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(03/23/05 4:34am)
In the world of Chambara (Japanese for sword fighting) cinema, there are two kinds of films. The first comes in the form of hokey, poorly organized samurai films which present unrealistic battles and pathetic attempts at a storyline. The second are those rare gems of mastery from the likes of Akira Kurosawa and various other legendary filmmakers. They're the kind of films that portray warriors as masters of their blade who wage battles on an epic scale in a serious manner. Kihachi Okamoto's "The Sword of Doom" (Daibosatsu Toge) is one of those rare gems.\n"The Sword of Doom" tells the story of a wandering ronin who goes by the name of Ryunosuke Tsukue. He is on a simple quest: to unleash carnage and destroy all opposition in his path. Nothing can stop him. No one can defeat him. From the slaughter of an innocent grandfather to countless battles against dozens of samurai, Ryunosuke carves a murderous path of destruction all across Japan.\nWhat makes the film so incredible is the relentless amount of violence that is captured on the celluloid. For being made in 1966, you would swear after watching it that it was made within the last decade. Remember the scene in Quentin Tarantino's "Kill Bill Vol. 1" where the Bride fights the Crazy 88 all over the tea house? Well, strip out all the stylistic flair and replace it with sheer brutality and you can see how "The Sword of Doom" served as an influence on QT's flick. While the battles alone are astonishing to watch, the acting is top notch. Ryunosuke, played by Tatsuya Nakadai (you might recognize him as the gun-toting Unosuke from Kurosawa's "Yojimbo"), is purely maniacal with his sudden movements and flickering eyes. Nakadai's performance keeps you on the edge of your seat and at times creates a tension since you never know when he'll lash out at the nearest bystander. Kurosawa regular Toshirô Mifune plays a small but intimidating role as the dueling instructor Toranosuke Shimada. Mifune's showdown against well over a dozen samurai is one of the most beautifully photographed battles in Chambara cinema as he dashes about in the night's snowfall overcoming his assailants. \nUnfortunately, the DVD itself is greatly lacking in terms of extras. All you get is an essay from film critic Geoffrey O'Brien. No trailers, no interviews, nothing. Being that this is a Criterion Collection release though, one can assume that they looked for all the materials they could possibly find and just ended up with nothing else of value. Plus director Kihachi Okamoto's recent passing away also pretty much cancelled any hopes of a retrospective interview on one of his finest works. The essay is a pretty good read and the DVD transfer and subtitling job are both excellent considering how flawless the film looks and reads. \nIf you're looking for a Chambara film that doesn't hold back, then "The Sword of Doom" is right up your alley. The pure psychosis of Ryunosuke makes for an amazing character study of how far one man's madness can push him to the brink of total self-destruction. Pair this with the film's unrestrained violence and the end result is an experience unlike any other found in Japanese cinema.
(03/10/05 5:00am)
It's been almost five years since post-hardcore act At the Drive-In parted ways and went on to form all new musical incarnations. While three-fifths of ATDI created the atmospheric Sparta, the rest of the band, singer Cedric Bixler-Zavala and guitarist Omar Rodriguez-Lopez, would go on to form the highly experimental group the Mars Volta. And while Sparta is pretty good and the old tunes of At the Drive-In are simply unforgettable, the Mars Volta does an amazing job on its latest release, Frances the Mute.\nHaving only released the Tremulant EP and a full-length album in the form of Deloused in the Comatorium, there was already a high expectancy for Volta's latest disc to live up to prior accomplishments. Broken up into semi-flowing movements, the album's opener, "Cygnus ... Vismund Cygnus: Sarcophagi," starts off slow but automatically explodes in less than a minute, continuing to bounce all over the place for 13 minutes. That's right, the song lasts over 13 minutes and it's not the only one on this album. The next movement "Umbilical Syllables" almost revisits the great post-hardcore style found on At the Drive-In's Relationship of Command, but almost halfway through gets spoiled by annoying pitch bends and reverse filters. The disappointment of "Umbilical Syllables," however, is easily forgotten because the following track, "Facilis Descenus Averni," is handsdown the best song the Mars Volta has written yet. Loaded with guitar acrobatics and an undeniably catchy salsa/samba rhythm complete with Spanish vocals, this third movement remains exciting and fresh for the entire 12 minutes that it plays out.\nThe album's first single "The Widow" is a wonderful experiment in mathematical musical formulas coupled with various vocal filters and acid jazz breakdowns. "L' Via L' Viaquez" maintains a funky groove that bursts every so often just when you think the song is about to slow down. The rest of the album plays out splendidly, especially the four-part movement titled "Miranda That Ghost Just Isn't Holy Anymore," which definitely shows the Mars Volta's love for experimentation with vocal patterns and instruments.\nThe Mars Volta definitely isn't for everybody. Their goal is to always sound unique and ever-evolving yet some people fear change. Frances the Mute is quite a different album when compared to Volta's last effort Deloused in the Comatorium because there is just a whole lot more going on with genre-blending and instrument layering. If you're going to start listening to the Mars Volta, I suggest you check them out right now. It'll help you get prepared for whatever surprises come with future releases.
(03/10/05 5:00am)
What happens when you combine Cary Grant, Katharine Hepburn, a dog and a pet leopard all into one movie? You end up getting one of the greatest comedies of the classic Hollywood era, that's what!\n"Bringing Up Baby" stars Cary Grant as Dr. David Huxley, a paleontologist who simply wants to find the final bone which will complete the skeleton of a brontosaurus he has been working on for years. Upon completion of the dinosaur, Dr. Huxley is almost guaranteed a $1 million grant that his museum so desperately needs. The problem is that as soon as he meets featherbrained Susan Vance (Katharine Hepburn), his entire life takes an amusing turn for the worst. From having the final bone stolen by a dog named George, to chasing a pet leopard named Baby all around town, it almost seems like Dr. Huxley will never make it back to his museum let alone to his wedding which will happen in a matter of days. And trust me, it only gets worse.\nFor being made in 1938, "Baby" is still a wonderful comedic gem even today. The usually suave and handsome Grant plays against his regular image, this time donning Coke-bottle glasses and a lab coat, all while running around town trying to recover his lost dinosaur bone. Hepburn is at her most comical, providing line after endless line of witty comebacks and airheaded remarks. And directing both of them is the legendary Howard Hawks, a man who guaranteed that his movies were constantly entertaining and kept up that Hollywood flair. \nA first-time release on DVD, "Baby" continues the great treatment that almost every Warner Brothers classic receives. The first disc features commentary by director Peter Bogdanovich as well as a Howard Hawks movie trailer gallery containing some of his finest works. This release really shines on the second disc because like most WB classics, there are two great documentaries. The first one, "Cary Grant: A Class Apart," is a wonderful 90-minute look at the entire career of the acting legend. The second, "The Men Who Made the Movies: Howard Hawks," is an hour long look at Hawks' prestigious directing career and even includes plenty of interview clips with the man himself. If all that isn't enough, the second disc also includes the comedy short "Campus Cinderella" and cartoon segment "A Star is Hatched." \nSimply put, "Bringing Up Baby" is a great classical comedy which has stood the cinematic test of time. With its crazy performances and hilarious dialogue, even for being over 60 years old, this "Baby" is definitely worth your attention and laughter.
(03/10/05 5:00am)
Bloomington may not be very exciting during spring break, but Chicago and Indianapolis provide plenty of entertainment for anyone willing to take a short road trip.
(03/09/05 5:28am)
Bloomington may not be very exciting during spring break, but Chicago and Indianapolis provide plenty of entertainment for anyone willing to take a short road trip.
(03/09/05 4:33am)
What happens when you combine Cary Grant, Katharine Hepburn, a dog and a pet leopard all into one movie? You end up getting one of the greatest comedies of the classic Hollywood era, that's what!\n"Bringing Up Baby" stars Cary Grant as Dr. David Huxley, a paleontologist who simply wants to find the final bone which will complete the skeleton of a brontosaurus he has been working on for years. Upon completion of the dinosaur, Dr. Huxley is almost guaranteed a $1 million grant that his museum so desperately needs. The problem is that as soon as he meets featherbrained Susan Vance (Katharine Hepburn), his entire life takes an amusing turn for the worst. From having the final bone stolen by a dog named George, to chasing a pet leopard named Baby all around town, it almost seems like Dr. Huxley will never make it back to his museum let alone to his wedding which will happen in a matter of days. And trust me, it only gets worse.\nFor being made in 1938, "Baby" is still a wonderful comedic gem even today. The usually suave and handsome Grant plays against his regular image, this time donning Coke-bottle glasses and a lab coat, all while running around town trying to recover his lost dinosaur bone. Hepburn is at her most comical, providing line after endless line of witty comebacks and airheaded remarks. And directing both of them is the legendary Howard Hawks, a man who guaranteed that his movies were constantly entertaining and kept up that Hollywood flair. \nA first-time release on DVD, "Baby" continues the great treatment that almost every Warner Brothers classic receives. The first disc features commentary by director Peter Bogdanovich as well as a Howard Hawks movie trailer gallery containing some of his finest works. This release really shines on the second disc because like most WB classics, there are two great documentaries. The first one, "Cary Grant: A Class Apart," is a wonderful 90-minute look at the entire career of the acting legend. The second, "The Men Who Made the Movies: Howard Hawks," is an hour long look at Hawks' prestigious directing career and even includes plenty of interview clips with the man himself. If all that isn't enough, the second disc also includes the comedy short "Campus Cinderella" and cartoon segment "A Star is Hatched." \nSimply put, "Bringing Up Baby" is a great classical comedy which has stood the cinematic test of time. With its crazy performances and hilarious dialogue, even for being over 60 years old, this "Baby" is definitely worth your attention and laughter.
(03/09/05 4:25am)
It's been almost five years since post-hardcore act At the Drive-In parted ways and went on to form all new musical incarnations. While three-fifths of ATDI created the atmospheric Sparta, the rest of the band, singer Cedric Bixler-Zavala and guitarist Omar Rodriguez-Lopez, would go on to form the highly experimental group the Mars Volta. And while Sparta is pretty good and the old tunes of At the Drive-In are simply unforgettable, the Mars Volta does an amazing job on its latest release, Frances the Mute.\nHaving only released the Tremulant EP and a full-length album in the form of Deloused in the Comatorium, there was already a high expectancy for Volta's latest disc to live up to prior accomplishments. Broken up into semi-flowing movements, the album's opener, "Cygnus ... Vismund Cygnus: Sarcophagi," starts off slow but automatically explodes in less than a minute, continuing to bounce all over the place for 13 minutes. That's right, the song lasts over 13 minutes and it's not the only one on this album. The next movement "Umbilical Syllables" almost revisits the great post-hardcore style found on At the Drive-In's Relationship of Command, but almost halfway through gets spoiled by annoying pitch bends and reverse filters. The disappointment of "Umbilical Syllables," however, is easily forgotten because the following track, "Facilis Descenus Averni," is handsdown the best song the Mars Volta has written yet. Loaded with guitar acrobatics and an undeniably catchy salsa/samba rhythm complete with Spanish vocals, this third movement remains exciting and fresh for the entire 12 minutes that it plays out.\nThe album's first single "The Widow" is a wonderful experiment in mathematical musical formulas coupled with various vocal filters and acid jazz breakdowns. "L' Via L' Viaquez" maintains a funky groove that bursts every so often just when you think the song is about to slow down. The rest of the album plays out splendidly, especially the four-part movement titled "Miranda That Ghost Just Isn't Holy Anymore," which definitely shows the Mars Volta's love for experimentation with vocal patterns and instruments.\nThe Mars Volta definitely isn't for everybody. Their goal is to always sound unique and ever-evolving yet some people fear change. Frances the Mute is quite a different album when compared to Volta's last effort Deloused in the Comatorium because there is just a whole lot more going on with genre-blending and instrument layering. If you're going to start listening to the Mars Volta, I suggest you check them out right now. It'll help you get prepared for whatever surprises come with future releases.
(02/24/05 5:17am)
Every year the world of cinema goes on a journey to see which films have accomplished the most. It all begins with various critics' association award ceremonies followed by the Golden Globes and then various guilds that award directors, screen actors and producers for their stunning achievements. At the end of all these award shows is the biggest ceremony of them all: the Academy Awards. \nNow in its 77th year, the 2005 Academy Awards ceremony is set to be one interesting event. The Oscars are comprised of 24 different categories ranging from every technical aspect of the film (editing, cinematography, etc.) to musical scores to various animated and live-action short films. The main categories rest in Best Picture, Best Director and the four Best Acting slots for both leading and supporting roles. \nIn preparation for the event, five Weekend reviewers have pooled their knowledge to predict the outcome of the six most talked about categories this year. To find out the who wins, catch the Academy Awards on Sunday beginning at 8 p.m. on the ABC network.
(02/24/05 5:00am)
It seems that in recent years Hollywood has been quick to purchase the rights to various foreign films and churn out their own Americanized version. Steven Soderbergh's Oscar-nominated "Traffic" was a remake of the British mini-series "Traffik;" Cameron Crowe's "Vanilla Sky" was a remake of Alejandro Amenábar's "Abre Los Ojos;" and there are countless other countries tapped for such remakes. However, there is a geographic hotbed that has recently become the source for countless rights purchases: the far East.\nJapan and Hong Kong have long been a source of inspiration for filmmakers because of the directors they produced. Japan produced cinematic deities in the form Akira Kurosawa, Yasujiro Ozu and Hiroshi Inagaki. Granted, men like Ozu and Inagaki offer inspiration when it comes to family drama and epic warfare, respectively. But it is the legendary Kurosawa whose films influenced countless directors. "Rashomon" created the multiple narrative storyline which influenced Quentin Tarantino's early works; "The Hidden Fortress" served as inspiration for plot-points in the original "Star Wars;" but it was Kurosawa's soaring samurai epics such as "Yojimbo" which would see a spaghetti-western conversion in Sergio Leone's "A Fistful of Dollars" and years later in the form of "Last Man Standing." \nAnd then there's Hong Kong action theater alumni Ringo Lam and John Woo. Ringo's "City on Fire" served as the blueprint to Tarantino's debut feature "Reservoir Dogs." John Woo, however, is an entity in his own league. Woo's over-the-top style of action found in films such as "The Killer" and "Hard-Boiled" have been looked at over and over by just about any good action film director. Sure Woo's films are unrealistic in that the guns never run out of ammo and the action is over-stylized, but these compositions create a bullet ballet that every action film tries to recreate but few can pull off such mastery. \nBut nowadays inspiration doesn't matter much.\nOK, so there is still inspiration from the old greats who mastered the camera, but when it comes to the current Asian film industry Hollywood is more concerned with just buying the rights to films rather than releasing the original. I'm not talking about films like "Hero" or "Crouching Tiger, Hidden Dragon." Films such as the aforementioned are so deeply rooted in Asian culture and mysticism that a proper remake would be impossible. How would you Americanize "Crouching Tiger, Hidden Dragon" really? Have it about cops in search of a stolen pistol who have the ability to elegantly glide through the air and shoot with precision accuracy? Please ...\nHollywood currently seems fixated on the repetitious horror genre found throughout Asia. Japanese films like "Ringu" and "Ju-On" were remade into "The Ring" and "The Grudge" respectively and all these films feature the same long black-haired, creepy Asian girl who wanders around hallways and rooms killing people and frightening others. Granted, we have entities like Jason Voorhees and Freddy Krueger who kept coming back for sequel after sequel, but at least they looked intimidating. We sure as hell milked those characters for almost a dozen movies each so why not pull the same thing with Asian horror? They gave us the character design, now we'll keep churning out crappy sequels.\nHowever, Hollywood is now interested in more than just horror films. They learned that countries like Hong Kong have been producing brilliant cop/gangster action-dramas. South Korea, the country whose film industry I personally consider to be the next biggest foreign film exporter, has begun making successful films one after the other. Unsurprisingly, Hollywood now seeks to tap into their moviemaking formulas. And Japan? Well, other than those crappy horror films, let's just say their industry isn't anywhere near what it used to be in the golden years -- now Hollywood finds itself looking into past achievements.\nThe following list is five films that you'll be seeing Hollywood remake and release based on original works from Asian countries:
(02/24/05 5:00am)
Every year the world of cinema goes on a journey to see which films have accomplished the most. It all begins with various critics' association award ceremonies followed by the Golden Globes and then various guilds that award directors, screen actors and producers for their stunning achievements. At the end of all these award shows is the biggest ceremony of them all: the Academy Awards. \nNow in its 77th year, the 2005 Academy Awards ceremony is set to be one interesting event. The Oscars are comprised of 24 different categories ranging from every technical aspect of the film (editing, cinematography, etc.) to musical scores to various animated and live-action short films. The main categories rest in Best Picture, Best Director and the four Best Acting slots for both leading and supporting roles. \nIn preparation for the event, five Weekend reviewers have pooled their knowledge to predict the outcome of the six most talked about categories this year. To find out the who wins, catch the Academy Awards on Sunday beginning at 8 p.m. on the ABC network.
(02/23/05 4:38am)
It seems that in recent years Hollywood has been quick to purchase the rights to various foreign films and churn out their own Americanized version. Steven Soderbergh's Oscar-nominated "Traffic" was a remake of the British mini-series "Traffik;" Cameron Crowe's "Vanilla Sky" was a remake of Alejandro Amenábar's "Abre Los Ojos;" and there are countless other countries tapped for such remakes. However, there is a geographic hotbed that has recently become the source for countless rights purchases: the far East.\nJapan and Hong Kong have long been a source of inspiration for filmmakers because of the directors they produced. Japan produced cinematic deities in the form Akira Kurosawa, Yasujiro Ozu and Hiroshi Inagaki. Granted, men like Ozu and Inagaki offer inspiration when it comes to family drama and epic warfare, respectively. But it is the legendary Kurosawa whose films influenced countless directors. "Rashomon" created the multiple narrative storyline which influenced Quentin Tarantino's early works; "The Hidden Fortress" served as inspiration for plot-points in the original "Star Wars;" but it was Kurosawa's soaring samurai epics such as "Yojimbo" which would see a spaghetti-western conversion in Sergio Leone's "A Fistful of Dollars" and years later in the form of "Last Man Standing." \nAnd then there's Hong Kong action theater alumni Ringo Lam and John Woo. Ringo's "City on Fire" served as the blueprint to Tarantino's debut feature "Reservoir Dogs." John Woo, however, is an entity in his own league. Woo's over-the-top style of action found in films such as "The Killer" and "Hard-Boiled" have been looked at over and over by just about any good action film director. Sure Woo's films are unrealistic in that the guns never run out of ammo and the action is over-stylized, but these compositions create a bullet ballet that every action film tries to recreate but few can pull off such mastery. \nBut nowadays inspiration doesn't matter much.\nOK, so there is still inspiration from the old greats who mastered the camera, but when it comes to the current Asian film industry Hollywood is more concerned with just buying the rights to films rather than releasing the original. I'm not talking about films like "Hero" or "Crouching Tiger, Hidden Dragon." Films such as the aforementioned are so deeply rooted in Asian culture and mysticism that a proper remake would be impossible. How would you Americanize "Crouching Tiger, Hidden Dragon" really? Have it about cops in search of a stolen pistol who have the ability to elegantly glide through the air and shoot with precision accuracy? Please ...\nHollywood currently seems fixated on the repetitious horror genre found throughout Asia. Japanese films like "Ringu" and "Ju-On" were remade into "The Ring" and "The Grudge" respectively and all these films feature the same long black-haired, creepy Asian girl who wanders around hallways and rooms killing people and frightening others. Granted, we have entities like Jason Voorhees and Freddy Krueger who kept coming back for sequel after sequel, but at least they looked intimidating. We sure as hell milked those characters for almost a dozen movies each so why not pull the same thing with Asian horror? They gave us the character design, now we'll keep churning out crappy sequels.\nHowever, Hollywood is now interested in more than just horror films. They learned that countries like Hong Kong have been producing brilliant cop/gangster action-dramas. South Korea, the country whose film industry I personally consider to be the next biggest foreign film exporter, has begun making successful films one after the other. Unsurprisingly, Hollywood now seeks to tap into their moviemaking formulas. And Japan? Well, other than those crappy horror films, let's just say their industry isn't anywhere near what it used to be in the golden years -- now Hollywood finds itself looking into past achievements.\nThe following list is five films that you'll be seeing Hollywood remake and release based on original works from Asian countries:
(02/17/05 5:00am)
It's widely considered the greatest film of the '80s. It gathered eight Academy Award nominations including Robert De Niro's second Oscar win. It stands alongside other Scorsese masterworks such as "Goodfellas," "Taxi Driver" and most recently "The Aviator." And finally, after years of being out of print, "Raging Bull" has finally been rereleased as a two-disc collector's edition set.\n"Raging Bull," for those unfamiliar with its greatness, is the true story of middleweight boxer Jake La Motta's rise and fall over a 20-year period. La Motta (Robert De Niro) gained attention in America during the early years of World War II for his arrogance and uncompromising brutality in the boxing ring. He was an animal, the "Bronx Bull" as many called him, and fought every challenger who came his way. However, as the years progressed, La Motta's career took a turn for the worse and as an end result he became a nobody much like when he originally started.\nDe Niro's performance in "Raging Bull" is simply outstanding and a career highlight next to his role in "The Godfather: Part II." He truly embodies La Motta in every way and never once do you feel sorry for him because there is no reason to pity such a savage monster. Joe Pesci, who plays the role of La Motta's brother Joey, provides the strong wit and short-fuse temper which would reappear in other Scorsese gems such as "Goodfellas" and "Casino." And then there is Cathy Moriarty. Moriarty stars as the young love interest of Jake La Motta. While her dialogue tends to be brief and to the point throughout the movie, the scenes she shares with De Niro are some of the best ones in the entire film, for they are when we see him at his most violent and yet also most passionate.\nWhile there is a movie-only edition available on the shelves, the definitive version comes as a double-disc set fully loaded with extras. The film boasts three commentary tracks including one with Jake La Motta discussing the accuracy and effect it had upon him after the initial viewing. The supplemental disc contains a four-part behind-the-scenes featurette detailing the entire production process; "The Bronx Bull," a documentary discussing the film with Jake La Motta; shot-by-shot comparisons of old La Motta photos and newsreels against film scenes and finally a newsreel of La Motta defending his championship title for the first time. \n"Raging Bull" is the film that signaled the greatness that Martin Scorsese would go on to achieve. Scorsese's perfectionist touch and excellent direction of actors created a film that no other director of the time period could've came close to creating. It is a violent yet beautiful black and white tapestry of one man's personal journey from contender to champion and the ultimate downfall that ensued. Forget "Rocky" and any other boxing movie ever made, "Raging Bull" remains an unflinching masterpiece -- balancing brutality with sheer brilliance.
(02/17/05 5:00am)
Orange County's Eighteen Visions is no stranger to the hardcore scene; in fact, they've been working hard for almost a decade. Eighteen Visions is a band whose members have never been afraid to be themselves and it shows in their music and image. Early albums such as Until the Ink Runs Out and The Best of Eighteen Visions contained a sound that mixed both hardcore and grind yet remained fresh and original in a sea of musical doppelgangers. With Vanity, their sound became cleaner and more organized while the band began donning suits and ties when playing live. However, that just wasn't good enough for them.\nObsession, the band's latest effort, is a landmark album for them. It's more mature than prior releases and finds Eighteen Visions at its creative best. The filler is all gone and instead has been replaced by track after track of energetic riffing and well-organized song structures. Weekend had the opportunity to sit down with guitarist and founding member Keith Barney at their sold-out show in Indianapolis at the Emerson Theater and this is what he had to say about their success:
(02/17/05 4:30am)
Orange County's Eighteen Visions is no stranger to the hardcore scene; in fact, they've been working hard for almost a decade. Eighteen Visions is a band whose members have never been afraid to be themselves and it shows in their music and image. Early albums such as Until the Ink Runs Out and The Best of Eighteen Visions contained a sound that mixed both hardcore and grind yet remained fresh and original in a sea of musical doppelgangers. With Vanity, their sound became cleaner and more organized while the band began donning suits and ties when playing live. However, that just wasn't good enough for them.\nObsession, the band's latest effort, is a landmark album for them. It's more mature than prior releases and finds Eighteen Visions at its creative best. The filler is all gone and instead has been replaced by track after track of energetic riffing and well-organized song structures. Weekend had the opportunity to sit down with guitarist and founding member Keith Barney at their sold-out show in Indianapolis at the Emerson Theater and this is what he had to say about their success:
(02/16/05 4:44am)
It's widely considered the greatest film of the '80s. It gathered eight Academy Award nominations including Robert De Niro's second Oscar win. It stands alongside other Scorsese masterworks such as "Goodfellas," "Taxi Driver" and most recently "The Aviator." And finally, after years of being out of print, "Raging Bull" has finally been rereleased as a two-disc collector's edition set.\n"Raging Bull," for those unfamiliar with its greatness, is the true story of middleweight boxer Jake La Motta's rise and fall over a 20-year period. La Motta (Robert De Niro) gained attention in America during the early years of World War II for his arrogance and uncompromising brutality in the boxing ring. He was an animal, the "Bronx Bull" as many called him, and fought every challenger who came his way. However, as the years progressed, La Motta's career took a turn for the worse and as an end result he became a nobody much like when he originally started.\nDe Niro's performance in "Raging Bull" is simply outstanding and a career highlight next to his role in "The Godfather: Part II." He truly embodies La Motta in every way and never once do you feel sorry for him because there is no reason to pity such a savage monster. Joe Pesci, who plays the role of La Motta's brother Joey, provides the strong wit and short-fuse temper which would reappear in other Scorsese gems such as "Goodfellas" and "Casino." And then there is Cathy Moriarty. Moriarty stars as the young love interest of Jake La Motta. While her dialogue tends to be brief and to the point throughout the movie, the scenes she shares with De Niro are some of the best ones in the entire film, for they are when we see him at his most violent and yet also most passionate.\nWhile there is a movie-only edition available on the shelves, the definitive version comes as a double-disc set fully loaded with extras. The film boasts three commentary tracks including one with Jake La Motta discussing the accuracy and effect it had upon him after the initial viewing. The supplemental disc contains a four-part behind-the-scenes featurette detailing the entire production process; "The Bronx Bull," a documentary discussing the film with Jake La Motta; shot-by-shot comparisons of old La Motta photos and newsreels against film scenes and finally a newsreel of La Motta defending his championship title for the first time. \n"Raging Bull" is the film that signaled the greatness that Martin Scorsese would go on to achieve. Scorsese's perfectionist touch and excellent direction of actors created a film that no other director of the time period could've came close to creating. It is a violent yet beautiful black and white tapestry of one man's personal journey from contender to champion and the ultimate downfall that ensued. Forget "Rocky" and any other boxing movie ever made, "Raging Bull" remains an unflinching masterpiece -- balancing brutality with sheer brilliance.
(02/10/05 5:00am)
If their previous two releases, Art of Self Defense and Surrounded by Thieves, didn't catch listener's ears, then High on Fire's newest stoner rock opus Blessed Black Wings will definitely put them on the map. With a sound reminiscent of an Ace of Spades-era Motörhead mixed with the sludge of classic Black Sabbath and Slayer thrash masterpieces, High on Fire belt out nine tracks of old school rock fury in under an hour.\nThe album's opener "Devilution" fades in with Des Kensel's rhythmic war drum hammering before giving the listener a quick sucker punch to face with Matt Pike's thick riffing and Lemmy-esque vocals. Just as quickly as you're still trying to recover from the unexpected blow, the next track "The Face of Oblivion" roars in with inverted chords and drunken howls, knocking the listener back down before the screeching solo comes into the speakers. \nGranted the album offers some recovery time during tracks such as "Brother in the Wind" and "Anointing of Seer," the thrashy rage of "Cometh Down Hessian" and title-track "Blessed Black Wings" quickly thrust the listener back in for another bout with madness. "To Cross the Bridge," easily one of the stand-out tracks on the album, escalates from interweaving acoustic notes and pulsating rhythmic patterns into an end solo which to be summed up in mere words is a psychedelic acid trip conveyed through guitar strings. Rather than continuing to howl throughout the entire album, Pike steps away from the mic in the album's closer, "Sons of Thunder," choosing instead to focus entirely on his ability to create an atmospheric instrumental track which still contains the band's signature crust riffage and thundering drum patterns. \nWhat makes Blessed Black Wings stand out from High on Fire's previous efforts was the choice to team up with a new sound engineer, in Steve Albini. Albini, famous for working with over a thousand bands including grunge legends Nirvana and sonic pioneers Neurosis, allowed for High on Fire to eliminate the muddy sound that haunted previous albums and instead create an album that is clear and audible, all while keeping the sludge-laden riffs, precision drumming and Pike's anguished vocals intact.\nHigh on Fire's latest release is definitely not for the average, mall-educated music-listener. Their sound pays homage to all the doom and gloom found in stoner rock and old school metal. Blessed Black Wings isn't the kind of album you just sit down and take in; it's the disc that kicks on in the jukebox right before a raging brawl breaks out inside the bar. So duck the flying chairs, watch out for broken beer bottles and get ready to take on the roaring beast that is High on Fire.
(02/09/05 5:29am)
If their previous two releases, Art of Self Defense and Surrounded by Thieves, didn't catch listener's ears, then High on Fire's newest stoner rock opus Blessed Black Wings will definitely put them on the map. With a sound reminiscent of an Ace of Spades-era Motörhead mixed with the sludge of classic Black Sabbath and Slayer thrash masterpieces, High on Fire belt out nine tracks of old school rock fury in under an hour.\nThe album's opener "Devilution" fades in with Des Kensel's rhythmic war drum hammering before giving the listener a quick sucker punch to face with Matt Pike's thick riffing and Lemmy-esque vocals. Just as quickly as you're still trying to recover from the unexpected blow, the next track "The Face of Oblivion" roars in with inverted chords and drunken howls, knocking the listener back down before the screeching solo comes into the speakers. \nGranted the album offers some recovery time during tracks such as "Brother in the Wind" and "Anointing of Seer," the thrashy rage of "Cometh Down Hessian" and title-track "Blessed Black Wings" quickly thrust the listener back in for another bout with madness. "To Cross the Bridge," easily one of the stand-out tracks on the album, escalates from interweaving acoustic notes and pulsating rhythmic patterns into an end solo which to be summed up in mere words is a psychedelic acid trip conveyed through guitar strings. Rather than continuing to howl throughout the entire album, Pike steps away from the mic in the album's closer, "Sons of Thunder," choosing instead to focus entirely on his ability to create an atmospheric instrumental track which still contains the band's signature crust riffage and thundering drum patterns. \nWhat makes Blessed Black Wings stand out from High on Fire's previous efforts was the choice to team up with a new sound engineer, in Steve Albini. Albini, famous for working with over a thousand bands including grunge legends Nirvana and sonic pioneers Neurosis, allowed for High on Fire to eliminate the muddy sound that haunted previous albums and instead create an album that is clear and audible, all while keeping the sludge-laden riffs, precision drumming and Pike's anguished vocals intact.\nHigh on Fire's latest release is definitely not for the average, mall-educated music-listener. Their sound pays homage to all the doom and gloom found in stoner rock and old school metal. Blessed Black Wings isn't the kind of album you just sit down and take in; it's the disc that kicks on in the jukebox right before a raging brawl breaks out inside the bar. So duck the flying chairs, watch out for broken beer bottles and get ready to take on the roaring beast that is High on Fire.
(01/20/05 5:00am)
When a director releases a successful film there is an expectancy that his follow-up work will be one of equal success. Such is the case with "House of Flying Daggers," directed by Zhang Yimou, the same man who made the poetic masterpiece known as "Hero."\n"House of Flying Daggers" is a Chinese period piece set during the late Tang Dynasty and tells the story of two law enforcement officials, Leo (Andy Lau) and Jin (Takeshi Kaneshiro), who are on a mission to track down a deadly group of assassins. They come across information of a blind dancer named Mei, played by "Crouching Tiger, Hidden Dragon" beauty Zhang Ziyi, who is supposedly connected to the assassins, thus the two make it a point to hunt her down for questioning. After successfully capturing the lovely Mei, Jin falls in love with her, helps her escape and from here unfolds a masterfully woven tale of double-crosses and glorious battles.\nWhile topping the standard set by Yimou's previous effort "Hero" would be a hard thing to accomplish, "House of Flying Daggers" acts more like a companion piece instead of trying to raise the bar. The fight choreography is excellent and offers an equal balance of one-on-one duels as well as one-against-many showdowns. The cinematography is also breathtaking to look at and while it isn't done by master Christopher Doyle, newcomer Xiaoding Zhao does an excellent job at capturing the beauty of natural landscapes and ancient structures. \nThe acting is levels above the performances found in "Hero." Zhang Ziyi, who was really underused in Yimou's previous film, echoes her performance found in "Crouching Tiger, Hidden Dragon" as the female warrior torn between her upbringing and her lover. Andy Lau, whose career boasts over 100 acting roles including the highly-successful "Infernal Affairs" trilogy, turns in a performance that is an amalgamate of all his previous work and yet remains as exciting as all the other roles he has played. However, the best performance hands down goes to Takeshi Kaneshiro, whose character matches that of Ziyi's as he is unable to decide whether love or following orders is the proper path to follow. Kaneshiro shows a whirlwind of emotions throughout the film, each one better than the last, and definitely shines above his two more experienced co-stars. \n"House of Flying Daggers" is another fine example showing that some of the greatest films are coming from across the Pacific these days. The success of "Hero" allowed for Yimou's newest masterpiece to be released in theaters across the country, which goes to show that it isn't necessary to remake Asian films in order to gather an American audience. With the recent news of "House of Flying Daggers" being submitted by China for Oscar consideration for Best Foreign Language Film, one can only hope it picks up the nomination and the win which director Zhang Yimou so rightfully deserved the first time around.
(01/19/05 6:27am)
When a director releases a successful film there is an expectancy that his follow-up work will be one of equal success. Such is the case with "House of Flying Daggers," directed by Zhang Yimou, the same man who made the poetic masterpiece known as "Hero."\n"House of Flying Daggers" is a Chinese period piece set during the late Tang Dynasty and tells the story of two law enforcement officials, Leo (Andy Lau) and Jin (Takeshi Kaneshiro), who are on a mission to track down a deadly group of assassins. They come across information of a blind dancer named Mei, played by "Crouching Tiger, Hidden Dragon" beauty Zhang Ziyi, who is supposedly connected to the assassins, thus the two make it a point to hunt her down for questioning. After successfully capturing the lovely Mei, Jin falls in love with her, helps her escape and from here unfolds a masterfully woven tale of double-crosses and glorious battles.\nWhile topping the standard set by Yimou's previous effort "Hero" would be a hard thing to accomplish, "House of Flying Daggers" acts more like a companion piece instead of trying to raise the bar. The fight choreography is excellent and offers an equal balance of one-on-one duels as well as one-against-many showdowns. The cinematography is also breathtaking to look at and while it isn't done by master Christopher Doyle, newcomer Xiaoding Zhao does an excellent job at capturing the beauty of natural landscapes and ancient structures. \nThe acting is levels above the performances found in "Hero." Zhang Ziyi, who was really underused in Yimou's previous film, echoes her performance found in "Crouching Tiger, Hidden Dragon" as the female warrior torn between her upbringing and her lover. Andy Lau, whose career boasts over 100 acting roles including the highly-successful "Infernal Affairs" trilogy, turns in a performance that is an amalgamate of all his previous work and yet remains as exciting as all the other roles he has played. However, the best performance hands down goes to Takeshi Kaneshiro, whose character matches that of Ziyi's as he is unable to decide whether love or following orders is the proper path to follow. Kaneshiro shows a whirlwind of emotions throughout the film, each one better than the last, and definitely shines above his two more experienced co-stars. \n"House of Flying Daggers" is another fine example showing that some of the greatest films are coming from across the Pacific these days. The success of "Hero" allowed for Yimou's newest masterpiece to be released in theaters across the country, which goes to show that it isn't necessary to remake Asian films in order to gather an American audience. With the recent news of "House of Flying Daggers" being submitted by China for Oscar consideration for Best Foreign Language Film, one can only hope it picks up the nomination and the win which director Zhang Yimou so rightfully deserved the first time around.
(12/02/04 5:00am)
Hands down the longest awaited TV series DVD boxset since "The Simpsons," fans of "Seinfeld" will finally be able to get their fix. If by some chance you spent over the last decade hidden in a cave without television access, "Seinfeld" was the widely popular and successful TV comedy which, along with "Friends," helped turn NBC into a programming powerhouse. The show told the story of comedian Jerry Seinfeld, along with his friends George, Elaine and Kramer, and their daily exploits.\nThe show's success was surprising considering the fact that co-creators Jerry Seinfeld and Larry David felt a show about nothing would fail in no time. After a mere four episodes, NBC demanded Larry David write up an additional 22 episodes and from there it was all golden. Who would've expected topics such as laughing at a Pez dispenser, waiting in a Chinese restaurant or countless random conversations at Monk's Diner would be so defining of '90s television comedy? \nWhile most DVD boxsets for TV shows tend to be lacking in the extras department, Jerry Seinfeld and Larry David went out of their way to make sure the DVDs live up to the show's legacy. Spanning a massive eight discs, the set includes all 41 episodes from the first three seasons, including the pilot episode now remastered in high definition; commentary with the entire cast and creators; interviews; deleted scenes; bloopers; exclusive never-before-seen Jerry Seinfeld stand-up footage; promo trailers; an hour-long documentary on how the show was created; trivia games; footage from "The Tonight Show" and finally, a special featurette comparing Cosmo Kramer to the real Kenny Kramer who inspired the character. Oh, and if all that isn't enough, the boxset/gift set version also comes with exclusive playing cards, a limited-edition original script from Larry David and salt and pepper shakers from Monk's Diner. \nWith "Seinfeld" finally released on DVD, fans of the series will no longer have to worry about catching reruns on television hoping to see their favorite episode. Jerry Seinfeld and Larry David knew fans wouldn't be satisfied with the release of just the first season which is why they released the first three seasons all at once. It's only a matter of time until later seasons hit the shelves and we can enjoy such classic episodes as the Frogger arcade machine, the bubble boy and everyone's favorite, "Soup Nazi"