try and act like me" will have backpackers reaching for the rewind button. Beat junkies will be impressed with the great music, which is produced by stars such as 9th Wonder of Little Brother and newcomers like Illmind and contains great soul samples as well as head-bobbing drums and keys. \nPrice, a member of the constantly underrated Boot Camp Clik, brings fellow members Buckshot and Steele to collaborate on "Cardiac" and "Oops…" respectively. Former partner Rock contributes verses to two songs, "P-Body" and "Church," and their exchanges bring some of the most exciting moments on the album. The most famous contribution on the album comes from Sadat X on "Da God," which is also its most fun and memorable track. On Jesus, Price is mostly concerned with boasting and tongue-twisting lyrics, but the self-proclaimed "Brokest Rapper You Know" isn't above selling drugs or committing random acts of violence if he can't gain wealth by rapping. However, the difference between him and many of the other MCs today who rap about similar topics is that his way of saying it comes off fresh and funny, such as his claims that "if my record ain't spun, I'll network with some guns" and that you can find him "selling crack after the show".\nAs is the problem with many rap albums today, it simply contains too many songs. This could've been a flawless 12-track album, but songs like "Violent" and "One" are needlessly included and bring down the overall tightness. Also, Price may have great skills, but his voice is too generic and even hard to distinguish amongst some of the lesser-known collaborators such as Skyzoo and Rustee Juxx. With that said, this is a solid effort that people with all different levels of rap experience can enjoy. \nFans of the latest "Young" or "Lil'" rapper of the week should challenge themselves by giving this a listen, and people who claim they listen to "hip-hop, not rap" should put this on to see there really is no difference and great music can evolve no matter the subject matter. Now, if you'll excuse me, I have to go listen all the other acclaimed rap I've neglected over the last two years.
(02/01/07 5:00am)
What makes a movie G, PG, PG-13, R or, most controversially, NC-17? Is gay sex more explicit than straight sex? Why is violence more acceptable than sex in American cinema? Is it all a giant government conspiracy? Documentarian Kirby Dick attempts to answer these questions and more in his independently released feature on the ratings board of the Motion Picture Association of America, "This Film is Not Yet Rated." \nIn addition to side-by-side comparisons, interviews with acclaimed filmmakers and provocative attempts to contact the heads of the MPAA, Dick also hires private investigators to track down the heretofore anonymous group of people who are responsible for rating every theatrical release in America. While this seems like an interesting topic and approach to answer these questions, Dick simply does not make the subject engaging enough for a full-length film.\nFor starters, the film is very unfocused. Parts of it attempt to be an exposé in the vein of "Fahrenheit 9/11" and "Super Size Me," but Dick is not nearly the overwhelming presence that Michael Moore or Morgan Spurlock are known to be. Also, a good portion of the film focuses on the investigators themselves, who (by no accident on the part of the director, I'm sure) happen to be gay. Once the PIs find out the identities of the movie raters, no real attempt to contact and expose them is made, which ends up weakening the position taken by the director. \nThe best parts by far are interviews with filmmakers who have a reputation for being risqué, such as Matt Stone, Kimberly Pierce and John Waters. Their comments are insightful and they appear to have great knowledge and experience in dealing with the frustrations that the MPAA can cause. If the detective angle was scrapped completely and we were just left with more fact-finding and in-depth interviews, there might be some important light shed on this seemingly bribable, elusive and ultraconservative company. As it is, the film just appears sloppy and boring. It yields predictable results and forced conclusions, the most obvious of which is the rating that as you can probably guess is "suspiciously" NC-17. While it may have worked better as an hour-long documentary for TV, "This Film is Not Yet Rated "is hardly the earth-shattering work it intends to be.\nSurprisingly, the special features are what really give this DVD the excitement it badly needs. Aside from a run-of-the-mill commentary track, the extras tacked on to this disc are the best parts of the movie. Deleted scenes featuring extended interviews with Stone, Waters and Kevin Smith are entertaining, as well as a Q&A Dick held at a film festival. New questions about racism in ratings and the effect of technology on the MPAA really get wheels turning and show what the film could've been in the hands of a more exciting filmmaker. As it stands, the movie is rentable just to catch a glimpse of how the ratings system works, and if you've already seen it, the extra interviews are better than the originals.
(02/01/07 3:30am)
What makes a movie G, PG, PG-13, R or, most controversially, NC-17? Is gay sex more explicit than straight sex? Why is violence more acceptable than sex in American cinema? Is it all a giant government conspiracy? Documentarian Kirby Dick attempts to answer these questions and more in his independently released feature on the ratings board of the Motion Picture Association of America, "This Film is Not Yet Rated." \nIn addition to side-by-side comparisons, interviews with acclaimed filmmakers and provocative attempts to contact the heads of the MPAA, Dick also hires private investigators to track down the heretofore anonymous group of people who are responsible for rating every theatrical release in America. While this seems like an interesting topic and approach to answer these questions, Dick simply does not make the subject engaging enough for a full-length film.\nFor starters, the film is very unfocused. Parts of it attempt to be an exposé in the vein of "Fahrenheit 9/11" and "Super Size Me," but Dick is not nearly the overwhelming presence that Michael Moore or Morgan Spurlock are known to be. Also, a good portion of the film focuses on the investigators themselves, who (by no accident on the part of the director, I'm sure) happen to be gay. Once the PIs find out the identities of the movie raters, no real attempt to contact and expose them is made, which ends up weakening the position taken by the director. \nThe best parts by far are interviews with filmmakers who have a reputation for being risqué, such as Matt Stone, Kimberly Pierce and John Waters. Their comments are insightful and they appear to have great knowledge and experience in dealing with the frustrations that the MPAA can cause. If the detective angle was scrapped completely and we were just left with more fact-finding and in-depth interviews, there might be some important light shed on this seemingly bribable, elusive and ultraconservative company. As it is, the film just appears sloppy and boring. It yields predictable results and forced conclusions, the most obvious of which is the rating that as you can probably guess is "suspiciously" NC-17. While it may have worked better as an hour-long documentary for TV, "This Film is Not Yet Rated "is hardly the earth-shattering work it intends to be.\nSurprisingly, the special features are what really give this DVD the excitement it badly needs. Aside from a run-of-the-mill commentary track, the extras tacked on to this disc are the best parts of the movie. Deleted scenes featuring extended interviews with Stone, Waters and Kevin Smith are entertaining, as well as a Q&A Dick held at a film festival. New questions about racism in ratings and the effect of technology on the MPAA really get wheels turning and show what the film could've been in the hands of a more exciting filmmaker. As it stands, the movie is rentable just to catch a glimpse of how the ratings system works, and if you've already seen it, the extra interviews are better than the originals.
(01/18/07 5:00am)
I was really excited when I started "Crank." Jason Statham is solid in everything he does; the concept of a guy who needed to keep moving or face death seemed very compelling, and I love a good action movie. What followed over the next 83 minutes (only 83!?) was a boring, contrived and disappointing exercise in patience. \nThe plot, if it can be called that, is based around contract-killer Chev Chelios (Statham) being poisoned by a rival with a "Beijing Cocktail." This cocktail is a lethal mix with effects that can only be slowed down by constantly getting an adrenaline rush, but will eventually work within a time limit that Verona places at an hour. \nIn between is a predictable series of adrenaline-increasing events, including lots of cocaine, sex in Chinatown, a hand in a waffle iron and driving a car through a mall (a rip-off of "The Blues Brothers" that is completely transparent, yet gives no credit to the original). \nThe jokes are lame, the characters one-dimensional and the jump cuts nauseating. The directors used Google Maps to give overhead shots of buildings and don't even bother to take out the Google logo. \nThe film is shot in the same vein as other highly stylized films such as "Natural Born Killers" and "Requiem for a Dream," except this one is awful. Shot on HD video, "Crank" has a completely goofy and unrealistic look. I also have no idea why it is called "Crank," unless the directors' suggestion was that taking meth would be the only way to appreciate it. This film basically looks like two film students who got some money and wanted to show the world all the cool tricks they've learned. How many directors does it take to ruin a fairly good idea for a movie? As the special features show us: Two. \nThe "Crank'd Out" version of the movie is really just a commentary track with the directors in the corner of the screen, which is actually kind of interesting. The commentary is also good for unearthing other gems about this project, most notably that the script took 4 ½ days to write and that the directors are two of the least funny, most stereotypical douche bags in Hollywood. Other special features include a clean version of the movie (I'll never know how they pulled that off), and a music video for some alleged single from the soundtrack.\nAll in all, the special features come up a little short, which makes perfect sense given the film they accompany.
(01/17/07 10:43pm)
I was really excited when I started "Crank." Jason Statham is solid in everything he does; the concept of a guy who needed to keep moving or face death seemed very compelling, and I love a good action movie. What followed over the next 83 minutes (only 83!?) was a boring, contrived and disappointing exercise in patience. \nThe plot, if it can be called that, is based around contract-killer Chev Chelios (Statham) being poisoned by a rival with a "Beijing Cocktail." This cocktail is a lethal mix with effects that can only be slowed down by constantly getting an adrenaline rush, but will eventually work within a time limit that Verona places at an hour. \nIn between is a predictable series of adrenaline-increasing events, including lots of cocaine, sex in Chinatown, a hand in a waffle iron and driving a car through a mall (a rip-off of "The Blues Brothers" that is completely transparent, yet gives no credit to the original). \nThe jokes are lame, the characters one-dimensional and the jump cuts nauseating. The directors used Google Maps to give overhead shots of buildings and don't even bother to take out the Google logo. \nThe film is shot in the same vein as other highly stylized films such as "Natural Born Killers" and "Requiem for a Dream," except this one is awful. Shot on HD video, "Crank" has a completely goofy and unrealistic look. I also have no idea why it is called "Crank," unless the directors' suggestion was that taking meth would be the only way to appreciate it. This film basically looks like two film students who got some money and wanted to show the world all the cool tricks they've learned. How many directors does it take to ruin a fairly good idea for a movie? As the special features show us: Two. \nThe "Crank'd Out" version of the movie is really just a commentary track with the directors in the corner of the screen, which is actually kind of interesting. The commentary is also good for unearthing other gems about this project, most notably that the script took 4 ½ days to write and that the directors are two of the least funny, most stereotypical douche bags in Hollywood. Other special features include a clean version of the movie (I'll never know how they pulled that off), and a music video for some alleged single from the soundtrack.\nAll in all, the special features come up a little short, which makes perfect sense given the film they accompany.