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(03/22/01 5:00am)
15 Minutes" is the latest in a long string of media spoofs a la "Network," mingled with the tried and true buddy cop formula initiated by the "Lethal Weapon" flicks. Cliched as this might sound, it's not. In fact, what results is an action-packed and darkly funny think piece.\nThe film chronicles the sordid misadventures of New York City's resident celebrity cop, Eddie Flemming (Robert DeNiro, churning out a performance reminiscent of Kevin Spacey in "L.A. Confidential") and a media-shy arson investigator, Jody Warsaw (Edward Burns).\nThe pair collaborates to nab a pair of Eastern European émigrés, Emil (Karel Roden) and Oleg (Oleg Taktarov), in the midst of a killing spree, which the mindless self-proclaimed auteur Oleg captures on a stolen camcorder. The makeshift snuff films catapult the homicidal duo to pseudocelebrity status as they surface on the "Hard Copy"-esque schlock news program "Top Story," hosted by Flemming's supposed ally and all-around bastard Robert Hawkins (an immensely smarmy Kelsey Grammer).\n"15 Minutes" is an interesting if not moderately flawed dissertation on journalistic ethics and modern society's fascination with the macabre. As Hawkins states early in the film, "If it bleeds, it leads." This is the theory by which writer-director John Herzfeld ("2 Days in the Valley") establishes the whole film, but the subject matter is betrayed by a half-cocked love story between Flemming and an attractive reporter named Nicolette (Melina Kanakaredes of TV's "Providence"). Also, the film occasionally becomes bogged down in its own obvious sermonizing.\nDeNiro is captivating and underused. He defies mere characterization and fleshes this media-hungry cop into a full, compelling and ultimately likable character. Burns proves his performance in "Saving Private Ryan" was no fluke and that he has the chops to fulfill the role of an appealing leading man. The supporting cast is ably led by the nefarious Roden, and the endearingly frightening Taktarov also shines, but to a lesser degree than the film's two stars.\nDespite its flaws, "15 Minutes" is a super-charged satirical thriller that will leave viewers pondering the current state of our media.
(03/22/01 5:00am)
Most bands don't even manage to last a few years, let alone a few decades. Aerosmith has accomplished this feat, as the band is just two years shy of entering its 30th year of existence, and much like its aging rock compatriots, the Rolling Stones, Aerosmith still rocks just as convincingly as it ever did.\nJust Push Play is the latest addition to its immense and impressive catalog. Despite the mildly lame title and poor cover art, the album is an impressive piece of work, although it doesn't stack up to previous records like Toys in the Attic or Pump.\nUnlike many of Aerosmith's prior works, lead singer Steven Tyler and guitarist Joe Perry, assuming the pseudonym of The Boneyard Boys, produced Push themselves. The name was derived from Perry's own home recording studio, known as the Boneyard. The album adopts many of the aspects present in Aerosmith's numerous career resuscitations. Feeding off the balladlike qualities from its chart-topping 1998 single, "I Don't Want to Miss a Thing," Aerosmith has churned-out a whopping four ballads on Push. Also, the various unusual instruments (such as the sitar, a lutelike instrument from India) that appeared on the last album, Nine Lives, resurface frequently on Push. \nThere aren't any disappointing tracks on the album, but some are better than others. The real standout is the first single, "Jaded." The tune is a funky little ditty featuring the slick guitar licks of Perry and Brad Whitford along with an infectious pop hook. Other strong tracks include the ballads "Fly Away from Here" and "Luv Lies," the hip-hop laced "Trip Hoppin'" and the eclectic "Avant Garden."\nWhile nothing on the album equals the greatness of "Sweet Emotion" or "Walk This Way," it clearly eschews the bile fumes radiating from the ill-advised Superbowl halftime gig and places Aerosmith atop the world of rock.
(03/22/01 4:39am)
Most bands don't even manage to last a few years, let alone a few decades. Aerosmith has accomplished this feat, as the band is just two years shy of entering its 30th year of existence, and much like its aging rock compatriots, the Rolling Stones, Aerosmith still rocks just as convincingly as it ever did.\nJust Push Play is the latest addition to its immense and impressive catalog. Despite the mildly lame title and poor cover art, the album is an impressive piece of work, although it doesn't stack up to previous records like Toys in the Attic or Pump.\nUnlike many of Aerosmith's prior works, lead singer Steven Tyler and guitarist Joe Perry, assuming the pseudonym of The Boneyard Boys, produced Push themselves. The name was derived from Perry's own home recording studio, known as the Boneyard. The album adopts many of the aspects present in Aerosmith's numerous career resuscitations. Feeding off the balladlike qualities from its chart-topping 1998 single, "I Don't Want to Miss a Thing," Aerosmith has churned-out a whopping four ballads on Push. Also, the various unusual instruments (such as the sitar, a lutelike instrument from India) that appeared on the last album, Nine Lives, resurface frequently on Push. \nThere aren't any disappointing tracks on the album, but some are better than others. The real standout is the first single, "Jaded." The tune is a funky little ditty featuring the slick guitar licks of Perry and Brad Whitford along with an infectious pop hook. Other strong tracks include the ballads "Fly Away from Here" and "Luv Lies," the hip-hop laced "Trip Hoppin'" and the eclectic "Avant Garden."\nWhile nothing on the album equals the greatness of "Sweet Emotion" or "Walk This Way," it clearly eschews the bile fumes radiating from the ill-advised Superbowl halftime gig and places Aerosmith atop the world of rock.
(03/22/01 3:59am)
15 Minutes" is the latest in a long string of media spoofs a la "Network," mingled with the tried and true buddy cop formula initiated by the "Lethal Weapon" flicks. Cliched as this might sound, it's not. In fact, what results is an action-packed and darkly funny think piece.\nThe film chronicles the sordid misadventures of New York City's resident celebrity cop, Eddie Flemming (Robert DeNiro, churning out a performance reminiscent of Kevin Spacey in "L.A. Confidential") and a media-shy arson investigator, Jody Warsaw (Edward Burns).\nThe pair collaborates to nab a pair of Eastern European émigrés, Emil (Karel Roden) and Oleg (Oleg Taktarov), in the midst of a killing spree, which the mindless self-proclaimed auteur Oleg captures on a stolen camcorder. The makeshift snuff films catapult the homicidal duo to pseudocelebrity status as they surface on the "Hard Copy"-esque schlock news program "Top Story," hosted by Flemming's supposed ally and all-around bastard Robert Hawkins (an immensely smarmy Kelsey Grammer).\n"15 Minutes" is an interesting if not moderately flawed dissertation on journalistic ethics and modern society's fascination with the macabre. As Hawkins states early in the film, "If it bleeds, it leads." This is the theory by which writer-director John Herzfeld ("2 Days in the Valley") establishes the whole film, but the subject matter is betrayed by a half-cocked love story between Flemming and an attractive reporter named Nicolette (Melina Kanakaredes of TV's "Providence"). Also, the film occasionally becomes bogged down in its own obvious sermonizing.\nDeNiro is captivating and underused. He defies mere characterization and fleshes this media-hungry cop into a full, compelling and ultimately likable character. Burns proves his performance in "Saving Private Ryan" was no fluke and that he has the chops to fulfill the role of an appealing leading man. The supporting cast is ably led by the nefarious Roden, and the endearingly frightening Taktarov also shines, but to a lesser degree than the film's two stars.\nDespite its flaws, "15 Minutes" is a super-charged satirical thriller that will leave viewers pondering the current state of our media.
(03/01/01 5:51am)
Vancouver-based metal rockers Flybanger return to form with their new album Headtrip to Nowhere, a follow-up to the indie debut Knottskull and the recent Outlived EP.\nThe band consists of a lead singer simply known as Garth, backup vocalist and bassist Tom MacDonald, guitarist Brian Fratesi and drummer Rob Wade. In addition to Flybanger's standard lineup, Faith No More guitarist Jim Martin guests on two separate tracks. Each aspect of the music complements the other aspects, ably melding together to form a moderately metal-fueled, alt-rock sound. \nHeadtrip to Nowhere's tunes range from immensely good and innovative ("Radical," "Blind World, "Pull," "Evelyn" and "Demon Away") to tolerable ("Cavalry" and "Company") to poor ("Haul" and "Weapon") to damned funny (the eloquently titled "Crackballs" and "When Are You? (Gonna Die))."\n"Crackballs" is undoubtedly the most inexplicably funny song in ages. The track commences with "Uh huh, Uh huh" catcalls somewhat reminiscent of a crackery, post-pubescent incarnation of Kriss Kross coupled with lukewarm, rehashed Limp Bizkit guitar licks. The tune might have played better if even a hint of social relevance brimmed at the surface. As is, the stuff's funny, and marginally questionable.\nHeadtrip to Nowhere is worlds better than much of the trendy, pappy alt-metal that inundates our airwaves and record store bins, but as a band, Flybanger has a ways to go before it reaches the artistic credibility and semblance of greatness attained by current metal acts the Deftones and Southern Culture on the Skids, or past artists such as Black Sabbath and Guns and Roses.\nFlybanger is a band with great but unleashed potential. Its headtrip will be to anywhere but nowhere.
(03/01/01 5:00am)
Vancouver-based metal rockers Flybanger return to form with their new album Headtrip to Nowhere, a follow-up to the indie debut Knottskull and the recent Outlived EP.\nThe band consists of a lead singer simply known as Garth, backup vocalist and bassist Tom MacDonald, guitarist Brian Fratesi and drummer Rob Wade. In addition to Flybanger's standard lineup, Faith No More guitarist Jim Martin guests on two separate tracks. Each aspect of the music complements the other aspects, ably melding together to form a moderately metal-fueled, alt-rock sound. \nHeadtrip to Nowhere's tunes range from immensely good and innovative ("Radical," "Blind World, "Pull," "Evelyn" and "Demon Away") to tolerable ("Cavalry" and "Company") to poor ("Haul" and "Weapon") to damned funny (the eloquently titled "Crackballs" and "When Are You? (Gonna Die))."\n"Crackballs" is undoubtedly the most inexplicably funny song in ages. The track commences with "Uh huh, Uh huh" catcalls somewhat reminiscent of a crackery, post-pubescent incarnation of Kriss Kross coupled with lukewarm, rehashed Limp Bizkit guitar licks. The tune might have played better if even a hint of social relevance brimmed at the surface. As is, the stuff's funny, and marginally questionable.\nHeadtrip to Nowhere is worlds better than much of the trendy, pappy alt-metal that inundates our airwaves and record store bins, but as a band, Flybanger has a ways to go before it reaches the artistic credibility and semblance of greatness attained by current metal acts the Deftones and Southern Culture on the Skids, or past artists such as Black Sabbath and Guns and Roses.\nFlybanger is a band with great but unleashed potential. Its headtrip will be to anywhere but nowhere.
(02/22/01 5:30am)
Californication--The Red Hot Chili Peppers released its piece de la resistance in the summer of 1999 with the album Californication, which also saw the return of formerly ousted guitarist John Frusciante. Members of the band had gone through rehab together, emerged clean and produced what was arguably the best music of their careers. "Californication," the album's title track, and the album itself stand as a testament to this fact and should provide the Red Hot Chili Peppers with more Californication Grammys to go with last year's best rock song win for "Scar Tissue"
(02/22/01 5:00am)
"Alive," the lone new single among old-school faves on the Beastie Boys' compilation, has been graced with a Grammy nomination. The nomination follows a pair of wins in 1998 for best alternative music performance for Hello Nasty and best rap performance for "Intergalactic." The track was a collaborative writing and producing effort of Beastie Boys' Mike Diamond, Adam Horovitz and Adam Yauch and is the first original material released since the hit-spawning Hello Nasty hit record bins in the summer of '98. "Alive" is a funky, superfluous joint containing a positive message that I hope provided the Beastie Boys with yet another Grammy.
(02/22/01 5:00am)
Deftones\nNom: metal performance\nOne of the best and most overlooked bands in all of metal finally received a little credit this past year upon the release of its breakthrough album, White Pony. And while it\'s nice to see the Deftones finally receiving much-deserved props, it frustrates me that the song for which it was nominated, \"Elite,\" isn\'t anywhere near the best track on the album. Other tracks including \"Teenager,\" \"Knife Party\" and especially \"Pink Maggit\" are far more deserving and intelligent choices. But since when did Grammy have any taste?
(02/22/01 5:00am)
Californication--The Red Hot Chili Peppers released its piece de la resistance in the summer of 1999 with the album Californication, which also saw the return of formerly ousted guitarist John Frusciante. Members of the band had gone through rehab together, emerged clean and produced what was arguably the best music of their careers. "Californication," the album's title track, and the album itself stand as a testament to this fact and should provide the Red Hot Chili Peppers with more Californication Grammys to go with last year's best rock song win for "Scar Tissue"
(02/22/01 4:36am)
"Alive," the lone new single among old-school faves on the Beastie Boys' compilation, has been graced with a Grammy nomination. The nomination follows a pair of wins in 1998 for best alternative music performance for Hello Nasty and best rap performance for "Intergalactic." The track was a collaborative writing and producing effort of Beastie Boys' Mike Diamond, Adam Horovitz and Adam Yauch and is the first original material released since the hit-spawning Hello Nasty hit record bins in the summer of '98. "Alive" is a funky, superfluous joint containing a positive message that I hope provided the Beastie Boys with yet another Grammy.
(02/22/01 4:35am)
Deftones\nNom: metal performance\nOne of the best and most overlooked bands in all of metal finally received a little credit this past year upon the release of its breakthrough album, White Pony. And while it\'s nice to see the Deftones finally receiving much-deserved props, it frustrates me that the song for which it was nominated, \"Elite,\" isn\'t anywhere near the best track on the album. Other tracks including \"Teenager,\" \"Knife Party\" and especially \"Pink Maggit\" are far more deserving and intelligent choices. But since when did Grammy have any taste?
(02/08/01 5:52am)
Roses are red, violets are blue, this reviewer loathes "Valentine," and the masses will too.\n"Valentine," the insipid new horror film from Jamie Blanks, director of the equally moronic "Urban Legends," will disappoint viewers at every turn. The cherub-masked baddie looks like a wuss, there is little to no nudity in the flick, and I've seen better acting in a porno movie. The film's only saving grace is the originality with which the murders are presented, each a little more creative than the last.\nThe plot, irrelevant as it might be, chronicles the sordid lives populated by a horde of bimbos: Paige (talent void Denise Richards), Kate (an appealing Marley Shelton), Lily (the annoying Jessica Cauffiel), Dorothy (an even more annoying Jessica Capshaw), Shelley (the alluring Katherine Heigel) and the jilted, former middle school loser they once tormented who inevitably returns for vengeance and mass blood-letting.\n"Valentine" is the most recent in a long string of lame, teen-oriented horror movies. Long gone are the days in which horror flicks truly rocked; boobs were shown like badges of honor and blood flowed like water. But in this post-Columbine era of political correctness, no one seems to have the stones to make a halfway decent slasher flick chock full of all the ingredients that once made slasher flicks great. Hence, viewers are left with stale, recycled pieces of crap like "Valentine," in which poor actresses like Richards meander about the screen waiting to be offed like the lemmings that they are.\nThat's not to say that the film wasn't completely without its charms. Shelton and Heigel both register nicely, as does "Angel" star David Boreanaz in the thankless role of Shelton's booze-swilling boyfriend. The direction by Blanks is mediocre at best, but in cinematic moments of peril he adds a stylish ingenuity to the proceedings.\n"Valentine" isn't a horrible film, just one that was done better 30 times prior. Non-demanding fans of the genre might enjoy what few scares are to be had. But more discerning filmgoers will be better served taking their dates to other "holiday"-affiliated fodder.
(02/08/01 5:00am)
Roses are red, violets are blue, this reviewer loathes "Valentine," and the masses will too.\n"Valentine," the insipid new horror film from Jamie Blanks, director of the equally moronic "Urban Legends," will disappoint viewers at every turn. The cherub-masked baddie looks like a wuss, there is little to no nudity in the flick, and I've seen better acting in a porno movie. The film's only saving grace is the originality with which the murders are presented, each a little more creative than the last.\nThe plot, irrelevant as it might be, chronicles the sordid lives populated by a horde of bimbos: Paige (talent void Denise Richards), Kate (an appealing Marley Shelton), Lily (the annoying Jessica Cauffiel), Dorothy (an even more annoying Jessica Capshaw), Shelley (the alluring Katherine Heigel) and the jilted, former middle school loser they once tormented who inevitably returns for vengeance and mass blood-letting.\n"Valentine" is the most recent in a long string of lame, teen-oriented horror movies. Long gone are the days in which horror flicks truly rocked; boobs were shown like badges of honor and blood flowed like water. But in this post-Columbine era of political correctness, no one seems to have the stones to make a halfway decent slasher flick chock full of all the ingredients that once made slasher flicks great. Hence, viewers are left with stale, recycled pieces of crap like "Valentine," in which poor actresses like Richards meander about the screen waiting to be offed like the lemmings that they are.\nThat's not to say that the film wasn't completely without its charms. Shelton and Heigel both register nicely, as does "Angel" star David Boreanaz in the thankless role of Shelton's booze-swilling boyfriend. The direction by Blanks is mediocre at best, but in cinematic moments of peril he adds a stylish ingenuity to the proceedings.\n"Valentine" isn't a horrible film, just one that was done better 30 times prior. Non-demanding fans of the genre might enjoy what few scares are to be had. But more discerning filmgoers will be better served taking their dates to other "holiday"-affiliated fodder.
(02/08/01 5:00am)
Phoenix-based rockers Waterface makes its debut with the mediocre, 10-track album, Seven Days. \nAs ushered in by co-producer and mixer Tim O'Heir (Folk Implosion), the album is an odd hybrid of styles. This is good in that Seven Days defies categorization, but the eclectic nature of the disc inevitably leaves the listener yearning for clarity and vision throughout.\nSeven Days was mastered by the ever-experienced Howie Weinberg (Nirvana, Red Hot Chili Peppers, Limp Bizkit), and the sound of the aforementioned acts radiates throughout the record, especially Limp Bizkit. Guitarists Randy Martinez and Oscar Betancourth, bassist Dave Sardegna and drummer Sean Dowdell sound as though they could easily rotate into Limp's lineup. Each member exemplifies skill and proficiency on his particular instrument, lending the band a clean, cool and ultimately rocking sound.\nIf only the vocals were as strong as the instrumentation. Lead singer Jodi Wendt, try as she might, shouldn't be singing with a band of this pedigree or of this genre (hard, guitar-driven rock). Her voice, sounding like a hybrid of Alanis Morrisette and Melissa Etheridge, isn't bad per se, just not suitable for the band in question. She seems better suited to singing Debbie Gibson covers at a mall in North Dakota. Songs begin promisingly and then proceed toward desecration under Wendt's luke-warm vocals; it makes one wonder what the band might sound like if it was still fronted by former lead singer Chester Bennington (Linkin Park).\nSome of Seven Days' tracks are good. "Idle," "Exhale" and the title track are all solid rock tunes containing the album's best vocals and awesome bass lines and guitar riffs. Other tracks such as "Sincerely" and "X-ation" are potentially bad-ass tracks but are bogged down by less-than-stellar vocals. The rest of the album's tracks, while instrumentally sound, ultimately are cloying, repetitive and unoriginal. Those who care little for vocal quality but are keen on deft musicianship might be well served in picking up a copy of Seven Days.
(02/08/01 4:17am)
Phoenix-based rockers Waterface makes its debut with the mediocre, 10-track album, Seven Days. \nAs ushered in by co-producer and mixer Tim O'Heir (Folk Implosion), the album is an odd hybrid of styles. This is good in that Seven Days defies categorization, but the eclectic nature of the disc inevitably leaves the listener yearning for clarity and vision throughout.\nSeven Days was mastered by the ever-experienced Howie Weinberg (Nirvana, Red Hot Chili Peppers, Limp Bizkit), and the sound of the aforementioned acts radiates throughout the record, especially Limp Bizkit. Guitarists Randy Martinez and Oscar Betancourth, bassist Dave Sardegna and drummer Sean Dowdell sound as though they could easily rotate into Limp's lineup. Each member exemplifies skill and proficiency on his particular instrument, lending the band a clean, cool and ultimately rocking sound.\nIf only the vocals were as strong as the instrumentation. Lead singer Jodi Wendt, try as she might, shouldn't be singing with a band of this pedigree or of this genre (hard, guitar-driven rock). Her voice, sounding like a hybrid of Alanis Morrisette and Melissa Etheridge, isn't bad per se, just not suitable for the band in question. She seems better suited to singing Debbie Gibson covers at a mall in North Dakota. Songs begin promisingly and then proceed toward desecration under Wendt's luke-warm vocals; it makes one wonder what the band might sound like if it was still fronted by former lead singer Chester Bennington (Linkin Park).\nSome of Seven Days' tracks are good. "Idle," "Exhale" and the title track are all solid rock tunes containing the album's best vocals and awesome bass lines and guitar riffs. Other tracks such as "Sincerely" and "X-ation" are potentially bad-ass tracks but are bogged down by less-than-stellar vocals. The rest of the album's tracks, while instrumentally sound, ultimately are cloying, repetitive and unoriginal. Those who care little for vocal quality but are keen on deft musicianship might be well served in picking up a copy of Seven Days.
(02/01/01 5:00am)
DVD players have become more and more accessible this past year, with sales nearly doubling since 1999 and through the introduction of the insanely popular DVD-based PlayStation 2. As the format's popularity increased, so did the quality of software; a direct reaction to this ideology is the newly released "Beastie Boys Video Anthology."\nThe two-disc set contains 18 music videos ranging from the Paul's Boutique era to the present. Sadly, no cuts from the B-Boys' Def Jam/Licensed to Ill days were included on the disc in wake of their spiritual enlightenment clashing with their former "misogynistic, frat boy" ways.\nWhat separates the "Beastie Boys Video Anthology" from other more run-of-the mill music-related DVDs is the interactivity. Amid the already plentiful extras are a plethora of different viewing and listening options; included are 51 alternate video angles, 67 different audio remixes and 36 separate commentaries. In essence, these qualities allow the viewer to become a director in his or her own right. \nHighlights of the discs include the widely loved "Sabotage" and its precursor, a hilarious short titled "Ciao LA," both directed by video and film auteur Spike Jonze; the side-splittingly funny "Hey, Ladies"; the immensely slick "Sure Shot," and eccentric director Nathaniel Hornblower's recent joints ranging from the director's cut of "Body Movin'" to the Beastie Boys most recent clip "Alive."\nNever before in the already hands-on DVD medium have discs come along that were nearly as interactive as the "Beastie Boys Video Anthology." Kudos to the masterminds at Criterion, the company who released the set and who've already amassed a rather impressive roster ("Chasing Amy," "Rushmore" and "Brazil").\nCongratulations also to those everlasting hip-hop impresarios the Beastie Boys, through constant innovation and imagination they have managed to place another jewel in their collective crown. DVD aficionados and fans of the Beastie Boys' unique brand of genre-bending jams owe it to themselves to check out the "Beastie Boys Video Anthology," a milestone in a quickly evolving medium.
(02/01/01 4:57am)
DVD players have become more and more accessible this past year, with sales nearly doubling since 1999 and through the introduction of the insanely popular DVD-based PlayStation 2. As the format's popularity increased, so did the quality of software; a direct reaction to this ideology is the newly released "Beastie Boys Video Anthology."\nThe two-disc set contains 18 music videos ranging from the Paul's Boutique era to the present. Sadly, no cuts from the B-Boys' Def Jam/Licensed to Ill days were included on the disc in wake of their spiritual enlightenment clashing with their former "misogynistic, frat boy" ways.\nWhat separates the "Beastie Boys Video Anthology" from other more run-of-the mill music-related DVDs is the interactivity. Amid the already plentiful extras are a plethora of different viewing and listening options; included are 51 alternate video angles, 67 different audio remixes and 36 separate commentaries. In essence, these qualities allow the viewer to become a director in his or her own right. \nHighlights of the discs include the widely loved "Sabotage" and its precursor, a hilarious short titled "Ciao LA," both directed by video and film auteur Spike Jonze; the side-splittingly funny "Hey, Ladies"; the immensely slick "Sure Shot," and eccentric director Nathaniel Hornblower's recent joints ranging from the director's cut of "Body Movin'" to the Beastie Boys most recent clip "Alive."\nNever before in the already hands-on DVD medium have discs come along that were nearly as interactive as the "Beastie Boys Video Anthology." Kudos to the masterminds at Criterion, the company who released the set and who've already amassed a rather impressive roster ("Chasing Amy," "Rushmore" and "Brazil").\nCongratulations also to those everlasting hip-hop impresarios the Beastie Boys, through constant innovation and imagination they have managed to place another jewel in their collective crown. DVD aficionados and fans of the Beastie Boys' unique brand of genre-bending jams owe it to themselves to check out the "Beastie Boys Video Anthology," a milestone in a quickly evolving medium.
(01/26/01 6:45pm)
A Bloomington man by the name of Jeremy Brightbill fronts the surprisingly versatile and able one-man band Panic Strikes a Chord. \nBrightbill, alongside co-producers Jacob Belser and Daniel Susa, has produced an interesting and capable work with I Can See Electricity at the Proper Distance. The 11-track album is good, if not a tad bit pretentious. Brightbill claims on the disc's cover that his music is "experimental and poetic terrorism." It is surprising that such a talented, burgeoning young musician outright states this. One would be well advised to leave the ostentatious meanderings at the door and to simply play your music.\nPanic Strikes a Chord has a sound reminiscent of Beck's pre-Mellow Gold works and his more recent work Mutations. Brightbill's delivery, cadence and voice are similar to Beck's. The two men also share a similar style in which folk elements are fused with moderate hip-hop beats. \nMany of Electricity's tracks are arresting and thoroughly satisfying. Registering particularly well are "Not the Regular Glass," "Doomed to Repeat, I Say Doomed!!," "Bob's Attempt at a Television Commercial," "The Truth about Faerie Tales," and "Rappaport Vs. the Jet (that Bombed the Grocery Store)." Each of these tunes is mellow and catchy but simultaneously reveal much irony, humor and themes of desolation.\nThe only tracks that really deter from the overall enjoyment of the album are "Favorite Plea" and "Watching Smoke Dance." These songs are simply irritating and stick out like sore thumbs among the more competent tunes on the disc.\nPanic Strikes a Chord has constructed an album that puts many others to shame. Electricity is intelligent, mildly funny and astute musically. Through personal and musical growth and an increasing number of listeners, there's no limit to what Panic Strikes a Chord might eventually achieve.
(01/26/01 6:44pm)
Sam Raimi, director of the cultish "Evil Dead" trilogy, mellows his kinetic visual style considerably with the new psychological thriller "The Gift."\nCate Blanchett does mesmerizing work as a clairvoyant named Annie Wilson. Recently widowed and responsible for her three young sons, Annie turns to soothsaying to provide for her fragmented family. Granted, this "hokum" is widely frowned upon in the tiny, backwater town of Brixton, Ga., but that doesn't deter the occasional loose screw from patronizing her services. Annie's clients include a moronic skank named Valerie Barksdale (Oscar-winner Hilary Swank) and Buddy Cole (Giovanni Ribisi), an intense, mentally handicapped mechanic.\nDespite the trepidation many locals harbor for Annie, her abilities are soon put to the test in an unresolved police matter. Jessica King ("Dawson's Creek" hottie Katie Holmes), a trampy little princess with a predilection toward banging married men, turns up missing. The town is brimming with suspects including the misunderstood Buddy, Valerie's sadistic redneck husband, Donnie (Keanu Reeves) and Jessica's own fiancé Wayne Collins (Greg Kinnear), the respectable principal of Annie's sons' elementary school. It's Annie's job to implement her considerable telepathic skills to finger the sole perpetrator and unearth the other secrets surrounding Jessica's disappearance.\nThe ensemble cast featured within "The Gift" is extremely competent. Blanchett headlines in grand fashion, churning out what is, at least in my opinion, the best performance by an actress in any film from this past year. Aside from Blanchett's tour-de-force, the film belongs to Reeves and Holmes' ample breasts. That's right, kiddies, Keanu can muster theatrical range beyond the prototypical "Dude" and "Whoa" quips he's become infamous for, and the WB teenybopper bares all then proceeds to bite it. Kinnear, Ribisi and Swank also register quite well in their respective roles. \n"The Gift" is a taut, sexy thriller that only stumbles through a few moments of downtrodden pacing and semi-annoying melodramatic piffle. Despite these minor complaints, the film is a well-crafted gothic mystery that should entertain even the most discerning of film goers.
