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(05/11/06 4:00am)
"Hoot" is a film about a couple of kids who are trying to stop a big corporation from building a pancake house to save some burrowing owls. Does that sound like something you'd like to spend your Saturday night indulged in? Maybe if you're eight years old.\n"Hoot" is at it's core, a generic kid's film. Based on the novel by Carl Hiaasen, it is a typical story of kids taking on the man to save the environment. Every cliché element is present: Roy, an adolescent from Montana, moves to Florida with his traveling parents. The new kid at school, he gets picked on by the chubby bully, who ironically, has a lisp and is named Dana. He sees a strange kid running by the bus everyday, and decides to check it out. As well as pissing off the bully, he agitates the school's jock blonde, nicknamed "Beatrice the Bear", by running into her while getting off the bus. \nMeanwhile, plans are set in motion to build a pancake emporium called Mother Paula's that will disrupt Florida wildlife. The mystery kid, Beatrice's rebellious brother, is trying to stop the construction by vandalizing the property in anyway possible because a breed of endangered burrowing owls is already occupying the territory. Roy eventually gains Beatrice's respect, and they team up with the kid, known only as "Mullet Fingers," to stop the pancake place from taking out all the owls. \n"Hoot" is a yawn, nothing strikingly funny at all. Luke Wilson plays the clumsy police officer in charge of staking out the vandals at the site. This is the only hope of redemption the movie has but he fails to deliver. \nI was weary about watching a movie produced by Jimmy Buffet, and my expectations were correct. Buffet also includes some of his own songs in the film, and plays the role of Roy's Marine Science teacher. Throw in some pretty shots of Florida's wildlife, and you have a light-hearted film that just doesn't excel in drawing you in at any point.\nBottom line: if you have young kids or just want to get a dirty look by the girl selling tickets (personal experience), then check out "Hoot." I'm tempted to add a lame joke about how this movie isn't funny, and relate it to the title, but I'll spare you ... this time.
(05/11/06 4:00am)
Pearl Jam has the unfortunate disadvantage of having made one of the most popular debut albums of all time. It's a shame that they will always be remembered most for 1991's Ten, and its string of anthemic hits. What they've done since has usually been more interesting, but often ignored by the mainstream. Part of this retreat from the spotlight has been calculated, as the band stopped doing videos and other promotional materials after the release of Ten. As a result, PJ's fan base has become divided into two camps: Rabid fans who know every word to every song, and those who come to shows only to hear "Jeremy," "Even Flow," "Alive" and "Black." \nPearl Jam, the bands self-titled eighth album is a rarity in that it should please both sides of the fence. If anything, the new record proves that the band can still rock after the arty detours of 2000's Binaural and 2002's Riot Act. The album's first two songs, "Life Wasted" and "World Wide Suicide" set the tone for the rest of the album. The formula is familiar, but effective: Stone Gossard's power chord riffs, Mike McCready's fast and flashy leads and the incredibly tight rhythm section of bassist Jeff Ament and drummer Matt Cameron, with Eddie Vedder's impassioned and urgent vocals to top it off.\n"Comatose," sounding like a cousin to Vitalogy's "Spin the Black Circle," is the fastest, loudest song the band has done in a long time. Both "Marker in the Sand" and "Unemployable" are accessible and catchy, free of the dread that has accompanied too much of the band's recent work. There are some quieter moments on the album as well. "Parachutes" sounds like some sort of lost late Beatles classic, with a beautiful melody expertly sung by Vedder. "Come Back" is a surprisingly effective stab at soul, and the epic "Inside Job" closes the album with a stirring climax. \nPearl Jam also benefits from more focused songwriting and strong production. These songs contain a melodic sense that has been missing from some of their releases. Production wise, the new record sounds fresh and invigorated. The band was able to capture the enthusiasm and energy that their live shows have become famous for. It's a relief to hear them actually having some fun. Vedder is able to really shine. His vocals are front and center, often times doubled or harmonized. \nLyrically, Vedder still seems intent on proving that he is the most sincere man in rock. The little guy is trumpeted, while the evils of the world are denounced. "Army Reserve" tells the difficulties of being a military family, while "World Wide Suicide" takes a swipe at the president for "writing checks that others pay."\nThere are some lesser moments on Pearl Jam. "Severed Hand" and "Gone" both come a little to close to the arena-sized bombast of Ten for my taste, but it's hard to complain too much. Pearl Jam finally have stopped being ashamed of their success. It's good to have them back.
(05/11/06 4:00am)
It's hard to believe that Tool has been around for nearly 14 years. One of the first albums I ever purchased was their 1993 debut, Undertow, and their 1996 metal-masterpiece, Ænima, can still be found in rotation on my stereo. Their last record, 2001's dense, challenging Lateralus, was the sound of metal proclaiming itself a vital force in the 21st century. Despite spanning an eternity between albums and engaging in the relatively mediocre side project, A Perfect Circle, Tool remain a vital force in contemporary metal, as they prove with their latest, 10,000 Days.\nTrue to the form of Tool's three previous long-players, a moderate portion of Days consists of instrumental mood pieces. Twenty-five of the 75 minutes is made up of thick, trudging instrumentals like "Lost Keys," "Intension," "Wings for Marie," "Lipan Conjuring" and the droning album closer "Viginti Tres." The good thing about these tracks is not only that they help solidify the mood of what preceded and set the tone for what's to come, but also that what's upcoming is of such a high caliber that they're worth sitting through. The remaining 50 minutes of Days is exactly the quality of organic, introspective metal we've come to expect from Tool, and far more in some cases.\nThe album commences with the one-two punch of "Vicarious" and "Jambi," followed shortly by the stunningly subtle uppercut of the title track, "10,000 Days." "Vicarious" revisits lead vocalist and songwriter Maynard James Keenan's vehement disgust and disillusionment with the modern world first displayed on Ænima's title track, while "Jambi" is one of Tool's most musically invigorating tracks ever, shifting between a series of multi-layered monotone riffs, semi-buried vocal tracks and cyclonic solos. The title track comes on slowly with thunderstorm effects, romanticizing the rain and letting listeners worry about what happens when the lights flicker and the rivers spill over their banks.\n"The Pot" and "Rosetta Stoned" are easily the angriest and most aggressive songs on the record, and seem at home in the same anti-social territory as many of the songs on Undertow and Ænima. If they weren't so musically exciting, they'd be hard to forgive, yet such forgiveness isn't needed for the final significant composition on 10,000 Days. "Right in Two" is possibly the most subdued and elegant extended track Tool has ever cemented on record. The closest thing Tool has ever penned to a political track, "Right in Two" laments "monkey killing monkey killing monkey over pieces of the ground" as Keenan's vocals form a unified noise with the bass, drums, and guitar, resulting in an extended tribal percussion break high followed by the inevitable, jagged come-down.\nWith nearly every song of substance clocking in at seven plus minutes and shifting tempo more often than most modern metal bands change lyrical rhyme pattern, 10,000 Days is not for the casual listener. Those initiated know what Tool is all about, and will be thrilled to find this record not only thematically enhancing Tool's previous works, but displaying a furthering of musical maturity and production mastery rarely achieved by bands so frequently featured on t-shirts at Hot Topic.
(05/11/06 4:00am)
Damn you "Family Stone." Damn you for making me watch a Christmas movie in May, instead of waiting for a December release. Damn you for advertising yourself as a "Meet the Parents"-type comedy when you're really a serious drama. Damn you for having a conclusion so sappy it'd make a Garry Marshall film blush. But damn you, mostly, for appealing to my soft side, which forces me to enjoy crappy movies doomed for TBS syndication ("The Wedding Planner," anyone?). \nIn the movie, uptight Meredith (Sarah Jessica Parker) heads to her boyfriend Everett's (Dermot Mulroney) family home for Christmas, and finds a lukewarm reception. Among the Stone clan is domineering matriarch Sybil (Diane Keaton, magnificent as always), tranquil dad Kelly (a natural Craig T. Nelson, who should do more film work), unkempt, grouchy sister Amy (Rachel McAdams, yet to make a bad film), and stoner brother Ben (a smug Luke Wilson). Oh yeah -- also sister Susannah (Elizabeth Reaser) and brother Thad (Tyrone Giordano) who, because they're not played by famous people, are pushed to the side.\nThe clan ostracizes Meredith -- but it's hard to sympathize with her, as her own ignorant comments and tense personality undermine her attempts to fit in. Yet, at the same time, the Stones can be big jerks as well -- so, why does she bother trying so hard? After the introductions, a family secret is eventually revealed, shifting the plot from Meredith's awkwardness to more serious family issues. Suddenly, all the horrible things these people have done over the past days disintegrate. In the end, the "despite our differences, we're still family" message is hard to resist. Fight your hardest -- but come the closing credits, you'll most likely wear a smile with a tear in your eye. I'm angry at myself for liking this movie, but that doesn't conceal the fact that I did. \nThe special features primarily exist to remind viewers of the film's all-star cast. There's a casting session featurette (the film was originally supposed to be an independent feature, but Keaton's signing on brought the other stars flocking to the film), a red carpet premiere special (any compliments given to Craig T. Nelson should be revoked after seeing the mullet he sported to the opening), and a Q&A session with the cast at the Screen Actors Guild Theater. Writer/Director Thomas Bezucha must have overseen the creation of the special features, as they're practically a love letter to him. Everyone comments on how aaaamazing he was, and how hard he worked to make this film, and blah blah blah. Sure, he did a lot -- but there were other people on set too. \nPeople like production designer Jane Anne Stewart -- who made the Stones' New England home both meticulously, disastrously cluttered and charmingly picturesque (damn, doncha just wanna snuggle on the couch near that fire place?) -- that should be given their due credit. Several deleted scenes are also available -- but none are longer than thirty seconds, and most are filled with silence, so there's no point to them. The "outrageous" gag reel is anything but. Is somebody forgetting their lines, smiling, then saying "sorry" really that great of a blooper? Cast, director and producer commentaries are also included.\nReally, the only yuletide thing about "The Family Stone" is that it takes place during the holidays -- yet, nonetheless, the DVD should come with a tag that reads "do not open 'til Christmas." And, yes, watch it with your family.
(05/11/06 4:00am)
"Delicatessen" is the darkest of dark comedies. It's the kind of dark comedy that could only come from abroad, away from the politics of mainstream Hollywood. Directed by two of the most influential and important modern filmmakers from Europe, the film is a visually stunning rarity that treads the water of comedy, horror and surrealistic science fiction.\n"Delicatessen" tells the story of the inner workings of a run-down apartment building in a post-apocalyptic world in which the acting currency consists of lentils and corn. There is literally an "underground revolution" of mole-type gangs who live in the city sewers, and the building's owner and butcher serves his residents, well, other residents.\nOne day a stranger Louison (played by Jeunet regular Dominique Pinon) comes to the apartment building seeking a job as a maintenance man. His arrival sparks interest in the other residents, many of whom seem to know the future demise of the new guest. In one scene a man is asked what he thinks about the new tenant and he replies with the casual response, "he's pretty skinny."\nWhile the film's main story line revolves around Louison falling in love with the butcher's daughter and the butcher making the tough decision of whether to embrace his daughter's lover or eat him, "Delicatessen's" true charm comes from its character studies. \nFor anyone familiar with the quirky characters from Jeunet's most recent films, "Amelie" and "A Very Long Engagement," you will be astonished of how creative and bizarre the "Delicatessen" world is. There's the lunatic tenant who raises frogs and snails to eat, the woman who thinks she hears voices and tries desperately throughout the film to kill herself in the most elaborate ways and finally there are the mole men, a fleet of underground revolutionaries who aren't the brightest of freedom fighters.\nThe release of "Delicatessen" on DVD is a breath of fresh air for fans of Jeunet since this is the first major US release. The disc features two "behind the scenes" type videos, one that showcases a handful of characters in their rehearsals, the other showing how Jeunet captured some of his memorable shots and created the film's elaborate sets. The most impressive feature, however, is the commentary track by Jeunet who is eccentric to say the least.\n"Delicatessen" might not be for everyone. The film is violent at times and has a wickedly sick sense of humor in the same vein of "Harold and Maude" crossed with "The Evil Dead" films. However, it is also a visual delight. The cinematography is pure Jeunet, the set work is bizarre but fascinating and overall the film is a nice prelude to the brilliant films he's made since then (that is if you don't count the gooey "Alien Resurrection"). For those who don't fear subtitles and enjoyed "Amelie," give "Delicatessen" a try. It's one of those rare delicacies that could only come from abroad.
(05/11/06 4:00am)
Is it better to burn out or fade away? In rock 'n' roll, its much more romantic and memorable to go quickly. Neil Young originally wrote that it was indeed better to burn out way back in 1979, so it's a little ironic that he is still making records at 60 plus. Kurt Cobain certainly believed in the burn out. He wrote it in his suicide note, and it did wonders for his career, as it did for many others as well. You really don't even have to die to burn out either. Bands and artists who are able to go out on top maintain a certain mystique about them. The Beatles broke up after about eight years in the limelight, never making a major misstep, and were all the better for it. The Velvet Underground made only four albums -- all of them classics, and are one of the most respected bands in history. \nSadly, today's music scene is littered with withering reminders of the old guard; those who have chosen to fade away. This summer you can go see Tom Petty or Crosby, Stills, Nash, and Young play songs that are over 30 years old; songs that you've heard over 1,000 times. Another obvious example is the Rolling Stones. Being a huge Stones fan, nothing is more painful for me than watching or listening to them these days. It's like watching Michael Jordan play for the Wizards or watching Sammy Sosa hit .221 for the Orioles. \nIt's not that these elder statesmen such as the Stones or Petty weren't once great; they were, but it's time that they step aside and let some new blood have a chance. Rock really has become the domain of the aged. Think about it. Are there any true rock stars under the age of 40? If Chris Martin or Billie Joe Armstrong is the best you can do, then we are all in trouble. In addition to being irrelevant, those refusing to bow out gracefully have set back the entire music industry. Maybe the major labels would actually sign and promote new young talent if they weren't too busy pushing the next Billy Joel/Elton John tour. \nNot knowing when to step away is not a phenomenon limited to rock 'n' roll. TV and film are full of other examples. "The Simpsons" keeps continuing its never-ending run, with every season bringing fewer quality episodes. Robert DeNiro, arguably the finest actor of his generation, the man who played Travis Bickle and Jake LaMotta, now will apparently do any movie they put in front of him ("Hide and Seek," "Shark Tale," "Godsend"). Even my hero, Larry David, is seemingly out of ideas, as he spent the entire last season of "Curb Your Enthusiasm," sullying the reputation of what was once the funniest show on television. \nMaybe the reason that all these figurative dinosaurs continue to roam is that we are completely out of original ideas. Maybe we will be content singing "Satisfaction" or "Tiny Dancer" 100 years from now. Maybe our grandchildren will still be watching Bart Simpson. Hollywood, with all of its remakes, sequels and biopics, is so devoid of new ideas that "Snakes on a Plane" actually looks really interesting. \nIn all seriousness though, it seems like new generations of what will be the next great music, films, and shows are being overlooked to continue to celebrate past accomplishments of former greats. Just because you were great once doesn't give you a pass to be mediocre now. I know that there are a lot worse things to pick from these days than the Stones or "The Simpsons," but you just can't hold on forever; you have to move on.\nBurning out is not necessarily the answer to not fading away. As long as you are consistently challenging yourself or your audience, it is possible to go on and remain relevant. Look at Bob Dylan and Bruce Springsteen. Both continue to make thought-provoking music without having to fall back too much on old standards. And I still love the Stones, but I just want my own version of them, free of wrinkles. I guess Sick Boy's unifying theory of life from "Trainspotting" was right: "At one point you've got it, then you lose it, and it's gone forever." Well, when you start to lose it, maybe it's time to think about packing it in.
(05/11/06 12:11am)
Recently, while indulging my tastes buds with a Polar Pop, I was surprised to find that the gas station fountain of carbonated sugary delights now includes an energy drink, specifically, one called "Go Ape Energy". Now before you all drop the paper and head out to throw down 63 cents (including tax) on a 32 oz mug of energy just hear me out. \nAt first I was a bit baffled and started to think, "you know these energy drinks are really getting out of control." Then I realized that really the consumer market isn't saturated enough with energy-infused products. The energy craze has only just begun.\nNow, when I talk about energy products I'm not referring to natural energy, you know, stuff like fruit, vegetables, legumes, nuts, berries -- basically anything that could be gathered in a forest. I'm talking about the chemically alloyed energy drinks that tote energized names like ROCKSTAR, Monster Energy, Red Bull, Vault and, my personal favorite, Crunk Juice, a tantalizing little concoction created by my man Lil' John and his posse of loud, fast-talking Eastside Boyz.\nIf you haven't noticed, energy is really "in" right now. I remember when a simple cup of coffee would jumpstart any college student's day. These days our drug choices have changed with the tides of time, and now it is not uncommon to roll out of bed, crack open a cool ROCKSTAR and artificially supercharge one's day. \nTo be fair, the energy found in these drinks is really nothing more than high levels of caffeine and sugar. Well, that and some fun little mystery additives such as niacin, Panthothenic acid (mmmm...), taurine, glucuronolactone, D-Pantothenol and of course, the color red. The drinks give you a nice nimble rush of caffeine and sugar and when mixed with alcohol, do all sorts of craziness to the human body. But hey, it's energy.\nIf you think about it energy products have been around for quite some time. In the '90s products like Gatorade and PowerBars enabled athletes to gain higher endurance and agility while making the rest of us just feel like we were high endurance athletes. During the decadent 1980s people got their energy fixes with, you know, cocaine, which despite being labeled a "drug" was really just a highly potent source of artificial energy that created armies of self-indulgent minions of douchebagery. \nIt's only a matter of time before energy will be sprinkled on just about everything. I won't rest until the day comes when I am able to buy energized milk in the local grocery store. It's only a matter of time before Axe body spray will add energy to their lineup of scented man-mists. While dining out I want to be able to say to a waiter, "I'll have the salmon but, you know, it's late, hold the energy." In the future fruit and crunchy granola will be the thing of the past. Boca burgers will be used as fertilizer, and life as you know it will be slightly more energized.
(05/10/06 7:07pm)
"Delicatessen" is the darkest of dark comedies. It's the kind of dark comedy that could only come from abroad, away from the politics of mainstream Hollywood. Directed by two of the most influential and important modern filmmakers from Europe, the film is a visually stunning rarity that treads the water of comedy, horror and surrealistic science fiction.\n"Delicatessen" tells the story of the inner workings of a run-down apartment building in a post-apocalyptic world in which the acting currency consists of lentils and corn. There is literally an "underground revolution" of mole-type gangs who live in the city sewers, and the building's owner and butcher serves his residents, well, other residents.\nOne day a stranger Louison (played by Jeunet regular Dominique Pinon) comes to the apartment building seeking a job as a maintenance man. His arrival sparks interest in the other residents, many of whom seem to know the future demise of the new guest. In one scene a man is asked what he thinks about the new tenant and he replies with the casual response, "he's pretty skinny."\nWhile the film's main story line revolves around Louison falling in love with the butcher's daughter and the butcher making the tough decision of whether to embrace his daughter's lover or eat him, "Delicatessen's" true charm comes from its character studies. \nFor anyone familiar with the quirky characters from Jeunet's most recent films, "Amelie" and "A Very Long Engagement," you will be astonished of how creative and bizarre the "Delicatessen" world is. There's the lunatic tenant who raises frogs and snails to eat, the woman who thinks she hears voices and tries desperately throughout the film to kill herself in the most elaborate ways and finally there are the mole men, a fleet of underground revolutionaries who aren't the brightest of freedom fighters.\nThe release of "Delicatessen" on DVD is a breath of fresh air for fans of Jeunet since this is the first major US release. The disc features two "behind the scenes" type videos, one that showcases a handful of characters in their rehearsals, the other showing how Jeunet captured some of his memorable shots and created the film's elaborate sets. The most impressive feature, however, is the commentary track by Jeunet who is eccentric to say the least.\n"Delicatessen" might not be for everyone. The film is violent at times and has a wickedly sick sense of humor in the same vein of "Harold and Maude" crossed with "The Evil Dead" films. However, it is also a visual delight. The cinematography is pure Jeunet, the set work is bizarre but fascinating and overall the film is a nice prelude to the brilliant films he's made since then (that is if you don't count the gooey "Alien Resurrection"). For those who don't fear subtitles and enjoyed "Amelie," give "Delicatessen" a try. It's one of those rare delicacies that could only come from abroad.
(05/10/06 7:07pm)
Damn you "Family Stone." Damn you for making me watch a Christmas movie in May, instead of waiting for a December release. Damn you for advertising yourself as a "Meet the Parents"-type comedy when you're really a serious drama. Damn you for having a conclusion so sappy it'd make a Garry Marshall film blush. But damn you, mostly, for appealing to my soft side, which forces me to enjoy crappy movies doomed for TBS syndication ("The Wedding Planner," anyone?). \nIn the movie, uptight Meredith (Sarah Jessica Parker) heads to her boyfriend Everett's (Dermot Mulroney) family home for Christmas, and finds a lukewarm reception. Among the Stone clan is domineering matriarch Sybil (Diane Keaton, magnificent as always), tranquil dad Kelly (a natural Craig T. Nelson, who should do more film work), unkempt, grouchy sister Amy (Rachel McAdams, yet to make a bad film), and stoner brother Ben (a smug Luke Wilson). Oh yeah -- also sister Susannah (Elizabeth Reaser) and brother Thad (Tyrone Giordano) who, because they're not played by famous people, are pushed to the side.\nThe clan ostracizes Meredith -- but it's hard to sympathize with her, as her own ignorant comments and tense personality undermine her attempts to fit in. Yet, at the same time, the Stones can be big jerks as well -- so, why does she bother trying so hard? After the introductions, a family secret is eventually revealed, shifting the plot from Meredith's awkwardness to more serious family issues. Suddenly, all the horrible things these people have done over the past days disintegrate. In the end, the "despite our differences, we're still family" message is hard to resist. Fight your hardest -- but come the closing credits, you'll most likely wear a smile with a tear in your eye. I'm angry at myself for liking this movie, but that doesn't conceal the fact that I did. \nThe special features primarily exist to remind viewers of the film's all-star cast. There's a casting session featurette (the film was originally supposed to be an independent feature, but Keaton's signing on brought the other stars flocking to the film), a red carpet premiere special (any compliments given to Craig T. Nelson should be revoked after seeing the mullet he sported to the opening), and a Q&A session with the cast at the Screen Actors Guild Theater. Writer/Director Thomas Bezucha must have overseen the creation of the special features, as they're practically a love letter to him. Everyone comments on how aaaamazing he was, and how hard he worked to make this film, and blah blah blah. Sure, he did a lot -- but there were other people on set too. \nPeople like production designer Jane Anne Stewart -- who made the Stones' New England home both meticulously, disastrously cluttered and charmingly picturesque (damn, doncha just wanna snuggle on the couch near that fire place?) -- that should be given their due credit. Several deleted scenes are also available -- but none are longer than thirty seconds, and most are filled with silence, so there's no point to them. The "outrageous" gag reel is anything but. Is somebody forgetting their lines, smiling, then saying "sorry" really that great of a blooper? Cast, director and producer commentaries are also included.\nReally, the only yuletide thing about "The Family Stone" is that it takes place during the holidays -- yet, nonetheless, the DVD should come with a tag that reads "do not open 'til Christmas." And, yes, watch it with your family.
(05/10/06 7:07pm)
It's hard to believe that Tool has been around for nearly 14 years. One of the first albums I ever purchased was their 1993 debut, Undertow, and their 1996 metal-masterpiece, Ænima, can still be found in rotation on my stereo. Their last record, 2001's dense, challenging Lateralus, was the sound of metal proclaiming itself a vital force in the 21st century. Despite spanning an eternity between albums and engaging in the relatively mediocre side project, A Perfect Circle, Tool remain a vital force in contemporary metal, as they prove with their latest, 10,000 Days.\nTrue to the form of Tool's three previous long-players, a moderate portion of Days consists of instrumental mood pieces. Twenty-five of the 75 minutes is made up of thick, trudging instrumentals like "Lost Keys," "Intension," "Wings for Marie," "Lipan Conjuring" and the droning album closer "Viginti Tres." The good thing about these tracks is not only that they help solidify the mood of what preceded and set the tone for what's to come, but also that what's upcoming is of such a high caliber that they're worth sitting through. The remaining 50 minutes of Days is exactly the quality of organic, introspective metal we've come to expect from Tool, and far more in some cases.\nThe album commences with the one-two punch of "Vicarious" and "Jambi," followed shortly by the stunningly subtle uppercut of the title track, "10,000 Days." "Vicarious" revisits lead vocalist and songwriter Maynard James Keenan's vehement disgust and disillusionment with the modern world first displayed on Ænima's title track, while "Jambi" is one of Tool's most musically invigorating tracks ever, shifting between a series of multi-layered monotone riffs, semi-buried vocal tracks and cyclonic solos. The title track comes on slowly with thunderstorm effects, romanticizing the rain and letting listeners worry about what happens when the lights flicker and the rivers spill over their banks.\n"The Pot" and "Rosetta Stoned" are easily the angriest and most aggressive songs on the record, and seem at home in the same anti-social territory as many of the songs on Undertow and Ænima. If they weren't so musically exciting, they'd be hard to forgive, yet such forgiveness isn't needed for the final significant composition on 10,000 Days. "Right in Two" is possibly the most subdued and elegant extended track Tool has ever cemented on record. The closest thing Tool has ever penned to a political track, "Right in Two" laments "monkey killing monkey killing monkey over pieces of the ground" as Keenan's vocals form a unified noise with the bass, drums, and guitar, resulting in an extended tribal percussion break high followed by the inevitable, jagged come-down.\nWith nearly every song of substance clocking in at seven plus minutes and shifting tempo more often than most modern metal bands change lyrical rhyme pattern, 10,000 Days is not for the casual listener. Those initiated know what Tool is all about, and will be thrilled to find this record not only thematically enhancing Tool's previous works, but displaying a furthering of musical maturity and production mastery rarely achieved by bands so frequently featured on t-shirts at Hot Topic.
(05/10/06 7:06pm)
Pearl Jam has the unfortunate disadvantage of having made one of the most popular debut albums of all time. It's a shame that they will always be remembered most for 1991's Ten, and its string of anthemic hits. What they've done since has usually been more interesting, but often ignored by the mainstream. Part of this retreat from the spotlight has been calculated, as the band stopped doing videos and other promotional materials after the release of Ten. As a result, PJ's fan base has become divided into two camps: Rabid fans who know every word to every song, and those who come to shows only to hear "Jeremy," "Even Flow," "Alive" and "Black." \nPearl Jam, the bands self-titled eighth album is a rarity in that it should please both sides of the fence. If anything, the new record proves that the band can still rock after the arty detours of 2000's Binaural and 2002's Riot Act. The album's first two songs, "Life Wasted" and "World Wide Suicide" set the tone for the rest of the album. The formula is familiar, but effective: Stone Gossard's power chord riffs, Mike McCready's fast and flashy leads and the incredibly tight rhythm section of bassist Jeff Ament and drummer Matt Cameron, with Eddie Vedder's impassioned and urgent vocals to top it off.\n"Comatose," sounding like a cousin to Vitalogy's "Spin the Black Circle," is the fastest, loudest song the band has done in a long time. Both "Marker in the Sand" and "Unemployable" are accessible and catchy, free of the dread that has accompanied too much of the band's recent work. There are some quieter moments on the album as well. "Parachutes" sounds like some sort of lost late Beatles classic, with a beautiful melody expertly sung by Vedder. "Come Back" is a surprisingly effective stab at soul, and the epic "Inside Job" closes the album with a stirring climax. \nPearl Jam also benefits from more focused songwriting and strong production. These songs contain a melodic sense that has been missing from some of their releases. Production wise, the new record sounds fresh and invigorated. The band was able to capture the enthusiasm and energy that their live shows have become famous for. It's a relief to hear them actually having some fun. Vedder is able to really shine. His vocals are front and center, often times doubled or harmonized. \nLyrically, Vedder still seems intent on proving that he is the most sincere man in rock. The little guy is trumpeted, while the evils of the world are denounced. "Army Reserve" tells the difficulties of being a military family, while "World Wide Suicide" takes a swipe at the president for "writing checks that others pay."\nThere are some lesser moments on Pearl Jam. "Severed Hand" and "Gone" both come a little to close to the arena-sized bombast of Ten for my taste, but it's hard to complain too much. Pearl Jam finally have stopped being ashamed of their success. It's good to have them back.
(05/10/06 7:05pm)
"Hoot" is a film about a couple of kids who are trying to stop a big corporation from building a pancake house to save some burrowing owls. Does that sound like something you'd like to spend your Saturday night indulged in? Maybe if you're eight years old.\n"Hoot" is at it's core, a generic kid's film. Based on the novel by Carl Hiaasen, it is a typical story of kids taking on the man to save the environment. Every cliché element is present: Roy, an adolescent from Montana, moves to Florida with his traveling parents. The new kid at school, he gets picked on by the chubby bully, who ironically, has a lisp and is named Dana. He sees a strange kid running by the bus everyday, and decides to check it out. As well as pissing off the bully, he agitates the school's jock blonde, nicknamed "Beatrice the Bear", by running into her while getting off the bus. \nMeanwhile, plans are set in motion to build a pancake emporium called Mother Paula's that will disrupt Florida wildlife. The mystery kid, Beatrice's rebellious brother, is trying to stop the construction by vandalizing the property in anyway possible because a breed of endangered burrowing owls is already occupying the territory. Roy eventually gains Beatrice's respect, and they team up with the kid, known only as "Mullet Fingers," to stop the pancake place from taking out all the owls. \n"Hoot" is a yawn, nothing strikingly funny at all. Luke Wilson plays the clumsy police officer in charge of staking out the vandals at the site. This is the only hope of redemption the movie has but he fails to deliver. \nI was weary about watching a movie produced by Jimmy Buffet, and my expectations were correct. Buffet also includes some of his own songs in the film, and plays the role of Roy's Marine Science teacher. Throw in some pretty shots of Florida's wildlife, and you have a light-hearted film that just doesn't excel in drawing you in at any point.\nBottom line: if you have young kids or just want to get a dirty look by the girl selling tickets (personal experience), then check out "Hoot." I'm tempted to add a lame joke about how this movie isn't funny, and relate it to the title, but I'll spare you ... this time.
(05/10/06 7:05pm)
The most frightening thing about "An American Haunting" is that it was written and produced by Courtney Solomon, the same man who directed "Dungeons & Dragons" in 2000. There is a vacuous six- year gap punctuating Solomon's career résumé between his first movie and this one -- meaning no big projects to cut his teeth on and no opportunity to hone his craft. Though "An American Haunting" wasn't the genre-crippling embarrassment that his last flick was, it may well ensure another six years of directorial idleness for Solomon.\nThere is a magical rapport that can exist between actor and director, one that brings out the best in even subpar entertainers. Conversely, there are movies like this one. Donald Sutherland and Sissy Spacek receive poor direction, and the result is cardboard at best. The same thing happened under Solomon's watch in "Dungeons & Dragons" when Jeremy Irons stepped into frame and proceeded to ham it up like a high school drama instructor. When it comes to acting like that, you can't hate the playa, you gotta hate the game.\nThe plot centers on the Bell family. Its patriarch, John Bell (Sutherland), angers the local witch, who unleashes a slap-happy, hair-pulling, blanket-wielding spirit on him and his daughter. As the movie unfolds, it turns out that the witch might not be at fault. Maybe John Bell cursed himself or maybe he molested his daughter and her own ghostly self is attacking her still-living body as a result. This feeble storyline just barely manages to unfold between the dream sequences, horrendous editing and a disappointing surprise ending. \nThe movie claims to be inspired by substantiated, true events, which is a Hollywood way of saying that the film is based on a fictional novel, The Bell Witch: An American Haunting by Brent Monahan. True, there is a dubious legend of the Bell Witch, on which both the movie and 1995 book are based. However, Solomon's telling leaves out the folkloric antics about the spirit-rescuing children, engaging in theology lectures and cracking walnuts for an ailing wife in favor of supernatural angst with a 19th century backdrop. \nAs a horror movie, "An American Haunting" is passable. The film won't leave you psychologically traumatized, but you might jump in your seat if you are frightened by sudden movement and loud noises -- really loud noises. In fact, its scares are charted in decibel levels. Though mediocre, the movie avoids the damning hallmark of Uwe Boll cinematography and manages to stay a step ahead of many recent horror remakes. Still, not being unwatchable doesn't necessarily make "An American Haunting" worth the price of admission.
(05/10/06 7:04pm)
Hooray for mediocrity! Let's face it, that is about all one could possibly expect from "Mission: Impossible III." In the end, that is exactly what this movie does, it lives up to your expectations. There are lots of guns and explosions and ridiculously complicated plans for heists, including one hilarious scene where the main character saves the day through the heroic use of algebra.\nThe plot for "M:i:III" is as predictable as can be, which actually has its upside since you can sleep through all of the boring parts and not lose track of the story. Ethan Hunt (Tom "I have lost my damn mind" Cruise) has retired and now restricts his talents to training other agents. When his first student is captured by evil super villain, Owen Davien (Phillip Seymour Hoffman), he is called back to active duty to try and save her life. But when Davien captures Hunt's newlywed bride (Michelle Monaghan), Hunt has to gather his team of super agents to trot the globe and try to get her back. How on Earth it took three writers to come up with this script I have no idea, but whichever one was \nin charge of dialog should probably be fired.\nAlthough the script is piss poor, that is not really that big of a deal for an action movie. Half the people aren't even paying attention to the plot anyway. Honestly the biggest problem with this movie is the presence of Tom Cruise. It has become practically impossible to separate his on-screen characters from his off-screen antics. The entire time he was speaking I just kept thinking about the time he jumped on Oprah's couch, or his recent claim that after his wife gave birth he was going to eat the placenta. Let me tell you, nothing ruins an action movie like imagining the main character eating a placenta.\nOf course the visual effects were great, but who cares. It is 2006; we are too accustomed to visual effects to be wowed by them any more. Frankly, the last time I enjoyed a bad movie because of the digital effects was "Star Wars: Episode I." Still I guess there will always be a place in America's heart for big explosions and ridiculously crafted gunfights.\nOverall, "Mission: Impossible III" is exactly as good as one could reasonably expect it to be. It is a pointless action flick with lots of shooting and blowing stuff up. Completely mindless but, in all honesty, that is what the audience wants sometimes, mindless fiery action.
(05/10/06 7:02pm)
Is it better to burn out or fade away? In rock 'n' roll, its much more romantic and memorable to go quickly. Neil Young originally wrote that it was indeed better to burn out way back in 1979, so it's a little ironic that he is still making records at 60 plus. Kurt Cobain certainly believed in the burn out. He wrote it in his suicide note, and it did wonders for his career, as it did for many others as well. You really don't even have to die to burn out either. Bands and artists who are able to go out on top maintain a certain mystique about them. The Beatles broke up after about eight years in the limelight, never making a major misstep, and were all the better for it. The Velvet Underground made only four albums -- all of them classics, and are one of the most respected bands in history. \nSadly, today's music scene is littered with withering reminders of the old guard; those who have chosen to fade away. This summer you can go see Tom Petty or Crosby, Stills, Nash, and Young play songs that are over 30 years old; songs that you've heard over 1,000 times. Another obvious example is the Rolling Stones. Being a huge Stones fan, nothing is more painful for me than watching or listening to them these days. It's like watching Michael Jordan play for the Wizards or watching Sammy Sosa hit .221 for the Orioles. \nIt's not that these elder statesmen such as the Stones or Petty weren't once great; they were, but it's time that they step aside and let some new blood have a chance. Rock really has become the domain of the aged. Think about it. Are there any true rock stars under the age of 40? If Chris Martin or Billie Joe Armstrong is the best you can do, then we are all in trouble. In addition to being irrelevant, those refusing to bow out gracefully have set back the entire music industry. Maybe the major labels would actually sign and promote new young talent if they weren't too busy pushing the next Billy Joel/Elton John tour. \nNot knowing when to step away is not a phenomenon limited to rock 'n' roll. TV and film are full of other examples. "The Simpsons" keeps continuing its never-ending run, with every season bringing fewer quality episodes. Robert DeNiro, arguably the finest actor of his generation, the man who played Travis Bickle and Jake LaMotta, now will apparently do any movie they put in front of him ("Hide and Seek," "Shark Tale," "Godsend"). Even my hero, Larry David, is seemingly out of ideas, as he spent the entire last season of "Curb Your Enthusiasm," sullying the reputation of what was once the funniest show on television. \nMaybe the reason that all these figurative dinosaurs continue to roam is that we are completely out of original ideas. Maybe we will be content singing "Satisfaction" or "Tiny Dancer" 100 years from now. Maybe our grandchildren will still be watching Bart Simpson. Hollywood, with all of its remakes, sequels and biopics, is so devoid of new ideas that "Snakes on a Plane" actually looks really interesting. \nIn all seriousness though, it seems like new generations of what will be the next great music, films, and shows are being overlooked to continue to celebrate past accomplishments of former greats. Just because you were great once doesn't give you a pass to be mediocre now. I know that there are a lot worse things to pick from these days than the Stones or "The Simpsons," but you just can't hold on forever; you have to move on.\nBurning out is not necessarily the answer to not fading away. As long as you are consistently challenging yourself or your audience, it is possible to go on and remain relevant. Look at Bob Dylan and Bruce Springsteen. Both continue to make thought-provoking music without having to fall back too much on old standards. And I still love the Stones, but I just want my own version of them, free of wrinkles. I guess Sick Boy's unifying theory of life from "Trainspotting" was right: "At one point you've got it, then you lose it, and it's gone forever." Well, when you start to lose it, maybe it's time to think about packing it in.
(05/10/06 7:01pm)
So, it is summer time again. No seriously it is. Check your calendar, I am right. In Bloomington that means a few things. First of all, it means that you can now drive down 10th Street in under an hour. It also means that the ratio of Escalades to Pickup trucks takes a severe nosedive. But the biggest, most important thing that happens this, and every, summer, is the blockbuster. That is right, it is time for the summer blockbuster. Superheroes, horror movies and high profile action are all coming your way. Screw Oscar time, this is when the best movies come out, and unlike last year it looks like this summer will see a lot of worthwhile fare. My mouth is salivating over "X-Men 3", "Pirates of the Caribbean 2," "Superman Returns" and "Idiocracy," Mike Judge's long delayed follow-up to "Office Space." But on the other hand there is going to be a lot of crap. And this isn't just normal run of the mill crap; we are talking about the radioactive son of crap, Crapzilla. \n"Poseidon:" What is the best way to remake a crappy disaster movie from the '70s? Cast it with has-beens and unknowns. What does it say when your biggest names are Richard Dreyfuss and THAT guy from "Sweet Home Alabama." Seriously, what rock did they find Richard Dreyfuss under? Rumor is that he is working for food and a place to crash.\n"The Omen:" The only reason the original "The Omen" was even worth watching at all is for camp value. Just because there is going to be a 06/06/06 this year doesn't mean you have to release a movie about the devil ... okay the release date is kind of cool.\n"The Fast and the Furious: Tokyo Drift:" Dear God! What horror hath those who saw "2 Fast 2 Furious" wrought? Here is the premise, down home southern boy goes to Japan with Bow Wow and shows those dirty Japanese how we race in America. How bad does a movie have to be before Paul Walker refuses to work on it? I guess we are going to find out.\n"Garfield's A Tale of Two Kittens:" Come on, there is no way that anyone could have possibly thought that a "Garfield" sequel was a good idea. The executives over at Fox must have missed the first one, as did the rest of America.\n"Little Man:" If you have yet to see the preview for this movie, do yourself a favor and hop on the Internet and check it out. Marlon Wayans' head CGIed onto a 3-year-old's body. I think I died a little inside by just seeing that. Who keeps letting the Wayans Brothers make movies? Then again White Chicks make a boat load of money so someone out there it watching this stuff.\n"Lady in the Water:" After "Unbreakable" and "The Village" there cannot possibly be anyone left who is still willing to sit through a M. Night Shyamalan film. I wonder if this movie will end with a ridiculously over the top and pointless twist. Well according to my Magic Eight Ball, all signs point to yes.\n"Miami Vice:" Don't think this movie will be that bad? Well I have a question for you. Has Colin Farrell ever been in a good movie? Plus, it is becoming all too clear that Academy Award winner Jamie Foxx is more like Academy Award winner Cher than Academy Award winner Laurence Olivier. \n"Zoom:" Tim Allen Stars in an exact rip off of last year's superhero film "Sky High." I wonder if we pool our money together, do you think we can raise enough to bribe people to stop putting Tim Allen in films. Sadly this will probably be better than his other film coming out this year, "The Santa Clause 3."\n"DOA: Dead or Alive:" This movie has one point and one point only: boobs and plenty of them. Then again what do you expect when you have a movie that is based on a video game that gained its notoriety by being the first fighting game with jiggling. They are yet to reveal the plot of "DOA," but I have a feeling that it will have something to do with a beach.\n"Snakes on a Plane:" I think this might be the worst movie that I have ever been dying to see. Will it be bad? Of course it will, but there are going to be snakes! On a plane! I think the greatest joke that could ever be played on America would be if this movie were actually a three hour biopic about Herbert Hoover.
(05/10/06 7:01pm)
WHAT: Smithsonian Jazz Festival\nWHEN: Aug. 12, 8 p.m.\nWHERE: IU Musical Arts Center\nCOST: $14, $8 for IU students\nFestivals are all over the country, and right here in Bloomington we have shows all summer long on campus. The summer of inexpensive, and sometimes free, shows are capped off with the Smithsonian Jazz Festival in August. Featuring legendary Jazz musician David Baker and The Smithsonian Jazz Masterworks Orchestra, the performance will showcase some of the most important Jazz of the last 100 years. \nJelly Roll Morton, George Gershwin, Duke Ellington, Billy Strayhorn and Quincy Jones are just a few of the impressive list of artists being covered. The show will also include some IU performers.\n"I'm thrilled that the all-star musicians who make up this orchestra will get a chance to visit our campus," Baker says. "And (they will) see firsthand what we're trying to do in our jazz studies department as well as in the rest of the School of Music."\nThe Jacobs School of Music also has chamber shows, orchestral concerts, jazz concerts, outdoor bands, choruses, the Opera "The Mikado" and free events all summer long.
(05/10/06 7:01pm)
Staying in Bloomington during the summer months may scream boredom for some. The students that remain in town are taking classes or working and may dread the long, hot days with little to do.\nYet, summer is the highlight of the year for Bloomington residents and fewer people does not necessarily translate into less activity. Less traffic, warmer, sunnier weather and an abundance of outdoor activities help this town spring to life.\nThe Union Board is active in the summer, but has yet to convene. When they do, the Summer Board will begin planning events for students staying in Bloomington this summer.\n"(We) will have an active board for the summer and will be actively programming," said Tony Bruno, programming director for the Union.\nWhile waiting for the Union Board-sponsored events to begin, students have many options to keep busy including events in and around Bloomington that have already begun to take shape. \nRemaining students and residents have a lot to choose from when they are not at work or in class. Traditionally, with the Fourth of July each year, many anticipated events are scheduled. Even on regular days, students should still have many options to keep themselves busy.\nHere is a sampling of what is to come in the next few months, including one-time and summer-long events:
(04/27/06 4:00am)
The Afrikaan word "tsotsi" roughly translates to "thug." On the surface, the film "Tsotsi" is about the life of a young street-raised gangster named Tsotsi, in the same vein as 2001's "City of God." However, below its skin the film is more a stark look at redemption and one man's desire to break away from the harsh innate life of the slums is South Africa. \n"Tsotsi" chronicles a group of South African hoods as they reap mayhem throughout their run down shantytowns and the upper class, bourgeois sectors of the city of Johannesburg. Tsotsi (newcomer Presely Chweneyagae in a daunting and brilliant debut) is the leader of the small gang of thugs who spend their days robbing business men on the subway, getting into bar fights and have little or no concern for the social struggles around them.\nOne night, while on a routine car jacking in a particularly rich sector of Johannesburg, Tsotsi holds a woman at gunpoint and takes her car, only to discover later that he stole more than he bargained for. To keep the film's element of surprise intact, I will stop here. The film's ambience and tone does a full 180 upon the discovery of what was left in the car.\n"Tsotsi" was this year's victor for Best Foreign Language Film at the Academy Awards, the first win for the nation of South Africa. Despite critics who say the Palestinian film "Paradise Now" was snubbed because of political reasons, the film is completely worthy of the praise and is one of the best foreign films I've seen in a long time.\nIt's rare these days to see a film come along that truly shows a bad character desiring to change his ways because of something as simple as an unexpected addition to a chaotic life. Tsotsi is a cold-blooded killer. He was born in the slums and will most likely die in the slums. What "Tsotsi" does, however, is present us with a character who, despite his cold demeanor and harsh upbringing, has a desire to do right with his life.\nThe film is gorgeously shot, accentuating the bleak landscape of the South African slums and utilizes a beautiful array of vibrant colors. The soundtrack is a beautiful mix of modern Afro-Pop, R&B and rap by South African artist Zola and the acting is brilliant, particularly with Chweneyagae, who manages to carry full scenes just through the emotion of his face and eyes.\nIn his acceptance speech at this year's Oscars, director/screenwriter Gavin Hood pleaded with the audience to accept foreign language films because they deal with the same important human themes as American films. \nWhile "Tsotsi" takes on themes that have indeed been done before, the film is an emotional triumph that bests many mainstream films being released today.
(04/27/06 4:00am)
In the world of jazz there are the major players -- cats like Miles, Coltrane, Monk, Mingus, Bird, Gillespie -- then there are the musicians who, although were equally as talented and important to the music, did not gain the same colossal level of popularity as the bigger names. Trumpet legend and Indianapolis native Freddie Hubbard is one of these artists.\nWhile Hubbard had a strong early career as a backup player for bebop artists like Art Blakey and Sonny Rollins some of his most brilliant and often overlooked recordings came during the 1970s funk/fusion exploration era with collaborations with pianist Herbie Hancock, guitarist George Benson and bassist Ron Carter. \nHubbard's Red Clay was released a year after Miles Davis's monumental crossover into fusion territory Bitches Brew and four years before Hancock's hugely popular funk odyssey Headhunters. The album, while more straight jazz than the avant-garde sounds of Brew, might be one of the first escapades into the fusion of soul, funk and R&B, with conventional jazz sounds.\nHubbard blends his fiery trumpet licks with the cool mellow grooves of Hancock's legendary Fender Rhodes (an instrument that has since been forgotten) and Joe Henderson's dark yet slick tenor saxophone accompaniments. The players are at the top of the game and the songs have the kind of crisp delivery that resonates long after the opening chords are played.\nThe smooth grooving title track is one part Hancock's "Chameleon," one part Brew with a little Issac Hayes' Shaft! soul flavor thrown in to the equation. The 12 minute cut features a driving melodic funk beat, crisp drum chops by Lenny White and scorching trumpet solos by Hubbard.\nRed Clay is not Hubbard's most recognizable album and might not be his finest in terms of musical chops, however, for jazz enthusiasts or those just jumping into the genre, the album acts as a wonderfully accessible collection of '70s funk/jazz music that truly embodies the jazzism, "the birth of cool"
