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(07/10/08 8:17pm)
____simple_html_dom__voku__html_wrapper____>As if it needs to be mentioned to loyal followers, the guys in Alkaline Trio have been on a mission to expand their audience for quite some time. The roots can be traced as far back as 2001’s From Here to Infirmary, when the band moved to Vagrant Records and began to tighten and polish their raucous sound. And while there were moments throughout their last two albums where their lyrical and pop sensibilities would reassure listeners that this was still the same Trio everybody came to know and love, the departure grew with each passing album. With Agony & Irony, their debut on Epic Records, the notion is fitting that the larger the label, the further the departure. Musically, this is their most polished album to date. Songs like “Help Me” and “Love, Love, Kiss, Kiss” are catchy and well-crafted, with soaring choruses, breakdowns not heard in the band’s earlier work, and their growing obsession of handclaps heard throughout the record.Their maturation can be stunning at times, most noticeably on bonus track “In My Stomach,” an acoustic song unlike anything previously released by the band, with a walking melody and string orchestrations. Lyrically, this album is subpar by Trio standards. Lines like “Help me, help me, somebody help me/ Save me from myself” from “Help Me” come off as lazy and cliched. And while songwriters Matt Skiba and Dan Andriano never needed four-letter words to garner an “explicit content” tag, the lyrics here are relatively tame in content. While this album does have its moments of pop sensibility and songwriting maturation, older fans can’t help but miss the drunken laments of heartbreak and raucous energy of the band from yesteryear. The songs explore new effects and sounds, but hearing one exploding chorus after another gets a little tired as the album goes on. While the album’s stronger moments save Agony & Irony from being all for naught.This could all be in transition, as the band members may be forging ahead into a new identity. There is room for more to come from this band, and it will be interesting to see where they plan to go from here.
(07/10/08 3:04pm)
____simple_html_dom__voku__html_wrapper____>As if it needs to be mentioned to loyal followers, the guys in Alkaline Trio have been on a mission to expand their audience for quite some time. The roots can be traced as far back as 2001’s From Here to Infirmary, when the band moved to Vagrant Records and began to tighten and polish their raucous sound. And while there were moments throughout their last two albums where their lyrical and pop sensibilities would reassure listeners that this was still the same Trio everybody came to know and love, the departure grew with each passing album. With Agony & Irony, their debut on Epic Records, the notion is fitting that the larger the label, the further the departure. Musically, this is their most polished album to date. Songs like “Help Me” and “Love, Love, Kiss, Kiss” are catchy and well-crafted, with soaring choruses, breakdowns not heard in the band’s earlier work, and their growing obsession of handclaps heard throughout the record.Their maturation can be stunning at times, most noticeably on bonus track “In My Stomach,” an acoustic song unlike anything previously released by the band, with a walking melody and string orchestrations. Lyrically, this album is subpar by Trio standards. Lines like “Help me, help me, somebody help me/ Save me from myself” from “Help Me” come off as lazy and cliched. And while songwriters Matt Skiba and Dan Andriano never needed four-letter words to garner an “explicit content” tag, the lyrics here are relatively tame in content. While this album does have its moments of pop sensibility and songwriting maturation, older fans can’t help but miss the drunken laments of heartbreak and raucous energy of the band from yesteryear. The songs explore new effects and sounds, but hearing one exploding chorus after another gets a little tired as the album goes on. While the album’s stronger moments save Agony & Irony from being all for naught. This could all be in transition, as the band members may be forging ahead into a new identity. There is room for more to come from this band, and it will be interesting to see where they plan to go from here.
(04/23/08 1:46am)
____simple_html_dom__voku__html_wrapper____>After enduring the disastrous releases of “Glitter” and “Charmbracelet,” Mariah Carey came back strong in 2005 with “The Emancipation of Mimi.” Although the wear of going strong for a decade and a half could be heard in Mariah’s voice, her shifted focus on “Mimi” from adult contemporary to a club groove proved successful. There was indeed a place in the mainstream airwaves for the R&B diva. Her latest release E=MC2 continues on the same path that brought Mariah back to success. Like “Mimi,” E=MC2 sticks with a club-friendly sound that is immediately established in the opening tracks. Guest appearances from Damian Marley and Young Jeezy keep the club flow going over a steady drum machine while Mariah sings about accentuating her body and her tight-fitting jeans. Opener “Migrate” bumps well and could get any club going.Although the club sound has proved successful for Mariah, she’s more convincing on the tracks that aren’t so club-oriented. Chart-topper “Touch My Body” and Jermaine Dupri-produced “Last Kiss” both feature the familiar backbeat pace and groove of vintage Mariah. Album closer “I Wish You Well” recalls her adult contemporary work, reminiscent of her Jackson 5 cover “I’ll Be There.” Mariah’s voice even momentarily falters, yet it seems to work to her advantage in this stunning ballad.There are several moments where, through all the production, listeners can hear the decline of Mariah’s voice, which can be thin and painfully wispy. Yet Mariah redeems herself in moments such as those when she vocally ascends, singing “If there’s a camera up in here / Then it’s goin’ leave with me when I do” in “Touch My Body.” Nothing too special, but it’s a Mariah trademark that keeps bringing listeners back with its familiarity and complementary sound over her R&B groove. Despite her worn-out voice, the album hits more than it misses. E=MC2 is another strong effort that, while it may not rival her earlier work, is still good for multiple listens. And no, Mariah is not Beyoncé. But the stronger moments of E=MC2 show that even in 2008, worn voice and all, few can work an R&B bounce like Mariah Carey.
(04/17/08 5:04am)
Looking at Bernadette Pace from a distance on the high-flying trapeze, one might expect to see someone young and agile, as she swings with grace and ease high in the air.\nUp close, one might be taken aback to find it is a 65-year-old woman soaring so fearlessly through the air.\nStill going strong into her 60s, Pace remains active with her group of aerial performers, the Bloomington High Flyers. The High Flyers perform locally and boast several acts including the trapeze, trampoline and Spanish Web. The group has an upcoming show April 27 at the Buskirk-Chumley Theater. \n“(The show) is all choreographed with music,” Pace said. “It’s fast-moving and very dynamic. Even infants a year-and-a-half old will sit through the show totally mesmerized.”\nPace, who started the group in 1985, was a microbiologist for 28 years and is now retired. She lives with her two granddaughters Isabelle, 14, and Carmen, 10. Both share their grandmother’s passion for flying, as they take part in aerial acts themselves. \nPace moved to Bloomington in 1983. She had taken up trapeze a few years earlier when she began working out at a local YMCA.\n“I was not very strong and I wanted to get strong,” Pace said. “I went to the Y and found trapeze.”\nThe first house Pace moved into in Bloomington didn’t have the necessary yard space for her trapeze. When she saw a house on High Street up for sale a couple years later, she knew she had to have it. With a spacious front yard, Pace had a place to fly. But she still needed something else.\n“High-flying trapeze is like baseball,” Pace said. “You cannot do it by yourself. You need a group of people to fly with, and I just wanted people to fly with.”\nSo Pace invited people to come to her house and fly on her trapeze. When more and more people started showing up, Pace decided to set a limit. But she now had a group and figured they might as well do shows.\nOne of the people who started flying with Pace was Clint Bobzien. Now a full-time performer, Bobzien started 10 years ago with Pace. Though at the time, he was crazy about something other than the trapeze.\n“I actually got into it because a girl I liked in high school was in it,” said Bobzien, referring to fellow Flyer Hannah French, his fiance. “She invited me over to try the trapeze, and I was terrified of heights. But I had to try it, so I went for it.”\nThe group currently includes Pace, Bobzien, Steve Mascari, IU optometry assistant professor Nick Port, Janet French and French’s daughters Leah and Hannah and son Jake. Bobzien and Hannah French are currently working on contracts to perform in Las Vegas. \nWhen asked how often they train, Pace said emphatically that the group’s flying sessions are not training.\n“When you train, that means work,” Pace said. “We do this every day because we love it.”\nGroup members stress their passion for performing high-flying trapeze. \n“(Catching) is the best workout I’ve ever had, better than anything, hands down,” said Mascari, a catcher for the group. “Doing 15 minutes of catching is like three hours of pushups, sit-ups and chin-ups.”\nMascari, whose first trapeze session with Pace was a 21st birthday present from his friends, admits that during the winter when the season is out, he has to do other things to deal with not being able to fly. He even develops a sore back from not being on the trapeze.\n“A chiropractor told me ‘That’s what we do, strap (patients) down and have them relax their back,” Mascari said. “(Catching) is great for your spine. It relieves pressure and it’s free chiropractor work.”\nAlthough mainly a local group, the Flyers have traveled outside the United States to perform. In May 1999, they embarked on an eight-month performance stint in Japan, performing in the “Super Hero Circus.” All the performers dressed as various Japanese super heroes, and the Flyers were the Mighty Morphin’ Power Rangers.\n“I was the red ranger,” said Mascari with a chuckle, recalling flying in his red suit and ranger helmet.\nDespite the risks posed by performing high in the air, the Flyers have not had to deal with serious injury. They stress how uncommon serious accidents are.\n“If it’s controlled chaos, it’s not a problem,” Bobzien said. “If something goes wrong, you do what you can to get the flyer in a safe position. That’s how you prevent injuries.”\nThe Flyers admit they have to stop thinking about risks while performing their aerial tricks, but they also reiterate the importance of being in control. Serious accidents can happen, but with this group, it doesn’t happen often.\n“You’re very aware of how easy it is to get hurt,” Port said. “But you’re in control. You take the risks that are appropriate.”\nFor several of the Flyers, the risk is part of the fun.\n“I love adrenaline,” Mascari said. “We love doing (trapeze) because it’s such a thrill, and we enjoy letting other people try it. Everybody should try it once. When are you going to get another chance to go flying on a trapeze?”\nIndeed, it is a rare opportunity. But those less daring can always catch the show.
(04/10/08 3:22pm)
____simple_html_dom__voku__html_wrapper____>Political punk rockers Anti-Flag raised a few eyebrows in 2006 with For Blood and Empire, their first album released by RCA Records. After all, how could a politically charged band rooted in old-school punk and hardcore sell out but still save face? The band answered the age-old question with a solid effort that showed them continuing to do what they do best: surging songs with bold lyrics that held nothing back. (And hell, if Rage did it with Sony, why can’t they?) With the release of The Bright Lights of America, the boys from Anti-Flag remain consistent. Yes, they now have a more produced sound, but the message remains the same. Bright Lights starts off strong in the opening tracks. “Good and Ready” jumps at the listener with a bouncing riff that quickly gains steam and muscle. The title track is a shot of punk rock energy with screaming lead guitar and a pop sound borrowed from Green Day. The tremolo riff over the steady snare beat and high-hat roll from “If You Wanna Steal” bounces furiously, offering a verse that sounds like an angrier Franz Ferdinand song. And “Spit in the Face” showcases Anti-Flag at their best, with a racing punk riff, pounding drums, a (gasp) blazing guitar solo and front man Justin Sane’s impassioned lyrics about political abandonment.While there isn’t a weak track on this album, Bright Lights suffers from a problem the last few Anti-Flag albums had, which is the wear on the listener from the band’s unrelenting surging sound. Some tracks add a nice touch of variety with dynamic changes in song intros or breakdowns, but all 12 tracks come back to the sonic attack Anti-Flag is known for. The album’s hidden track comes as an acoustic breath of fresh air with banjo and mandolin, leaving one to wonder why (or maybe if) this band couldn’t step back from their hardcore sound and tone down their dynamic more often. Ultimately, Bright Lights is more of the same from Anti-Flag. But when you’re as consistent and powerful as this band, that’s really not a bad thing.
(03/27/08 3:43pm)
____simple_html_dom__voku__html_wrapper____>After their self-titled debut garnered mixed reviews yet platinum success and a No. 1 spot on the Billboard 200, rumors began circulating about Diddy proteges Danity Kane staying together for another album. Their debut had its moments and showcased the group’s vocal talent, but Danity Kane seemed to fall short of Diddy’s aspirations for them as the next En Vogue or Destiny’s Child. Regardless, the “Making the Band” survivors kept it together and put the rumors to rest with the release of their sophomore effort Welcome to the Dollhouse.After Diddy opens the record with a self-titled spoken-word intro (a must for any Diddy or Bad Boy record), Dollhouse fires off strong with “Bad Girl” featuring Missy Elliott. “I can be your addiction if you wanna get hooked on me,” sing the girls over the song’s liquid, programmed production. The single “Damaged” follows with a solid dance-club bounce and layered vocal harmonies. The group really shines here, as they showcase their spot-on harmonizing ability. Diddy makes yet another appearance here with more words of wisdom – equally engaging and cheesy. Around the fifth track, the album starts to wear on the listener as the dynamics never change. The interludes tide over the listener with little variety, until the bumping R&B of “Poetry.” The strong dance-pop of “Is Anybody Listening” and hidden track “Ain’t Going” make the last section of the album worthwhile. Although there are several strong tracks on “Dollhouse,” the songs again seem to miss Diddy’s high aspirations for the group. These girls can sing, as they recently proved with an a cappella version of “Damaged” on MTV’s Total Request Live. And with Diddy at the helm, they’ve got enough juice backing them in the industry. Alas, the group doesn’t have the appeal nor the standout sound of groups like En Vogue or Destiny’s Child or even the Pussycat Dolls. This is passable dance music, but none of these songs will be the hottest track in the club. After releasing such an average album, it’s hard to imagine another release from Danity Kane.
(03/19/08 5:08pm)
____simple_html_dom__voku__html_wrapper____>With each passing album, country superstar Alan Jackson seems to be campaigning for poster boy of the “If it ain’t broke, don’t fix it” ethos, as he has consistently released quality albums throughout the last two decades. With the release of his 16th album Good Times, Jackson keeps going with a solid set of boot-stomping material. The album’s title track roars its way out the gate with a round of line dance-inducing honky tonk. “It’s time for a good time,” sings the no-nonsense Jackson over twangy electric guitar. The up-tempo “Long Long Way” features some serious kitchen-fiddlin,” breaking down with Jackson directing band members to solo, ultimately coming together for a rousing final chorus. There are of course several slower numbers, such as the acoustic lament “I Wish I Could Back Up” and a beer-soaked classic sound right out of George Jones, “Right Where I Want You.”And Jackson keeps the album interesting with the intriguing “I Still Like Bologna.” While the title alone should draw any curious listener, this mid-tempo number about reluctantly caving in to the digital age is anything but a throwaway song. As titles such as “I Still Like Bologna” suggest, Jackson can be a simple lyricist, occasionally painfully so with lines that include “Excuse me ma’am, I saw you walk in / I turned around but I’m not a stalker” from “Country Boy.” While at times his simplicity may seem detrimental, more often than not, Jackson is building his words to his advantage. Lines like “Love’s never easy, changes just like the weather” are effective in getting his clear-cut message across. Although there really aren’t any bad songs on Good Time, there are some filler tracks. And with 17 tracks clocking in over 71 minutes, this album could’ve been trimmed down.Jackson’s not breaking any ground here, but virtually every song on this album could make rotation on country radio. Country music fans should dig everything this album has to offer. Those who don’t care for the genre probably won’t be up for Good Time, which is too bad. This album, like Jackson himself, is what it is: one of the best in the biz spreading his infectious good time.
(02/07/08 5:00am)
It may seem strange that shortly after The Mars Volta released The Bedlam in Goliath, a solo album by Volta guitarist Omar Rodriguez-Lopez surfaced. And yet, Rodriguez-Lopez has further cemented himself as the busiest man in electro-rock, as Calibration (Is Pushing Luck and Key Too Far) comes right on the heels of Goliath.\nReleased a mere week after Goliath, Calibration finds Rodriguez-Lopez, his Volta bandmates and his ever-familiar cast of collaborators with another LP of layered, atmospheric material. Like his previous solo effort Se Dice Bisonte, No Bùfalo, Rodriguez-Lopez recorded Calibration while living in Amsterdam.\n"Mexico" opens the album with the soft female vocals of Tina Rodriguez on top of a Mexican harp and watery synth effects, suddenly building to distorted guitars and explosive bass. The kickstart of "El Monte Tai" follows with the jolt of a steady beat and an echoed violin against killer synth harmonies from "Money Mark" Ramos-Nishita. Rodriguez-Lopez, meanwhile, shows off his fluent Spanish as he takes vocal duties. \nThe self-titled track, split into two halves on the album, thunders into familiar Volta territory. A wah-wah pedal and screaming lead guitar on top of a complicated time signature usher in Mars Volta frontman Cedric Bixler-Zavala, wailing his high-pitched vocals over Rodriguez-Lopez's soloing.\nSoft-plucked electric guitar quietly builds into the dizzying "Glosa Picaresca Wou Men." John Frusciante of the Red Hot Chili Peppers takes over the mic here, his voice under muddied effects as contrasting guitar and vocal melodies wage war in this art-meets-fusion track. \nRodriguez-Lopez certainly has a knack for arrangements, as songs such as "El Monte Tai" and the title track "Calibration" show. His performance with violin accompaniment on the soft "Grey (Cancion Para El)," as well as his solo performance on "Cortar El Cuello" highlight his dynamics as a guitarist. \nBut unlike Goliath, which found Rodriguez-Lopez and his Volta bandmates perfecting their sound, Calibration wears on the listener at times with wandering guitar melodies and unrelenting spacey effects. \nFollowing a critical success such as Goliath, Calibration may indeed be pushing luck too far.
(01/17/08 5:00am)
Two words that regularly promise some hope for filmgoers are "Focus Features." \nThanks to Focus, cinematic treasures such as "Lost in Translation," "Eternal Sunshine of the Spotless Mind" and most recently "Atonement." have been given to the masses. \nBased on Ian McEwan's novel, "Atonement" follows the story of Briony Tallis (Saoirse Ronan), a young aspiring writer who falsely accuses her housekeeper's son Robbie (James McAvoy) of raping her older sister Cecilia (Keira Knightley) and has to deal with the ramifications of her accusation. \nThree actresses stand in as Briony, with the plot spanning several decades. With her wide, staring eyes and flitting glances, Saoirse Ronan conveys 13-year-old Briony's complicated feelings and motivations. Romola Garai's work studying Ronan's mannerisms pays off, keeping a smooth, convincing transition to 18-year-old Briony. Vanessa Redgrave puts the exclamation point at the end of the film, stepping in as 77-year-old Briony atoning for the consequences that unfold in the film.\nThe score complements both Briony's writing aspirations and agitation, incorporating pulsing typewriter sounds that heightens Briony's dilemma.\nThe movie's love story focuses on Robbie and Cecilia. A brush of their hands and the occasional quiver of Knightley's lips offer chemistry between the two that leaves you with a sense of frustration and loss after Robbie is separated from his lover.\nFilmed in several English locations, the scenes set in a barn loft or on a war-torn beach immerse the viewer in the war environment. Clothing like Cecilia's flower-sequenced blouse, Briony's nurse bonnet and the 1930s-era bathing suits also bring the era to life.\nA compelling cinematic interpretation, "Atonement" is a heartbreaking love story that will make you cry for all the right reasons.
(12/06/07 5:00am)
Back in 1999, Mudvayne, behind masks and monikers, began shopping its nu-metal outfit to record labels. With songs such as "Death Blooms" and the blistering "Dig," the band was picked up by the Sony label and went on to establish an audience that has stayed with it for the past eight years. Now, Mudvayne repays its fans with its latest album of rarities and demos By The People, For The People. \nMudvayne takes an interesting approach to this record, compiling live cuts, demos and b-sides that were chosen by fans, with singer Chad Gray introducing each song. While the introductions help tie all the random cuts together into a cohesive album, they also make it an excruciating one hour and 41 minutes long.\nThe first half of the album features some of Mudvayne's radio-played singles and stronger material, offering a familiarity and strong pulse to the album right off the bat. Opening with a live cut of "Dig," the track captures the song's furious energy. Unfortunately, it is also one of two live tracks that capture Gray slurring his metal vocals. \nMost of the demos on this compilation, although stripped-down, don't sound much different from their studio versions. "Happy" sounds raw with its muddy distortion and without its clean-toned first verse. The guitar rhythm for "Not Falling" has a messy feel in the verse, and the chorus ushers in screaming background vocals left out of the album cut. By The People, For The People's new track "Dull Boy" feels like a reworked version of Lost and Found's "Pushing Through." \nAt about the midway point of By The People, For The People, the songs lose their vitality and things go south. "Goodbye" features the band experimenting for a brutal 6 1/2 minutes, as its attempt at ambient sound has this nu-metal quartet awkwardly searching for but never settling on a song idea. "Skrying" would be a pretty OK rock song if it were three minutes shorter. Finally, the album closes with the laugh-inducing cover of The Police's "King of Pain," offering a heavy dose of screaming and distortion never heard from the likes of Sting.\nConsidering this is an album that was compiled by the fans, By The People, For The People is a must strictly for Mudvayne fans. For anyone else who had pleasantly forgotten phrases like "nu-metal" and "rap-rock," this album can safely be ignored.
(11/29/07 5:00am)
Tool front man Maynard James Keenan has referred to his second side-project Puscifer in many ways. He has called Puscifer a "playground for the various voices in my head", where "there are no clear or discernable goals." It serves as "an island of misfit ideas" where his "Id, Ego, and Anima all come together to exchange cookie recipes." Basically, Puscifer is Maynard's vehicle for making music without the expectations that come with being the front man of two successful metal bands, Tool and A Perfect Circle. On V is for Vagina, listeners find Maynard exploring some of his other musical ideas (while remaining perverse as ever). \nThe album opens with single "Queen B," an ode to the voluptuous, horned figure that adorns the album cover. The song roams over synthetic samples and vocal hums as Maynard raps, something that may surprise a few of his listeners.\n"Drunk With Power" finds an animated Maynard channeling his inner Tom Waits, with this dark carnival number of all things cacophony and of strange ambient sound. Animating his voice, Maynard sings about the role one in heat takes while waiting for his queen to come home.\n"Momma Sed" is the runaway highlight of the album. Written with Tim Cummerford and Brad Wilk of Rage Against the Machine, and featuring the acoustic and vocal stylings of Ainjel Emme, "Momma Sed" is driven by a catchy acoustic riff on top of a steady backbeat. A thundering Wurlitzer ushers in the chorus, with Emme's backing vocals complementing Maynard's low singing.\nConsidering the careful work and planning that has gone into Tool albums, this album may come as novelty to some listeners. V is for Vagina does offer different sonic textures than Tool and APC. It's a nice change, but the album doesn't come off as carefree as Maynard wants his listeners to believe. Maynard generally sounds hushed throughout, as he doesn't really let his voice loose like he has in his other bands. The music is generally good, but the range of dynamics doesn't stretch much. There are a couple songs that stagger, as the previous mixes of "Rev 22:20" and "The Undertaker" seemed to have more life on the "Underworld" soundtracks than they do here. Nonetheless, Maynard James Keenan has developed a loyal following, and his fans should enjoy this offering from his latest side project.
(11/29/07 5:00am)
Stephen King and Frank Darabont, director of King-penned movies "The Shawshank Redemption" and "The Green Mile," have a joke that Darabont's directing career will stall unless King writes more "period prison stories."\nNow with "The Mist," that joke can be revised to just "stories."\nBased off of King's horror novella "The Mist," the movie takes place in a small town after a violent thunderstorm, when a strange mist begins to drift out over a nearby lake. David Drayton (Thomas Jane), a local artist whose house has suffered damages, takes his son (Nathan Gamble) and his neighbor (Andre Braugher) to the grocery store, which is crowded after the storm. While waiting in line to check out, one of the townsfolk comes sprinting in and yelling about "something in the mist." After the initial shock, one man flees to his truck, only to be attacked by the creatures lurking in the mist. Those left in the store find they can't escape. They begin to grow restless, taking sides about what to do, now being left to their own devices for survival.\nWith this latest King film, Darabont shows the audience why he has been pushing for making a film adaptation of "The Mist" for the past decade. Adding his own creative twists to King's novella, Darabont gives this film its own distinctive identity. In some parts of the story, like the emotional relationship between Drayton and Amanda Dumfries, Darabont holds back from the novella. In others, like the grim climactic ending, he one-ups King. \nProbably the strongest aspect of the story-telling in "The Mist" comes from King's penchant for everything psychological. The characters are clouded in mystery and fear, and in turn they take sides and become just as much of a threat to each other as whatever it is they have to deal with outside. And a little bit of that fear and uncertainty rubs off on the audience. In the beginning of the movie, the story's protagonist seems like the one who's crazed. Near the end of the film, the town Bible-thumper, played by scene-stealer Marcia Gay Harden, seems to have enough reason for why the townsfolk should hold a human sacrifice.\nWhile the creatures in the mist are relatively scary, the real fear comes from the elements of mystery and the unknown. The waiting and uncertainty make "The Mist" frightening for what it is: a mirror of human panic.
(11/08/07 5:00am)
It's hot. Everything sucks. And all he can think about is his ex-girlfriend. If everyone found out suicide was like this, maybe fewer people would off themselves.\nUnfortunately for Zia (Patrick Fugit) in "Wristcutters: A Love Story," it's too late for that. After slitting his wrists over breaking up with his girlfriend, Zia finds himself in an afterlife where everything is the same, only a little worse. He can't smile. He lives with an annoying roommate. And he works in a crappy pizza joint. \nPassing his time in bars, he befriends Eugene (Shea Whigham), a former Russian rocker who lives with his family (because they all killed themselves, too). One day while shopping for cottage cheese, Zia runs into an old acquaintance and finds out his ex-girlfriend Desiree killed herself shortly after Zia's own suicide. So Zia makes it his mission to find his lost ex-love as he convinces Eugene to go on a road trip. Along the way, they pick up Mikal (Shannyn Sossamon), a hitchhiker looking for the people in charge because she believes they made a mistake in her case. Together, they bond as they travel on the road and pursue their causes. \nConsidering how many festival awards this film has won and the acclaim it has garnered, it comes as no surprise that "Wristcutters" is a hit. Goran Dukic's adaptation of Etgar Keret's novella gives us a fresh and smart take on what the afterlife holds for those who "off" themselves (as well as a few laughs about a topic as serious as suicide). Shot on super-16 color infrared film, the screen seems to be washed in a pale seafoam green throughout the movie, giving off the rundown feel of a cheap afterlife. Patrick Fugit does a solid job in the lead role, while Shea Whigham provides side-splitting laughs as Zia's Russian sidekick. The always stunning Sossamon continues to break hearts in this movie, and the ever-witty Tom Waits, as the miraculous happy camper Kneller, manages to steal every scene he's in (except, of course, when Will Arnett makes his brief but glorious appearance as "Messiah") while offering a few lines of insight. \nAside from the occasional "How does Shannyn Sossamon unsuccessfully hitchhike anywhere?" moments in the movie, "Wristcutters" is a strange yet pleasantly uplifting success. Hopefully, this movie will do for suicide what "Jaws" did for swimming at the beach.
(10/25/07 4:00am)
It's hard to find a horror movie these days that can appeal to viewers by simply being scary, as newer films seem more focused on producing lots of blood than scaring people. Fortunately, we now have "30 Days of Night," a movie that is equally gory and frightening. Very frightening.\nThe story takes place in Barrow, Ala., where the sun does not rise for 30 days during the winter. Before sunset this year, town sheriff Eben Oleson (Josh Hartnett) is responding to reports of strange crimes. A bunch of cell phones are found stolen and burned. Kennels of sleigh dogs are found slaughtered. The town's utilidor has been tampered with, and the town's only helicopter has been destroyed.\nMeanwhile, a stranger (Ben Foster) has come into town spewing warnings that 'they' are coming, how 'they' can't be stopped, and how the townspeople should hide and bar their windows and doors. \nHe's referring, of course, to the vampiric creatures that emerge from the darkness after sunset. These ruthless vampires prove to be formidable foes, as they attack swiftly and can only be killed by sunlight or an axe to the head. They begin attacking people and can't seem to be stopped. The few people who escape make their way to an abandoned attic hideout, where they must figure out a way to survive the remaining days of darkness.\nConsidering how tired the vampire genre can be to horror buffs, "30 Days of Night" comes as a scary good surprise. The vampires, with their spasmodic blood-sucking and piercing wails, are truly terrifying. The acting is generally good. Lead vampire Marlow (Danny Huston), with a cock of his head and an inquisitive look on his face, drives fear into anyone who meets his black eyes. Director David Slade does a fantastic job creating a horrific environment, as the viewer must endure feelings of intense and constant terror throughout the movie. But the movie's biggest strength is how it doesn't rely solely on gore to scare viewers; much of the horror can be attributed to the vicious monsters that seemingly can't be defeated. Every scene in which someone is on the move is intense because of the feeling given off that they can't escape the vampires. It's very convincing and effective. \nSo if you're looking for a good fright flick this Halloween, you'll be hard-pressed to find one scarier than "30 Days of Night".
(10/18/07 4:00am)
Near Christmas time a couple of years ago, one of my buddies brought over "Bob Dylan Unplugged" on DVD. At the time, I wasn't big on Dylan. I was a skeptic, and I didn't care for folk music. As we watched Dylan perform "All Along the Watch Tower," I remember thinking to myself, "What the hell is this? He can't even perform his songs as well as the people who cover them. What is he mumbling about? Why can't he sing? How can anyone view this guy as a genius?"\nOh, how naive I was.\nIn the time since that fateful viewing, Bob Dylan has become one of my favorite artists. I became mesmerized the first time I heard The Freewheelin' Bob Dylan (1963). I couldn't get over how fresh his music sounded even though it was written more than 40 years ago. Then Martin Scorsese released his fascinating documentary "No Direction Home" while Dylan was releasing Modern Times and becoming the oldest living person ever to have an album enter the Billboard charts at No. 1.\nAfter that, his genius could not have been clearer to me. \nSo it's hard not to get excited about seeing Dylan live. It will be even more exciting for me because I've never had the pleasure of seeing him, and now I am finally getting my chance. And aside from his endless catalogue of classic material to pull from, as well as anticipating which voice he'll employ, I'm looking forward to seeing the man who embodies 1960s revolution and the music of the people. \nDylan has served as a fearless voice of reason for more than 40 years. He was the real-life rebel without a cause -- except that he had plenty of causes behind his music. At times, he could be a voice to the voiceless. He was a trailblazer, a man who was booed during a time of change because he changed too much. And he was a tireless worker who somehow delivered amazing albums with unfathomable consistency in a relatively short amount of time.\nHis timeless lyrics still ring true in many ways, touching on sentiments everyone feels at some point. The inability to answer the rhetoric posed in "Blowin' In The Wind" will forever be relevant. The same is true for the declarations of "The Times They Are A-Changin'," and "Masters of War" could have been written as an anti-war song to our current political administration. \nTouring at 66 years of age as well as releasing a No. 1 album last year are testaments to Dylan's longevity and resonance with multiple generations. Granted, it's not the same as the Dylan the world came to know in the '60s; we now see the Dylan of modern times. His voice is now soaked with a blues man's rasp and takes on another appeal. His performances of his older hits might lack the vigor they had 40 years ago, but that doesn't mean they are less powerful. Besides, he was a much different person when he wrote songs such as "Blowin' In The Wind" and "The Times They Are A-Changin'." He has different scars and different stories to sing about these days.\nBut Dylan's songs paint the portrait of a fascinating figure, someone who will always have something to give to the masses. In his book "Chronicles, Vol. 1," Dylan writes about how he still tours and offers his live music to many generations of people. Even after 40 years, Dylan still has new fans dying to catch a glimpse of him.
(10/04/07 4:00am)
Pearl Jam front man Eddie Vedder is no stranger to movie soundtracks, especially soundtracks for Sean Penn movies. Considering Vedder's past musical contributions to "Dead Man Walking" and "I Am Sam," in addition to him being an avid, eco-conscious naturalist, Penn's selection of Vedder to compose music for his film version of Jon Krakauer's novel "Into the Wild" seemed like a fitting choice.\nNot too much of a departure for Vedder, Into the Wild has plenty of ambient sounds that exude visions of a person taking a trip to a natural outdoor setting, especially for listeners familiar with Krakauer's book. The album's opener "Setting Forth," with its vibrant guitar-strumming and Vedder wailing in the chorus about "setting forth in the universe," has a steady beat that paints a good picture of Chris McCandless -- whose story the movie is based on -- hitchhiking his way to Alaska. \nThe banjo-plucking of "No Ceiling" seems to be a woodsman's ode to embarking on a journey into a natural environment. The soft, arpeggiated notes of "Long Nights" paint a tranquil nighttime setting of reflection and introspection. By the time the listener gets to the robust instrumental "Tuolumne," they can almost see visions of wooded hills and rolling brooks.\nThese songs aren't bad music per se, but they go by quickly without leaving much of an impression. The album's strongest tracks, the single "Hard Sun" and the quietly catchy "Society" ironically enough are songs not penned by Vedder. \nOverall, Into the Wild feels like an album written for a movie. The music is colorful and ambient. The songs are short (seven of the 11 clock in at about two-and-a-half minutes or less) and fitting to hang in the background of movie scenes. But without the visual aid of watching the film, the songs don't hold up as well. They serve as music meant for a movie, not for grabbing listeners.
(09/20/07 4:00am)
In life, at least for a fortunate few, a glorious realization occurs when people find their place in the world. A better understanding of where they stand may lead to noticing cycles and patterns. A working formula may emerge that will help achieve success, which can pay off in dividends no matter how often recycled. Adam Sandler, for example, has profited enormously from releasing the same movie for 12 years. Nickelback has profited as well from bi-annually releasing the same song slightly refashioned for the past six years. And since 2003, Billy Bob Thornton has found work reprising his role as a notoriously contemptible character at least four times. Sometimes Thornton scores well with audiences, as in the perversely charming "Bad Santa." Unfortunately, he can't save his most recent movie "Mr. Woodcock," a truly awful film that delivers few laughs. \nThe movie focuses on John Farley (Seann William Scott), a writer on tour promoting his successful self-help book about letting go of your past. When his tour manager (Amy Poehler) mentions that his hometown wants to honor his success, Farley returns home, surprising his mom (Susan Sarandon) with his visit. But as it turns out, she surprises him when she introduces John to her new boyfriend, his sadistic former gym teacher Mr. Woodcock (Thornton). Still haunted by his memories of the cruel treatment he received from the surly Woodcock, Farley struggles to deal with his mother's news.\nWith its weak plot and poor joke delivery, it's a good thing this movie is less than 90 minutes long. The acting is mediocre. The role of Woodcock is fitting for Thornton, and Poehler does a great job as John Farley's tour manager. Unfortunately, Scott seems destined forever to remain Steve Stifler with each facial expression he makes and each utterance of the word "awesome." \nMaybe fans of Thornton will enjoy this movie solely by seeing him play a character that fits him so well. If that's the case, just wait for the DVD.
(09/06/07 4:00am)
If the horror movies of the 21st century could be described as anything, it would be the era of splat and the remake. While studio execs have been banking on modernized versions of older horror movies, filmmakers like rock star-horror buff Rob Zombie have been treating horror fans to the blood and gore they crave in horror flicks. So, if the two united, Zombie's remake of "Halloween" should have served as the perfect love child (or two-headed monster) of the pairing.\nZombie's "Halloween" begins with a 10-year-old Michael Myers (played wonderfully by Daeg Faerch). Struggling with a turbulent home and school life, young Michael shows signs of being an extremely disturbed individual; a social outcast who prefers to constantly wear a clown mask to hide his ugliness. All the bad signs come to a head when Michael begins reacting to his antagonists. After his sister Judith abandons his trick-or-treating plans on Halloween, a brutal massacre ensues, and Michael is sent to a mental institution under the supervision of Dr. Loomis (Malcolm McDowell).\nFifteen years later, a grown Michael Myers (Tyler Mane) has become silent to the outside world. Always masked, Michael spends his time working on his vast compilation of homemade masks. He also learns that Dr. Loomis will no longer meet with him, and that Michael is soon to be transferred from his current mental institution. At this point, the plot weaves into the original story line of "Halloween," as Michael searches for his baby sister Laurie (Scout Taylor-Compton), whom he had a soft spot for as a child. \nOn the surface, "reimagining" "Halloween" was a good idea by Zombie. He had the credibility, and the approval of John Carpenter, to explore the 1978 classic. But the movie falls short at times when Zombie opts to shock the audience. The original succeeded on little gore, and while gore is one of Zombie's strong points, holding back in a few scenes could have helped the impact of the overall story. The domineering Michael was very menacing and intimidating, but his violent and powerful strength along with his grunting made him reminiscent of a comical Hulk-type figure at times. \nUnfortunately, Zombie's "Halloween" faced the uphill battle of remaking a classic, as well as living up to the expectations of what Rob Zombie could do with "Halloween." And while the movie had several strong aspects like adding depth to Michael Myers, it still pales in comparison to its predecessor. Sometimes, Rob, less is more.
(08/04/07 4:00am)
Alternative-dance rockers Garbage hit the mainstream airwaves in 1995 with their strong self-titled debut, featuring the lower-register vocals of goth-starlet Shirley Manson. Also a band of producers (namely famed Nirvana Nevermind producer Butch Vig on drums), Garbage released a polished pop sound that contrasted dark lyrics. Absolute Garbage does a good job reminding listeners what an indulgence Garbage was during the mid-'90s.\nAbsolute Garbage takes off early with some of Garbage's strongest work from their 1995 debut. The opening lyric "I can't use what I can't abuse" on opener "Vow" sets the album's tone and immediately treats listeners to the first of many perverted Shirley Manson lyrics. "Queer" calmly bounces into your head with its trip-hop feel and acidic guitar melodies. "Only Happy When It Rains" still explodes as an alternative-dance anthem for those enamored with the darker side of life. The calm yet funky beat and ambient pre-chorus of "Stupid Girl" remain effective, and the haunting, slow-burning "#1 Crush" is still incredibly hypnotic and seducing.\nBut somewhere around the middle of the album, the songs begin to feel repetitive. Even though Garbage was a talented act that released dark material, it was also a band of producers who knew how to construct good pop songs. The songs of the middle third of the album aren't necessarily bad, but they feel bland placed in the middle of this compilation. \nThis makes the sweeping orchestrations of Bond-track "The World Is Not Enough" all the more welcome, while ushering in a more satisfying direction for the final third of the album. Although the hits aren't as renowned, numbers like "Cherry Lips," where bubblegum sound is juxtaposed with Manson's dark lyrics, make for an intriguing listen. "Shut Your Mouth" shows Garbage reveling in the sound they established, while the Lou Reed-esque "Bleed Like Me" serves as a nice change in dynamic and instrumentation.\nWhile maybe not a collection of the ages, the stronger material on Absolute Garbage makes it a worthwhile listen.
(07/26/07 4:00am)
After experiencing a turbulent expedition through the '90s, Prince ushered in the new millennium with a comeback of sorts in 2004, releasing Musicology and 2006's equally strong offering 3121. Both made Billboard's Top Ten, with 3121 peaking at No. 1. In 2007, after a showstopping halftime performance at Super Bowl XLI (where he played "Purple Rain" in, uh, purple rain) and after stirring some controversy in London for giving away early copies of his new album, Planet Earth was officially released to the public. \nOn Planet Earth, listeners will find Prince playing his heart out and touching almost every dynamic while sounding like classic Prince. He opens the album with light commentary on the album's self-titled track. When his first guitar solo hits just after the five-minute mark, Prince lets the listener know he's here to rock. Immediately following is the album's first single "Guitar," featuring a catchy riff that sounds like it came from the U2 catalogue. Prince then slows it down with the jazzy horns and piano of "Somewhere Here On Earth," and in "Future Baby Mama" he delivers a tranquil bounce that journeys into a spoken interlude, bringing the listener swaying back into the chorus. The strong backbeat and flow of "Mr. Goodnight" leads into the soft pop of "All The Midnights In The World." "Chelsea Rodgers" is an album highlight, a funk spaceship of sound that bounces on bass and hits the listener with soulful singing. Closing the album is "Resolution," which ends the album similar to the way it began, with soft music and light commentary.\nAble to change it up and keep the album cohesive, Prince fans will find it all here. He rocks. He grooves. He slows it down. And he solos. Oh, how he solos. \nWhile Prince may be an artist whose career has already peaked, the strength of his last few albums, as well as the return of Purple Rain contributors Wendy and Lisa for Planet Earth, leave room for Prince fans to be optimistic about the future. Amazingly still relevant, it's hard to believe a 49-year-old Prince can still sound so well -- and look so good.