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(09/14/11 4:25pm)
____simple_html_dom__voku__html_wrapper____>In the modern age of Twitter, text messaging and around the clock
news, information can spread like wildfire. In the epidemic thriller
“Contagion,” it merely takes one blog post to incite riots and one text
to put a life in danger. And you wonder why these things are called
“viral.”
Steven Soderbergh’s “Contagion” is a precise thriller that charts the
rapid spread of a highly contagious and lethal virus, one that starts
with Beth Emhoff (Gwyneth Paltrow) as she returns from Hong Kong and
quickly spreads across the globe.
It’s an engaging and squeamish thriller that makes you anxious to touch
your face or move your foot on the sticky movie theater floor. And it
disturbs you because this is the sort of mass panic that could happen
today.
Its careful pacing and strict attention to detail reveal how connected we are here and now. But
the fear comes from Soderbergh’s weaving of a wonderful snowball effect
of the instantaneous spread of germs, information, rumors, mistrust and
conspiracy.
It’s all done through intelligent, systematic and bookish storytelling
in Scott Z. Burns’s screenplay. The jargon-filled script, staggering
numbers and cut-the-crap delivery of all the characters leaves the
audience in a similar state of overwhelmed anxiety.
“Contagion” is the sort of film that would say, “The virus has a quicker
regeneration rate” instead of, “You would’ve been dead by now.” The
complexity of the film is not limited to its deep (and quite famous)
cast or the urge to not condescend or label the disease with a catchy
name. Rather, we realize a global disaster has both mental and physical
causalities.
We see it in the doctor (Kate Winslet) who knows the futility of her
health precautions in the midst of the epidemic. We see it in the rogue
blogger (Jude Law) who is more a fear-monger than any other character.
And we see it in the Minnesota family man (Matt Damon) just trying to
understand what has happened to his life and his world.
Damon is the most compelling emotional figure in the film, yet his
scenes skillfully avoid melodrama. He shows the same restraint and
everyman innocence he did in Soderbergh’s “The Informant!,” and
resolutely, his tender reconciling with the fate of his wife is
heartbreaking.
What’s more, the industrial rock score and Soderbergh’s own firm hand
behind the camera give “Contagion” a truly modern vibe. It’ll be tough
to wash your hands of this one.
(09/09/11 6:48pm)
____simple_html_dom__voku__html_wrapper____>Much of humanity’s best art has resulted from grief and agony. The creative explosion that followed the devastation of the terrorist attacks on Sept. 11, 2001 provided evidence of this. Filmmakers, musicians, writers and even comedians coped with the impact of the attacks by continuing their craft in its wake. For the world of showbiz, it was the ultimate non-surrender. Here’s a look at some of the best art from the last decade made with the memory of 9/11 squarely in the rearview mirror:“United 93”Too soon, audiences said to the film’s intense re-creation of the events of 9/11. But now is the right time to experience Paul Greengrass’ real-time suspense story. He depicts 9/11 as no more than a normal day, free of heroes and villains, and leaves us only with the basic human acts of courage, fear and strength from these unfortunate victims.-Brian Welk“25th Hour”In the immediate aftermath of 9/11, Phillip Seymour Hoffman and Barry Pepper look out their penthouse as Ground Zero looms in plain sight. Spike Lee shows in “25th Hour” that New York was never the same after the attacks. Despite uncertainty and a newfound identity crisis in the city, these survivors remain rooted to their home and each other.-Brian WelkSteve Earle, “Jerusalem”Earle’s tenth album is a sobering look at America and the world post-9/11. On “Amerika V. 6.0 (The Best We Can Do)” Earle uses his best Rolling Stones impression to expose the cash-hungry elitism of the so-called American Dream, while the controversial “John Walker’s Blues” is an objective look at John Walker Lindh’s vilification. The most powerful moment, though, is the closing title track’s message, not of despair in the Middle East, but of hope.-Max McCombsBrian K. Vaughan and Tony Harris, “Ex Machina”In the 50-issue comic book series “Ex Machina,” Mitchell Hundred (as costumed crime-fighter The Great Machine) stops the second plane from hitting the World Trade Center’s south tower using his superpower of communication with machines, and he is later elected mayor of New York City. Remaining ever sensitive to the tragedy, Brian K. Vaughan’s multi-genre “what if” story raises important questions about politics and dependence on government in post-9/11 America.-Vanessa TorlineThe Daily Show with Jon Stewart, “September 20, 2001”Jon Stewart doesn’t always do pathos, and when he does, he often makes us wish he would go back to playing the buffoon. But on his first episode back after the attacks, the “Daily Show” host tearfully delivered a nine-minute monologue that concluded with the powerful sentiment that the new view from Lower Manhattan in the absence of the World Trade Center is the Statue of Liberty. “You can’t beat that,” he says, and, of course, he’s right.-Brad SandersSleater-Kinney, “One Beat”While not a full-on concept record, the excellent sixth album by Washington riot grrl trio Sleater-Kinney is firmly rooted in post-9/11 reflection. Unlike the country music cheerleaders who dropped countless flag-waving singles in the wake of the tragedy, Carrie Brownstein and Corin Tucker trade verses on “Far Away” and “Combat Rock” that channel the pain of the attacks while looking to the future with a sadly prescient uncertainty, not mere vengeance.-Brad Sanders
(09/09/11 4:55am)
____simple_html_dom__voku__html_wrapper____>Two brothers are filming a documentary about New York firefighters. One man is at the fire station. The other is inside a flaming tower. Neither knows the fate of his brother. The day is Sept. 11, 2001. Their film, “9/11,” honors the memory of the victims on the 10th anniversary of the World Trade Center attacks with an exclusive screening at 6:30 p.m. Sunday at the IU Cinema.“9/11,” made by Gedeon and Jules Naudet, was selected by a committee for the College of Arts and Sciences’ Themester series as an appropriate film to commemorate the lives lost.“This film is the most direct film related to 9/11, because a lot of the original footage was captured right there at the time by these two French filmmakers,” said Jon Vickers, director of the IU Cinema. Telecommunications Professor Ron Osgood recommended “9/11” to the Themester committee based on the film’s historical and personal ties to the events on the ground that day. “It’s interesting, because their story about this probationary firefighter changed dramatically with the twist and turn of what happened on that day,” Osgood said. He explained that not only does the documentary include some of the only footage of the first plane hitting the tower, but it contains the only known images filmed from inside the tower during the attack. “You’re intimately brought into the scene in a way that no news coverage ever could do,” Osgood said. “It’s a fascinating story of the tragedy told from a unique perspective.”Vickers added how crucial the actions of these filmmakers were to the way we visualize and remember the day.“Some of the shots that were used over and over again by the press were from these actual filmmakers on the ground,” Vickers said. “It’s not just news coverage. It seems to be very personal.” The film fits nicely into this year’s theme, “Making War, Making Peace,” which Professor Steve Watt admitted could be controversial in Themester’s goal to “talk about 9/11 in a wide variety of perspectives.”“A topic like this one could tend to create some controversy or disagreement,” Watt said. “Our aim is to create an environment in which an informed and civil dialogue can be held about political, historical and other kinds of important questions. That is our ambition.”Vickers said he agrees this film, the Themester series and the 20 other films being screened in connection with the College of Arts and Sciences are a great addition to the fall lineup. “There are hundreds, if not thousands, of films that could be tied into this,” Vickers said. “It’s very important for us as the cinema, being an academic unit, to be involved in initiatives like this. This is an ideal opportunity for us to show how we do that.”Osgood said he believes the reason the film resonates so strongly has to do with the role 9/11 played in this college generation’s youth. “The impact of 9/11 and what that meant in your life is similar to the events that took place in any generation’s life,” Osgood said. “How do we consider that act of terrorism in the role of war and peace?”Ultimately, however, Osgood said “9/11” is a film about the people on the ground during the tragedy.“It’s a way for us to reflect on what the emergency workers did to go beyond the call of duty to try to save the lives of the people that were in this tragic event,” Osgood said. “We gain an incredible respect for what they went through and what they did that day.”
(09/07/11 11:45pm)
____simple_html_dom__voku__html_wrapper____>A look inside the IU Cinema on Saturday night may have convinced you that cult film is alive and well. A sold-out audience sat in rapt attention viewing Stanley Kubrick’s Orwellian mind-bender “A Clockwork Orange.” At the first-ever midnight showing at the IU Cinema, this audience had perhaps never seen a film not only as lavish, colorful and alive in cinematic spectacle but also as ironically sadistic. This is a polite way of saying there is no director alive today like Stanley Kubrick and no cult film that represents what his films once did. The definition of the cult film has changed along with the industry. For a movie to have achieved cult status in 1971 when “A Clockwork Orange” was released, it needed to build its fan base almost exclusively through midnight shows. Controversial art films like Kubrick’s X-rated masterpiece were quickly pulled from first-run theaters and received the most attention on college campuses. Movies such as “A Clockwork Orange,” “Easy Rider,” “Midnight Cowboy,” “2001: A Space Odyssey” and, some years later, “Apocalypse Now,” “Heavy Metal,” “Night of the Living Dead” and, most notably, “The Rocky Horror Picture Show,” were the only options week after week. They gained popularity slowly as buzz between those who had never seen a cult film and those who had seen one a dozen times built up. Yet with the ease of Netflix and cable TV, there’s no film you won’t be able to find, and there are no droves of teenagers gathering on a weekly basis to watch any one film. Today, a cult film is characterized by its rabid fan base online, not necessarily an extreme loyalty to it.In fact, it’s very easy to generate a cult following today by simply marketing a movie to a niche audience through Internet ads and red band trailers. Comic book- or graphic novel-based movies are a good example. Films such as “Kick-Ass,” “Watchmen” and “Scott Pilgrim vs. the World” are already tailored to a specific audience. When one such movie underperforms at the box office or critical acclaim doesn’t match the hype generated, the core fan base leaps to defend it on IMDB message boards, and cult status is granted. The same is true of TV shows, a factor uncommon to the ’70s cult films I’m alluding to. Shows such as “Community,” “Louie,” “Wilfred” and other shows on F/X or Adult Swim have arguably achieved cult status from their premieres. And a cult show now is not necessarily one that is edgy or different but one that has an unfortunately brief shelf life. I don’t think I need to mention how many times we’ve Netflixed “Firefly,” “Arrested Development” and “Freaks and Geeks” to make my point. Our only exceptions to the rule are notoriously bad films such as “The Room” and “Troll 2” or Asian horror movies such as “Audition” and “Oldboy.” These examples do not fall into the category cult films used to: exotic, trippy, excessive, mainstream cinema art that represented a dramatic shift from Old Hollywood to the new. Movies like “A Clockwork Orange” fostered a counterculture in audiences and filmmakers alike. They were radical, ambitious films that shared more in common with the French New Wave than Hollywood blockbuster fare. Filmmakers craved to tell different stories, and audiences demanded to see them. Today we celebrate when a cult becomes as large as the one for “Inception,” and our response leads Hollywood to make more action blockbusters like it. A cult is supposed to subvert the established culture, not embrace it.
(09/07/11 11:34pm)
____simple_html_dom__voku__html_wrapper____>French New Wave pioneer François Truffaut said Jean Vigo’s films evoked a “carnal, physical reality.” Yet Truffaut speaks of only one feature film and three shorts, a collection of films from the early 1930s that did not receive due attention until the late 1950s and could not be seen properly until now. Criterion’s “The Complete Jean Vigo” assembles the entire work of a highly influential but barely known director who died at age 29.Vigo’s two most famous films, “L’Atalante” and “Zéro de conduite,” anchor the package. “L’Atalante,” a film that has forever been seen at a butchered running time, is a lovely romance between a newlywed couple struggling to make marriage work. Vigo’s gritty, down-to-earth romance is a masterpiece thanks to a hint of fantasy. The second is a Dickensian comedy about children rebelling at boarding school.
(09/07/11 11:06pm)
____simple_html_dom__voku__html_wrapper____>“The Debt” and its characters are torn between the values of romance and honesty. The story behind the former is a surprisingly convincing love triangle, and the details behind the latter are a generic, if not silly, conspiracy thriller.Three Israeli agents in 1965 are tasked with apprehending a sadistic former Nazi doctor. In 1997, one agent’s suicide reveals that the specifics of their successful mission were not what they seemed. The plot demands the older versions of the characters maintain a troubling secret, but this truth is not all that life shattering. More interesting is the sexual tension between stars Jessica Chastain and Sam Worthington, which convincingly builds despite all odds of melodrama in this suspense story. The closing fight scene is absurd, but “The Debt” is a fairly chilling film with a clever hint of romance.
(09/01/11 12:56am)
____simple_html_dom__voku__html_wrapper____>A leading man who would use the expression “geez louise” instead of the F-word is foreign to us in the movies. Ned of “Our Idiot Brother” proves a character doesn’t have to be a silly man-child to be free of cynicism, snark, bitterness and charm. Discovering Ned’s ability to survive in the real world (and similarly in the movies) of negativity and deceit is the appeal of this loving and warm indie comedy. That’s because “Our Idiot Brother” is not a film about Ned’s growth but about his sisters’. Ned (Paul Rudd) enters into the lives of his three sisters (Zooey Deschanel, Elizabeth Banks, and Emily Mortimer) after he charitably, but unwisely, sells a uniformed cop some marijuana. His sisters take him in as he tries to get back on his feet after a short bout in prison. Along the way, they label Ned an idiot because he doesn’t seem to live in the real world. But we realize Ned is living in the world we should live in. Is Ned an idiot because he’s the only one not faking his sincerity? The people who are really blind are the sisters, who are likable but don’t share Ned’s honesty, lack of hidden agendas, trust in others or budding optimism.Paul Rudd anchors the title character’s playful amiability with down-to-Earth realism. Ned’s hippie goodness and faith in humanity are made less of a broad caricature by Rudd’s patented ability to perform naturally and with authenticity.His genuine charms shuttle us through an intelligent character comedy, free of too many sight gags and raunchy one-liners. This is a film that finds a way to get a laugh out of a line like “Trust me, I’ve been another candle,” and feels somewhat modern and edgy while doing it. But since Ned practically functions as the plot device that will guide his sisters’ growth, perhaps their character developments are spread too thinly across three people. Deschanel, Banks and Mortimer all deliver equally personable performances and have strong chemistry with their respective romantic partners: Rashida Jones, Adam Scott and Steve Coogan. The strength in all three, however, makes me question the potential of focusing more on just an individual. “Our Idiot Brother” is a warm, good-hearted comedy that does more than just employ characters who avoid cynicism. They are characters who are glad to make us happy and leave with a smile.
(08/24/11 9:32pm)
____simple_html_dom__voku__html_wrapper____>If “Transformers: Dark of the Moon” can make more than a billion dollars worldwide, does anyone even care about quality anymore?The truth is, yes, some do. This summer, a small group of American moviegoers spoke with their wallets and demanded something more from our Hollywood studio system. These people made a stand for quality in their films, and behind the haze of more sequels, remakes and reboots than any year in history (we’ll have 27 by year’s end), we’ve found a glimmer of hope in our studio system. Hollywood knows it’s limping. Its answer to get people to see movies on the big screen has been 3-D, and more than 40 films will be released in this medium in 2011 alone. But the technology has yet to prove itself in any film this side of “Avatar.” A large number of the movies in 3-D were shoddily converted from 2-D in post-production, and no one looks forward to paying an extra $3 at the box office.But when “Pirates of the Caribbean: On Stranger Tides” makes only 37 percent of its $239 million gross from 3-D sales, Hollywood takes that as a sign. We won’t put up with three dimensions if the junk they’re delivering is no better than it is in two. Hollywood wants to know where that money went instead, and it’s blind to the fact we invested in quality films.The first is none other than the finale of the most profitable franchise in film history: Harry Potter. The real reason Harry Potter has remained such a durable moneymaker for a decade now is that the franchise has always put effort into strong casting, storytelling and filmmaking. No, none of the films are masterpieces, even this new one, but they would not have survived without a certain level of integrity.Our voices have also been raised in support of some of the most critically acclaimed and historically respected directors working today. Woody Allen’s “Midnight in Paris” has slowly but surely become one of the crowd-pleasing smashes of the summer. Steadily making more than 50 million dollars domestically since May, this whimsical, fantasy-driven comedy and period romance became the highest grossing film of Allen’s long career. Sony Pictures Classics is only now taking the hint and re-releasing the film in more than 1,000 theaters for a small Oscar push.On the other hand, Terrence Malick’s “The Tree of Life” not only became the first American film to win the Palme D’Or at Cannes since “Fahrenheit 9/11” in 2004, but it’s also the most intensely debated and controversial art house title of the year. Malick’s expansive, operatic and unconventional narrative comparing a suburban family to the birth of life itself has earned fervent support as well as hatred. But all the people who have seen it know the director’s and stars’ (Brad Pitt and Sean Penn) pedigrees and have engaged in the film and the act of discussing it wholeheartedly. The passion behind “Harry Potter,” “Midnight in Paris” and “The Tree of Life” is a rare thing in a summer full of superheroes, cars, pirates, hangovers, zookeepers, penguins and Smurfs. That same passion has been translated to original blockbusters such as “Super 8” and “Bridesmaids.” It’s been seen in bigger, faster and louder indie films such as the sci-fi “Another Earth,” the apocalyptic drama “Bellflower” and the alien invasion comedy “Attack the Block.”The sights at the multiplex do not have to be this grim. We can make a difference. We know what’s good — now we just have to prove it.
(07/08/11 6:28pm)
____simple_html_dom__voku__html_wrapper____>Tom Hanks’ “Larry Crowne” is a harmless film that will offend no one. This is aluxury if you don’t mind your films so tepid and tame lest anything more surpriseyou.Hanks directs himself as Larry, a loveable lug who was just fired from his long timejob. This bothers him, slightly, but he immediately aims to get back on his feet byreturning to college.The film naturally addresses the economic crisis and does so simply and directly.This is not a difficult film.And neither are the characters in it. Larry is the nicest guy around, and everyone hemeets is helpful and supportive. One student, Talia, grows an instant affection forhim and his newly acquired moped. She prods Larry into going after his apatheticspeech teacher Mercedes Tainot (Julia Roberts).One has to admire Hanks’ naturalism and charm, and Julia still has one ofHollywood’s most winning smiles. They make even the corniest jokes in “LarryCrowne” at least grin worthy.And this is “Larry Crowne” in a nutshell, a simple film that concerns a good guy’sbump in the road that does nothing but make you either smile or roll your eyes.
(05/13/11 6:32pm)
____simple_html_dom__voku__html_wrapper____>As if superhero movies weren’t overblown enough, here’s the bombastically overacted and extravagant “Thor,” starring none other than the Norse God of Thunder. If you thought Robert Downey Jr.’s ego was as big as Iron Man, wait until you see the one on the hulking and indestructible alien that helms this movie. Thor (Chris Hemsworth) is the prince of a sparkling land in another area of the cosmos called Asgard. For eons, they’ve protected the galaxy and maintained order, leading the Scandinavian humans back in ancient times to revere them as deities. Now the throne must pass from King Odin (Anthony Hopkins) to Thor, but when he tries to wage war on their sworn enemies, the frost giants, he is rightly banished to Earth.We spend a long time on Asgard, yet the existence of this place and the CGI that depict it are self-serving, looking good only as an excuse for extravagance, because the people that live and act on it are the same cocky, privileged, one-dimensional characters we would find on Earth.I had no reason to care about the spectacular mayhem that could ensue there. “Thor” wastes more time on this fantasy world and its mythology than I care to count. It’s only when Thor is banished to Earth and meets an astrophysicist, played by Natalie Portman, do things get remotely interesting. This proves once again that, like everything else, movies that star Natalie Portman are inherently more entertaining.Thor’s loud and boisterous fish-out-of-water routine on the humble blue planet gets old as soon as it starts. This strikingly good-looking, shirtless brute of a man demands meat and coffee, and as confused as they are, Portman and her sidekick Kat Dennings can’t help but go rosy in his presence.It’s remarkably corny and countered only with more strictly serious scenes on Asgard along with armor-clad warriors talking in 15th century English. With that, “Thor” marks possibly the silliest comic book put to film to date. There is not a moment of “Thor” that does not seem overblown to the level expected of a clichéd Viking, be it the performances, the cinematography, the CGI, the battles or the Marvel Easter eggs. Writing that this movie is terrible is not enough to attract attention away from this monstrosity. I’d have to yell and beat something with a hammer before anyone listened.
(05/06/11 2:22am)
____simple_html_dom__voku__html_wrapper____>During the last few summers there have been too many absurd superhero fantasies that take themselves entirely too seriously and not enough real-world car chase movies that don’t in the slightest. “Fast Five” will crash through that void at top speed. The “Fast and the Furious” franchise has long been the butt of everyone’s jokes, not even being good enough to pass as cinema trash. The street racing gimmick got old fast (and furious); and while there are still more slick cars than you can shake a dip stick at, Director Justin Lin has traded in much of that for a silly but riotous and well-calculated heist thriller.Dom, Brian and Mia are all hiding out from the Feds in Rio de Janeiro, and they plan to buy their freedom by robbing more than $100 million from a crime boss in the city. To do this, they’ll assemble a dream team of “Fast and the Furious” alums and defy all physics and logic in the process. But the physics hardly ever matter because although none of the action scenes are what you would call “well-directed,” none of it occurs in excess. Whereas other action movies linger on-and-on in explosions and fist fights, “Fast Five” is richly varied and everything that happens hits you with just the right thrill.“Fast Five’s” engines really start firing on all cylinders during the last half hour when a chase ensues through busy Rio streets as the boys drag a 10-ton safe behind them, smashing up everything in their paths. I don’t think even your Ford truck with a Hemi can haul that much at three digit speeds, but the scene is so ridiculous and well-done that it’s impossible to look away. Still, I might have been bored were it not for “Fast Five’s” other pleasures. For example, if there’s one modern-day hulking mass of an actor with a perfectly round, bald head that sounds more ridiculous reciting one-liners in a rumbling baritone other than Vin Diesel, it’s Dwayne Johnson. The Rock proves to be an excellent addition to this ensemble, sounding cool even when reciting God-awful lines of dialogue like “Give me the veggies,” a phrase that makes no sense in or out of context.“Fast Five” is trash, pure and simple, but one person’s trash is another one’s treasure.
(04/27/11 10:56pm)
____simple_html_dom__voku__html_wrapper____> Guess who has two thumbs, doesn’t know how to make visual gags work in print and typically hates summer movie preview week? This guy. But like the seasons that are about to change, so does everything else, including once bitter wannabe movie critics and overworked student entertainment publication editors. Coincidentally, this is my last column as the WEEKEND editor. I’ll do the whole Jay Leno thing and pretend like I’m leaving even though my column will still be coming back next fall — or you could just check out my website at cinecismonline.com/wordpress. I thought about leaving you all with some closing thoughts on the ensuing crop of summer movies, a summer in which Hollywood broke the all-time record of sequels released in a calendar year, where franchises have been remade, rebooted and rebranded and where superheroes are just a stone’s throw away. I can’t figure out why there is a “Pirates” movie with only Johnny Depp or why there’s a “Cars” movie without Paul Newman or why the trailer for “Larry Crowne,” starring, written and directed by Tom Hanks, looks like nothing more than a thousand other overrated romantic comedies circa 1995. Believe me, I’d love to be able to answer those questions. Rather than fake it now and attempt to answer those questions in the same way I’ve done in several columns before, I’ll concede that there are a lot of interesting films being released this summer. “The Tree of Life,” “Hesher,” “Crazy, Stupid, Love.” and “Super 8” are all things I’m genuinely excited for, and my favorite movie of the summer is bound to be one I haven’t even heard of yet. But in the time I’ve spent writing 32 columns and putting out 30 issues of WEEKEND, I’ve grown as a critic, an editor and a fan. For instance, I’m amazed at the number of bands I’ve discovered and grown to love in just the last five months since we put out our 2010 Best of the Year lists. I have to wonder, how many more lists did I look at, how many more directors did I seek out, and how many more classic and foreign films did I add to my Netflix instant queue in just this short time? People talk about college as a time of discovery. They refer to it as the time and place to try new things, eat new foods, go new places and meet new people. But no one ever says, “Go watch the Antonioni series at the IU Cinema this week!” And why don’t they say that? If it is true that the more you know, the more you realize you don’t know, then it is also true that the more movies you see, the more you realize you have to see. With each column I’ve written, I’ve seen more and more movies, and I’ve learned something new about myself after I finish writing each one of them. I don’t want to harp on 2011’s summer movies any more than I need to because I want to keep learning. Because there’s bound to be something “Transformers 3” can teach me.
(04/21/11 2:05am)
____simple_html_dom__voku__html_wrapper____>You’ve all played Foo Fighters, Nirvana, Them Crooked Vultures and Queens of the Stone Age on “Rock Band.” Who thinks they’re ready to replace Dave Grohl on tour? You may not be to the skill level of the busiest and coolest guy in rock, but playing songs by any of these bands in “Rock Band 3” with the new pro modes may get you closer than you’d think. Guitarist Steven Van Zandt wrote in Time magazine that the creators of “Rock Band” “may have saved classic rock for generations to come,” and he even feels the game can produce actual drummers. Kevin Pereira of “Attack of the Show” even subbed in for the drummer of Coheed and Cambria on their tune “Welcome Home.” But the criticisms still abide, and no “real” musical results have been proven by way of “Rock Band.” Still, though, Harmonix has done everything in its power to make its game an educational tool, and while it can’t substitute for a private lesson with a musician, it provides numerous steps on the way to becoming a player. KeyboardThe “Rock Band” keyboard is a two-octave, 25-key peripheral with MIDI capability, and it happens to be one of the cheapest of its kind on the market today. The keys are velocity sensitive and have well-rounded ergonomics. Playing on expert in pro mode allows players to perform the exact version of the song transposed for the right hand, and many have reported the ability to stand up from the game, walk to a piano and play the same pattern from muscle memory without missing a beat or a pitch. “Rock Band 3” also offers a training mode that ranges from beginner chords to advanced rhythms, but the intuitiveness of the pro keys interface is still up for grabs. The scrolling black and white keys can be tough to read, and the keyboard is arguably tougher to pick up than any of the other core instruments. And like the other parts in regular game play, incorrect pitches aren’t played to allow players to listen and correct their mistakes. GuitarThe Fender Squier Pro Guitar is, for all intensive purposes, a real guitar, released by Fender and running for about $280. The real benefit of the instrument as a teaching tool is the ability to simply unplug it from the game and plug it right into an amp. But as the newest and most intuitive of all the “Rock Band” technology, users might just want to keep playing. The tutorials, while similar to the ones for the piano, are very in-depth and coach new players every step of the way. The gaming interface has numbers flying by on a virtual guitar neck to indicate which string on which fret should be played, and chords are notated with a blue bar stretching across the several frets that must be held down. This does not make for easy sight reading at any difficulty level. The pluses are that the game acts as a physical metronome, forcing players to keep up, and that at its nitpicky standards, high scores means technical proficiency. The game, however, does little in the way of teaching musical theory, and while it tells you where your fingers should go, it is not as good about clarifying how they should be placed. All the technical sensory in the guitar makes for great 1-to-1 response time in the game, even if it limits the ability to bend notes, play harmonics or perform palm muting. DrumsAndy Ziker, a professional drummer and teacher from Phoenix, revealed a remarkable pattern and similarity between drumming in “Rock Band” and doing it on an actual kit. Ziker successfully transposed the 3-D scrolling pattern into a rotated 2-D pattern that could then be easily transposed to notation for an electronic drum set. With this, he was able to construct musical notation to the song “Vasoline” by Stone Temple Pilots in the easy through expert difficulty levels. It’s a remarkable discovery, and while it can’t fully replace a drum teacher, the game’s drum trainer and expansion pack, which will include a full symbol set and a second kick pedal, allow players to perform a full range of patterns, from triplets to paradiddles. The ION Drum Rocker is even literally a complete electronic drum kit fitted with musician-grade drum pads and a sleek metal frame.
(04/21/11 1:56am)
____simple_html_dom__voku__html_wrapper____>The amount of music that games like Rock Band and Guitar Hero have amassed is impressive, but no amount of music can satisfy everyone. Certain bands like Radiohead and The Strokes are notoriously underrepresented on the games given their rich catalog (I’m even of the mind there should be a Beatles: Rock Band 2 with the new keyboard controller), but certain others are conspicuously absent. These 10 bands appear in no form of the rhythm gaming genre, and let’s hope that changes very soon.(2) Arcade FireFor a game that has long championed obscure indie acts searching for notoriety, it is amazing that Arcade Fire, the new king of the indie world, has not yet made the transition to “Rock Band”’s DLC store. Its expansive big band sound would be perfect for a full “Rock Band” ensemble, and who wouldn’t want to recreate the mournful harmonies of Win Butler and Regine Chassagne with the multiple vocal tracks? Counting CrowsEven with Tom Petty and Bon Jovi on the game, you can’t have enough of the upbeat Americana-rock Counting Crows can deliver. The band’s songs aren’t exactly difficult, but it has got a nice mix of vocal harmonies on some popular radio hits that would fit the party game vibe nicely.George HarrisonJohn Lennon was recently introduced into the “Rock Band” catalogue with the entire “Imagine” album. Add that to Paul McCartney’s “Band on the Run” tracks, and we’re missing the last key solo career of the Beatles (sorry, Ringo). Anything off “All Things Must Pass” or even some of his 1980s stuff off “Cloud Nine” will do just fine. Led ZeppelinOf course this would be awesome. Harmonix has actually been looking to make a game fully dedicated to the rock icons as far back as 2008, but the band was reluctant to give up its master tracks to produce it. Just imagine, though: The easiest song in “Led Zeppelin: Rock Band” would probably be harder (and longer) than even the hardest in the originals. (3) MGMTWhile “Oracular Spectacular” is a little too techno-fied not to seem really silly played on a plastic guitar, MGMT’s sophomore “Congratulations” has a bit more of that upbeat pop sound with the keyboard parts that would fit perfectly into “Rock Band 3”’s repertoire. The NationalMost “Rock Band” singers have a tough time nailing higher pitched singers, so it would be interesting to see someone tackle Matt Berninger’s baritone vocals. Plus, Bryan Devendorf’s virtuoso drumming on tracks would be a great challenge on expert. (4) Pink FloydI’m reluctant to say this is a good idea for fear that any Pink Floyd album could possibly be listened to not in full succession. It would require a full game and the option to play extended medley tracks the way Harmonix did with side two of “Abbey Road” on “Beatles: Rock Band.” But if this did exist, I think I’d go comfortably numb. Porcupine Tree
If you’re going to include Pink Floyd, you may as well add these modern
hard rockers who are the closest thing to it. Seriously, I don’t think
there are enough 12-minute long songs with a mix of metal and subtle
ambience on Rock Band.
The Temper Trap
The swimming guitars, rapid pop drums and mean falsetto of this
Australian band would be a tough challenge in any rhythm game. Although
my first choice would be “Sweet Disposition,” there’s a decent keyboard
part on “Love Lost” or “Fader” that would be fun for everyone.(1) U2Prior to the release of “Green Day: Rock Band,” Harmonix issued a survey asking if anyone would buy a game dedicated to any or all of five bands: Queen, Led Zeppelin, The Eagles, Pink Floyd and U2. Here’s your first sale. “Rock Band” already cheats with laying the lead guitar line over the rhythm guitar, so why not allow us to play as The Edge and blend our own sonic patterns the way he does? Further, Bono’s vocals would be some of the hardest any gamer would ever dare attempt.
(04/14/11 2:08am)
____simple_html_dom__voku__html_wrapper____>Student filmmaking is as indie as the movies get. I would imagine there are some telecom students shooting with multiple HD cameras or in 3-D that would disagree with me, but the work done Sunday at the Campus MovieFest said differently. I watched a number of films that lacked substance but were made up for in style, some that had strong concepts but called out for a larger budget, and some that were impressive in both aspects but were still complex in their execution. CMF provides equipment for the filmmakers to shoot their projects, but only a handful of the 16 finalists were clearly shot on the handheld camera given to everyone. Even those few demanded a lot from their actors, their screenwriters and their cinematographers to make a remotely decent film. After the screening, a friend of mine, who had made a very well-shot, well-told and well-acted short and was selected as one of the nominees for Best Comedy, expressed his disappointment at his loss. He explained that in all of his precise cinematography and cooperating with the actor and screenwriter to achieve a convincing story, he might have left out his own voice. It is true that no film is made by just one person, but ultimately in a student filmmaking competition where time, budget and resources are limited, it becomes an increasingly independent venture. I wonder, then, why directors would rely so heavily on factors they have little control over, like telling a complex story in five minutes or expecting deeply dramatic performances by amateur actors and friends, especially when the odds are already stacked against them. Some of the best films ever made are purely cinematic in nature, and it’s the one element that can be controlled most closely in production and post by a director or author. Alfred Hitchcock’s “Psycho,” a film with a minimal budget, a straightforward whodunit screenplay and casual performances (outside of Anthony Perkins’), remains a classic because of the style and identity that Hitchcock embedded so deeply in his work. Orson Welles, too, sought to minimize every element beyond his power, abandoning the studio system to make his masterpiece “Citizen Kane,” and he spoke behind and in front of the camera to do so. And while none of the CMF winners were on the level of “Kane,” they expressed individual qualities and some of that same simplicity in their work. My favorite of the evening and the winner of Best Drama was “Glimpse,” a film whose screenplay was nothing more than a poem recited by two actors rarely fully seen on camera. The director instead spoke vividly through a remarkable stop-motion photographed sequence, rapid but elegant editing and bright cinematography. The winning comedy was a bit more complex in its story and in its performances, but that didn’t stop the directors of the cleverly titled “Clean Streets” to display their love of outrageous crime cinema, as well as a small Easter egg for those who remember their winning short from last year’s CMF. And the Best Picture winner of the evening, “Sparks,” may have had an elaborately choreographed dance number, but more memorable than the simple child’s storybook screenplay and the somewhat hammy performances were the beautiful soft lighting and color throughout the short that jumped out.These films all had something to say. They sprang from the minds of individuals rather than a collective group trying to make a viral video. That’s why they won. So maybe being “indie” isn’t such a terrible thing.
(04/06/11 11:02pm)
____simple_html_dom__voku__html_wrapper____>How many people from Martinsville does it take to screw in a light bulb? These six comedians from Bloomington, all of whom performed at the Best of Bloomington show at the Comedy Attic last Wednesday, would know. Jon "The Animal" HancuffJon Hancuff said he considers himself pretty mellow, and his onstage presence is no different. But when he finally let loose a little too much during one performance, all the local comedians lovingly gave him the nickname "The Animal." Hancuff, 41, works in Bloomington and lives with his wife and three children, and he uses his casual humor to make light of family life. He said his love of Steve Martin, Steven Wright and Bill Hicks allowed him to start cracking jokes about selling his kids' baby teeth on eBay. Hancuff calls comedy a creative outlet. "Once you get success, it's addictive," he said.Joshua MurphyJoshua Murphy, a 21-year-old junior and history major, is something of a storyteller. He said he’s always thinking about comedy and new jokes to tell, and it shows in every set in which he recounts his day and his life at IU. If you see him perform, you’ll rarely hear the same story twice. He said he is inspired by Marc Maron, Louis C.K. and Patton Oswalt. Murphy said he loves doing stand-up because “it’s a bit of a control thing, being able to talk and make people laugh for the right reasons.” Mat Alano-MartinMat Alano-Martin is just a Bloomington “office drone.” But onstage, he makes dirty cracks about sex and marriage and proves why he is one of the best comedians in Bloomington. “Comedy is like a mental puzzle,” Alano-Martin, 37, said. And he’s been puzzling for more than a year now. His inspirations include Dave Attell and Dave Chappelle. Outside of comedy, Alano-Martin said he enjoys music and even used to play in a handful of local bands. Josh CocksWhy does Josh Cocks do comedy when driving three hours to perform a set gives him no time outside of it? “I’m really just a massive attention whore,” Cocks said jokingly. “I like knowing my voice is louder than yours and you have to listen.” Cocks, 22, is an IU senior majoring in journalism, and he’s a big guy telling fun and congenial observational jokes about dating, society and how he only just learned the difference between Anne Frank and Helen Keller. His inspirations include Geoff Tate, Tommy Johnigan and local comedian Ben Mohr, who Cocks calls the best comedian in Bloomington. Jack SkolnickWho says finance majors aren’t interesting people? Jack Skolnick, 22, is an IU student who has been performing stand-up for three years. Skolnick said he needed a place to spill his soul and entertain the masses, and his dry, low-key comedy was just the trick. As a comedian, Skolnick said he admires Steven Wright and Zach Galifianakis. Skolnick said his favorite jokes he’s written are usually the ones that never work with audiences.Tom BradyTom Brady has been working his unfortunate name into his act for some time now. The 23-year-old telecommunications alumnus has now made stand-up comedy his full-time career. But he still appeases the local and college crowd with his material about making addendums to sidewalk chalk messages and other Bloomington jokes. Brady is a youthful and fun-spirited comedian, and outside his work he said he enjoys running and playing “Madden.” “I like Chili’s. Is that a hobby?”
(03/30/11 7:00pm)
____simple_html_dom__voku__html_wrapper____>Leave it to the blogosphere to blow yet another writer’s attention-grabbing conversation starter of an article way out of proportion. Matt Zoller Seitz of Salon wrote a fairly well-reasoned piece entitled “Will future generations understand ‘The Simpsons’?” and many writers that he later quoted in a follow-up post made equally valid arguments that he was either correct with an asterisk or simply wrong. Most people were particularly shocked that he chose to target a legacy show like “The Simpsons” and an episode of the show, “Krusty Gets Kancelled,” known to be one of its finest (it made my list of 20 last week). But he picked a single joke and failed in analyzing its immense level of pop cultural depth to his young child, which prompted him to question how anyone younger than 25 could possibly appreciate how in-tune with the time period the episode was.One of Zoller Seitz’s bullet points included that it is impossible to relive certain moments in pop culture history, like to know how big a deal it was to see Johnny Carson leaving, or how it is whenever someone mentions Charlie Sheen now. And while some of Zoller Seitz’s critics were a bit snarky in response to his initial column, their arguments were just as pointed. For instance, “The Simpsons” and many other shows are not for kids like the one he was watching with; comedies should not all strive to be timeless at the risk of sacrificing comedy now; absolutely everything begins to date itself; the best pop culture gags have something else going for them; and most obscure references can be understood with Google anyway. There are only so many legacy, pop culture-centered TV shows dated enough to test this theory (“Seinfeld” and a lack of the Internet and text messaging is a fantastic example, though). But movies, as it turns out, can be just as much relics of popular culture that found their prime in their day but hold up just as well today.Movies may not share the super timely quality of scripted television nor the serial programming that can create footnote television across episodes and seasons, but they capture moments in history just as well.If only Zoller Seitz was writing back when the Marx Brothers were around. A number of Groucho’s one-liners are an exercise in obscurity. In “A Night at the Opera,” during the famous contract scene, the dialogue between Groucho and Chico goes, “Don’t you know what duplicates are? Sure, those five kids in Canada.” Type that line into Google and you’ll get the page for the Dionne quintuplets, a group of Canadian babies once famous in 1934 but no longer. But the line of dialogue still works because the Marx Brothers deliver it with such perfect timing and charm.There’s also Cary Grant thinking the character Bruce in “His Girl Friday” looks a lot like Ralph Bellamy, Preston Sturges parodying all of Hollywood in “Sullivan’s Travels,” Woody Allen trotting out Marshall McLuhan from behind that stand-up in “Annie Hall,” the religious pamphlet distributors in “Airplane,” the entire 1980s music landscape in “This is Spinal Tap” and Paul Rudd calling Seth Rogen gay for liking Coldplay in “The 40-Year-Old Virgin.”I don’t intend to harp on Zoller Seitz’s very strong points about “The Simpsons” anymore than any other writer, but it’s a scary thought to believe that the shows and movies we love today may fly over the heads of future generations. With any luck, some 2011 parody video will show people 20 years from now exactly how much we hate Rebecca Black today.
(03/23/11 9:37pm)
____simple_html_dom__voku__html_wrapper____>Perhaps more than any other animated show, “The Simpsons” has always been anchored by its steady voice cast. Every American kid has doubtlessly attempted an impression of one of the members of television’s most famous family, and that’s all thanks to the four incredible actors who have been giving those voices life since 1989.Dan Castellaneta as Homer SimpsonOther Voices Barney, Grampa, Krusty the Clown, Sideshow Mel, Mayor QuimbyInspiration for Homer’s voiceDie-hard fans will notice that Homer sounds noticeably different in the first season or two of the show compared to now. Castellaneta started by just doing a loose Walter Matthau impression, but he couldn’t sustain that voice. In the recent episode “Angry Dad: The Movie,” Homer jokes that his voice is part Matthau, part Little Richard “and a little bit of Snoopy when he cries.”Before he was HomerCastellaneta is an Illinois native, and he started his career at Chicago’s own Second City. It wasn’t long before he was cast on “The Tracey Ullman Show,” but he also had an uncredited part in “Say Anything.”Outside of “The Simpsons”He’s primarily a voice actor, perhaps most notably on the animated shows “Darkwing Duck,” “Hey Arnold!” and “Aladdin.” Although, you’ve seen Castellaneta as a character actor on “Everybody Loves Raymond,” “Entourage,” “The Pursuit of Happyness” and his brilliant fourth wall-breaking moment on “Arrested Development.” Julie Kavner as Marge SimpsonOther Voices Patty and SelmaInspiration for Marge’s voiceKavner may not be recognizable as Marge without her giant frock of blue hair, but those who are familiar with her know Kavner’s voice is equally as raspy as Marge’s, if at a lower pitch.Before she was MargeBefore James L. Brooks developed “The Simpsons,” he created “Rhoda” and cast Kavner in the supporting role of Brenda Morgenstern. Kavner won an Emmy for her work on “Rhoda,” but she also worked with Woody Allen and in the Oscar-nominated “Awakenings.”Outside of “The Simpsons”“Deconstructing Harry” and “Click” may not be the ideal side jobs from Marge Simpson, but Kavner has been cast in the upcoming “Chickadee,” rumored to be starring Chris Cooper and Ellen Burstyn. Nancy Cartwright as Bart Simpson Other Voices Maggie Simpson, Ralph, Nelson, Todd FlandersInspiration for Bart’s voiceCartwright drew on her voices from other animated shows to create Bart’s iconic sound, and it came to her so naturally, she was given the part instantly.Before she was BartCartwright’s first role was the voice of Gloria in the animated series “Richie Rich.” She also appeared in “Twilight Zone: The Movie.”Outside of “The Simpsons”For a time, Cartwright took the voice of Chuckie Finster on “Rugrats” and in that teenage “Rugrats” thing, but she also did the voice for the naked mole rat Rufus on “Kim Possible.” Her book and one-woman show called “My Life as a 10-Year-Old Boy” recount a famous story of her not being recognized at a conference and responding to a rude attendant, “I’m Bart Simpson! Who the hell are you?” Yeardley Smith as Lisa SimpsonOther Voices NoneInspiration for Lisa’s voiceSmith originally auditioned for the role of Bart and was immediately turned away because her voice was too high and girly. Smith simply raises the pitch of her voice to become Lisa.Before she was LisaAlthough she was originally born in Paris, Smith got her start on stage in the early 1980s in Washington, D.C., and on Broadway.Outside of “The Simpsons”In James L. Brooks’ “As Good as It Gets,” Smith ironically plays a character named Jackie Simpson. She’s also a steady character actor and had an off-Broadway play called “More.” Harry Shearer as Montgomery Burns and Ned FlandersOther VoicesLenny, Rev. Lovejoy, Principal Skinner, Dr. Hibbert, Mr. Smithers, Otto, Kang, Kent BrockmanInspiration for Mr. Burns’ voiceApparently, Mr. Burns is a combination between Lionel Barrymore and Ronald Reagan.Before he was Mr. BurnsShearer has been working since 1953, when he had an uncredited part in “Abbott and Costello Go To Mars.” He also worked as a child actor on television for many years. But he potentially still had a huge career ahead of him if not for “The Simpsons.” He was a cast member on “Saturday Night Live” and also portrayed the bassist Derek Smalls in “This is Spinal Tap.” Spinal Tap actually reunited on “The Simpsons” when Christopher Guest and Michael McKean guest starred as the band and then were all comically killed in a bus explosion.Outside of “The Simpsons”Shearer is the most critical of “The Simpsons” itself and, because of that, he’s fallen back on work in “For Your Consideration,” “The Truman Show” and the American “Godzilla” remake. Hank Azaria as Moe SzyslakOther Voices Professor John Frink, Comic Book Guy, Chief Wiggum, Lou, Carl, Cletus, Apu, Drederick Tatum, Bumblebee Man, Sea Captain, Dr. NickInspiration for all his voicesCan you believe Al Pacino for Moe, a Peter Sellers character for Apu, Edward G. Robinson for Chief Wiggum, Sylvester Stallone for Chief Wiggum’s partner Lou, Ricky Ricardo for Dr. Nick, Charles Bronson for the nameless “Wise Guy” and William H. Macy for the one-time character Frank Grimes?Before he did half the supporting castAzaria was not originally a permanent cast member. He replaced Christopher Collins for Moe’s part and was given a full-time contract later. But before that, he had not done much in film or TV, spending most of his time as a stand-up comedian.Outside of “The Simpsons”Azaria is probably the most recognizable actor of the group in person. He was in Robert Redford’s “Quiz Show” in 1994 and Michael Mann’s “Heat” in 1995. However, he gained facial recognition on “Friends,” “Shattered Glass,” “Along Came Polly,” “Dodgeball” and, quite recently, the “Night at the Museum” sequel, “Year One” and “Love and Other Drugs.” He will appear in the upcoming Smurfs movie as well.
(03/23/11 9:23pm)
____simple_html_dom__voku__html_wrapper____>I have seen every episode of “The Simpsons,” all 400+ episodes. There is no agreement among critics, fans or casual viewers on when the show experienced the severe decline in quality that everyone today is convinced of. For me, it likely happened later than most, around the time of season 15. Surprisingly, the show is still firing on at least most of its cylinders with great guest stars, powerful statements about events in pop culture and brilliantly done parodies of an increasingly obscure nature. But I, like most fans of the show, prefer to watch the constant reruns in syndication, and these are 20 episodes that remain personal favorites. While it does include some iconic moments, episodes like “Mr. Plow,” the jump over Springfield Gorge or Bart stealing the head of the Jebediah Springfield statue are absent. That’s not a knock on the show, because one could argue there is no such thing as a bad episode of “The Simpsons,” and I would certainly apply that reasoning to these few, in chronological order. Episode 36 — 3-1 — “Stark Raving Dad”“The Simpsons” has a long history with guest stars, and one of the biggest and first the show has ever had was Michael Jackson (although he was credited as John Jay Smith). Homer is classified as crazy when he wears a pink shirt to work, and the jokes about Jackson being animated as a big white guy almost ironically predate the public’s impressions of him more than a decade later. Also, the song “Happy Birthday Lisa” at the end is one of the most sentimental moments in the show’s history. Episode 81 — 4-22 — “Krusty Gets Kancelled”When the puppet Gabbo begins to take away Krusty’s ratings, Krusty pulls a spectacle out of his hat. This episode has more guest stars than you can shake a stick at, and unlike episodes today that introduce guest stars who say nothing more than a line or two (or even just their name, David Mamet?), there are some truly memorable bits from Johnny Carson, Hugh Hefner and the Red Hot Chili Peppers, among others. Episode 83 — 5-2 — “Cape Feare”Sideshow Bob is the best non-regular recurring character. The goofy bit in this episode where Bob constantly steps on rakes has become a running inside joke for the show. But this episode also has one of my all-time favorite lines as Homer enters witness protection. “Now when I press down on your foot three times and say ‘Hello Mr. Thompson,’ you smile and nod. Hello Mr. Thompson! (long pause, then whispered) I think he’s talking to you.” Episode 109 — 6-6 — “Treehouse of Horror V”The best of the “Treehouse of Horror” series, Homer’s “No beer and no TV make Homer something something” rant is a true work of art. Plus, Groundskeeper Willie dying three times and the inside out dance number can’t be beat. Episode 111 — 6-8 — “Lisa on Ice”When Lisa fails gym and takes up hockey, competing with Bart, this hilarious episode offers a touching brother/sister moment to close the show. Although this line is also a favorite of me and my younger sister: “I’m gonna start doing this (Bart swings his arms in the air), and if any part of you gets hit, it’s your own fault!” Episode 133 — 7-5 — “Lisa the Vegetarian”“Lisa the Vegetarian” is my favorite episode in the series. It has enough good jokes to rival any on this list (“What a bunch of crappity, crap, crap”), great one-liners (“I’m going to graduate from Bovine University”), some very witty moments (“Do you remember when you lost your passion for this work?” followed by the Independent Thought Alarm), sight gags (the parts that make up a hotdog), and one of the biggest of all guest stars (“If you play ‘Maybe I’m Amazed’ backwards, you’ll hear a really great recipe for lentil soup.” — Paul McCartney). I consider this one of my first favorites, reminiscing of the days when my sister and I would sing, “You don’t make friends with salad!” This episode features the biggest character development of the series in Lisa’s conversion to be a vegetarian, but it’s also the most touching. Episode 181 — 9-3 — “Lisa’s Sax”Firstly, that “All in the Family” spoof is one of the most brilliant things “The Simpsons” has ever done. Beyond that, this is a hilarious episode that retells the story of how Lisa came to get her saxophone, all told through the lens of Bart’s first day at school. There’s a powerful and soulful Lisa sax solo at the end that is just right in so many ways. Episode 191 — 9-13 — “The Joy of Sect”The family joins a religious cult. Na na na na na na na na Simpsons, na na na na na na na na Simpsons, Simpsons, Simpsons, Batman! I mean Simpsons! I love “The Simpsons!” Episode 196 — 9-18 — “This Little Wiggy”Ralph Wiggum is easily my favorite go-to character for one-liners, and this is his best episode. Marge makes Bart spend more time with Ralph, and we’re given insight into this otherwise one-dimensional supporting character’s head. Turns out he has leprechauns telling him to burn things. Episode 216 — 10-13 — “Homer to the Max”Homer changes his name to Max Power, a name he got off a hair dryer. In my opinion, this is the funniest episode ever made, and I realize that’s an unpopular position to make.1. “Name one thing mankind’s done better. The Renaissance. This is better.”2. “It’s just a coincidence, like that guy Anthony Michael Hall that stole your car stereo? Yeah, coincidence.”3. “Kids: There’s three ways to do things; the right way, the wrong way and the Max Power way! Isn’t that the wrong way? Yeah, but faster!”4. “You like Thai? Thai good. You like shirt?”5. “Oh shoot, Quebec’s got the bomb.” — Bill Clinton6. “It’s a go-kart powered by my own sense of self-satisfaction.” — Ed Begley Jr.Episode 227 — 11-1 — “Beyond Blunderdome”It’s amazing how quickly things get old. Consider that when this episode aired as the season premiere in 1999, Mel Gibson was an A-lister everyone loved. Gibson enlists Homer to help him remake “Mr. Smith Goes to Washington,” and in another hilariously dated line on a Hollywood set: “Look kids, Robert Downey Jr. is having a shootout with the police. I don’t see any cameras.” Episode 238 — 11-12 — “The Mansion Family”Homer is in charge of looking after Mr. Burns’ mansion when he goes away for health reasons. He hijacks Burns’ yacht and sails it to international waters, upon where they are boarded by pirates. Homer’s next line has become one of my catch phrases of late: “Shut up netface. Hey, you’re in the net too. I said, shut up netface!” Episode 248 — 11-22 — “Behind the Laughter”“The Simpsons” rip off “Behind the Music” as though Homer, Marge and the kids were all actors on a sitcom. This is the best full-blown spoof “The Simpsons” has ever done. It is so exaggerated in every way, seemingly to satirize the entire series. If the episode is taken literally, Homer says this would be the last season (not true) and the Simpsons are from northern Kentucky (Springfield is a FICTIONAL location). Episode 262 — 12-14 — “New Kids on the Blecch”I love how “The Simpsons” can poke fun of an entire genre of music like boy bands and still seem to pay homage to it. Back when ‘N Sync was popular, the band guest starred on the show and was lampooned to no end when Bart, Milhouse, Nelson and Ralph autotune their way to stardom. Episode 268 — 12-20 — “Children of a Lesser Clod”When Homer breaks his knee and is bored at home, he starts a day care for children but continues to neglect his own. Don’t remember this one? Maybe a little morphine will refresh your memory. Episode 278 — 13-9 — “Jaws Wired Shut”Homer breaks his jaw after running into a statue of Drederick Tatum. Now how is it that in an episode where Homer doesn’t even talk during half of it, he still manages to be one of the funniest characters in TV history?Episode 284 — 13-15 — “Blame it On Lisa”It’s the one where they go to Brazil. This episode has more great quotes, sight gags and family quirks than most episodes combined, and in terms of grandly preposterous episodes and plots, this one’s up there. Episode 293 — 14-2 — “How I Spent My Strummer Vacation”When Homer goes to Rock and Roll Camp after an embarrassing family moment on TV, “The Simpsons” assembled possibly the best and funniest collection of guest stars in any show, ever.Mick Jagger — “It’s only Rock and Roll Camp. But I like it.”Keith Richards — “I gotta put up the storm windows. Winter’s coming.”Tom Petty — “See that drunk girl speeding down the street? She’s worried about the state of our public schools.”Brian Setzer — “ A guitar has a lot of nicknames; an axe, a git-box. Well I guess that’s it. And now to the basics; playing a flaming guitar with your teeth.”Elvis Costello — “Come on now. There are lots of fun instruments. Like Bass!”Lenny Kravitz — “Apu just asked a question about crotch stuffing. Now I don’t do it. Kenny Loggins does.” Episode 298 — 14-7 — “Special Edna”Bart nominates Edna for teacher of the year, and the show’s Edna/Seymour plotline reaches a high point. Despite taking place in Epcot Center, there’s nothing boring about this episode.1. “I’m an electric car. I can’t go very fast or very far, and if they see you driving me, people will think you’re gay. One of us. One of us.”2. “The only ride for me is the ride of broken dreams. Oh you mean the Enron ride!”3. “I love teachers. In fact, I’m a teacher. I taught Paul McCartney how to go WHOOOO! Purple Rain! Shut Up! Marge, Michael Jackson just told me to shut up.” — Little Richard4. “One churro please. That’ll be $14.” Episode 308 — 14-17 — “Three Gays of the Condo”What began as a hilarious quest for a puzzle piece became a hysterical, yet tasteful account of gay life when Homer moves in with a gay couple. “Weird Al” Yankovic’s brief appearance provided him with yet another song to add to his repertoire.
(03/23/11 8:50pm)
____simple_html_dom__voku__html_wrapper____>The plot synopsis of “The Lincoln Lawyer” on IMDb reads, “A lawyer conducts business from the back of his Lincoln town car while representing a high-profile client in Beverly Hills,” but “A lawyer represents a high-profile client” would be just fine. I presumed for whatever reason that this was some poverty story about a lawyer with only his Lincoln and his brains to his name. Actually, the screenplay I just wrote for “The Lincoln Lawyer” is probably more cliché than the film itself, which is really just a standard courtroom drama. But I guess I shouldn’t complain that it’s smart, well-acted, nicely made and not wholly predictable. Mick Haller is a defense lawyer specializing in reducing the sentences of particularly nasty criminals. Now he’s faced with an attempted murder and rape case and a defendant who claims he’s innocent. Matthew McConaughey plays Haller, and it is refreshing to see him in a role that does not make him a target of instant affection. The film uses an intimate documentary style of filmmaking so that it doesn’t always look like an episode of “Law & Order,” even if sometimes it plays out like one.