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(04/26/07 4:00am)
There is such a thing of too much of a good thing. In "Smokin' Aces," director Joe Carnahan tries to make a movie too cool for its own good, overloading it with big-name actors, characters and their agendas. \nMovies like "Snatch" have been successful at developing several characters while still having you feel connected to them. But in "Smokin' Aces," the characters are not developed properly, leaving you disconnected to the characters and story. Without any attachment to the characters, you are unsure whom to root for. Even the story's hero, Ryan Reynolds, does not take lead and the most developed characters, the lady hunters Georgia Sykes (Alicia Keys) and Sharice Watters (Taraji Henson), are the least important to the plot.\n"Smokin' Aces" revolves around Vegas magician Buddy Israel (Jeremy Piven), who has information important to a crime boss, putting a million-dollar price tag on his head. \nThis attracts a slew of bounty hunters trying to kill Buddy in his penthouse suite in Lake Tahoe. Then there is the FBI, led by Agents Messner (Ryan Reynolds) and Carruthers (Ray Liotta), who are on the case and seek to arrest Buddy. There are also a few bounty hunters trying to capture Buddy for his heart for reasons unexplained until the movie's twist. So this leads all of the characters in a race up to Buddy's penthouse, protected by Buddy's cronies, to claim what they want. This plays out like your typical shootout movie, ultimately ending in a twist not big enough for the effort put in.\nNot only is the story hollow, but with a list of big names, it's surprising the acting is unconvincing. Veterans like Liotta and Andy Garcia are not on the screen long enough to leave an impression, and the others, like rapper Common, are over-the-top and not credible. One exception to this rule, however, is newcomer Alicia Keys, whose movie debut shows great promise. The movie's biggest highlight is pathetic lawyer Rip Reed, played by Jason Bateman, who is far and away the most amusing character in the movie.\nFortunately, the excess spills over to the extra features. The DVD includes deleted scenes, outtakes, commentary and a lot of good behind-the-scenes footage. So for those who enjoyed "Smokin' Aces" in theaters, this would be a good DVD buy. Otherwise, stay away. It's no ace in the hole.
(04/19/07 4:00am)
I hate leftovers, especially when it comes to music, because B-sides almost never constitute a release. But this is not the case for Boston popsters Guster, whose 2006 effort, Ganging Up On The Sun, proved to be their most accomplished album yet. After a great demand for the album's B-sides, Guster has released a "Satellite" single/EP as a bit of an excuse to release these B-sides. Along with the four B-sides, there is also a remix and two live covers thrown in for good measure. \nThe EP opens up with the single "Satellite," a well-crafted space pop love song. It is followed by the four B-sides, starting with "G-major," perhaps the most talked about B-side and the most worthy of being on Ganging Up On The Sun. It is rather politically charged, as is "Timothy Leary," maybe being the reason they were left off the album. Then there is "Rise & Shine," the weakest of the B-sides, as it's stripped down, low-production approach makes it seem like the least fit for the album, as well as the most forgettable. "Timothy Leary" follows, which is a great driving track and would probably have made a nice lead-off track, if it wasn't for "Lightning Rod", Ganging Up On The Sun's moody opener. The last B-side is "I'm Through," which is actually an early version of Ganging Up On The Sun's "C'mon." The two share no lyrics, although their verse melodies are the same. While "I'm Through" is the more heartfelt of the two, it is not as well-produced and has an inferior chorus.\nThe last three tracks are unnecessary, but they provide a little more bang for the buck. The Astronaut remix of "Satellite" is simply "Satellite" if it were turned into house music. Then Guster takes on The Beatles, doing an acoustic radio station performance of "Two of Us." While they are no John and Paul, they do a fine job in that they make it their own with banjo and conga without perverting the song in anyway. The EP closes with a cover of Bonnie Tyler's "Total Eclipse of the Heart," which features drummer Brian Rosenworcel on vocals, amusingly ruining an already terrible song. This cover captures the humor and improvisation that fans love about Guster's live shows. \nSo while we are still talking about a B-sides EP, this is one EP worth buying for fans of a band that just keeps getting better and better.
(04/12/07 4:00am)
Why is it that hip-hop producers have such a difficult time making a good album of their own? Whether its Pharrell or P. Diddy, great hip-hop producers just seem unable to make something worthwhile on their own. Maybe that's why Timbaland, last year's "It" producer, recruited a ridiculous guest arsenal for Shock Value, featuring Justin Timberlake, 50 Cent, Missy Elliott, Fall Out Boy, Elton John (!?) and many, many more. By taking almost all the attention off himself, it seems like Shock would be just a first-class album of Timbaland-produced tracks, but that's simply not the case. In fact, Shock Value turns out to be quite the mess.\nThe album is split into thirds, with the first third being signature-sounding Timbaland work, followed by an R&B portion and then finishing with an unusual rock portion. The first third opens up with "Oh Timbaland," the only song with no collaborations, and surprisingly, the best track on the album. It features a beat that sounds like a sped-up version of the beat from Talib Kweli's "Get By" and a Nina Simone sample in the chorus to make for a nice fast-paced opening track. Then Timbaland kicks into the Shock's first single, "Give It To Me," which features Nelly Furtado and Justin Timberlake, two artists who owe Timbaland for landing them on the top of the charts in 2006. Then there is "Bounce," probably the most appealing track on paper in that it features Justin Timberlake, Missy Elliott and Dr. Dre. Not even Dr. Dre, who is one of the few rap producers to make great solo work, is able to save this disaster of a song. The Dre portion is simple and uninspired, Missy Elliott throws in her usual bit and Justin Timberlake rhymes "hiccups" and "pickup trucks" in the chorus, creating one of the most ridiculous rap songs released in awhile.\nThe middle of the album contains a lot of typical R&B tracks, featuring several no-name female singers. The best piece of this portion is "Boardmeeting," which contains Magoo, Timbaland's former partner in crime. Finally, the rock portion begins with "Throw It On Me," the Hives collaboration that is just plain bad. Then there is the SheWantsRevenge collaboration, "Time," which is the most experimental track, as it delves into new wave. While it's not a great track, it's a fascinating move. It's one of the better tracks on an album that literally goes everywhere. Then the album finally closes with "2 Man Show," with Sir Elton John on piano. \nApparently when it comes to hip-hop producers, they should stick to staying behind the scenes and forget about a solo career.
(04/12/07 4:00am)
In 2003, Fountains of Wayne hit it big with the ultracatchy MILF anthem, "Stacie's Mom," transforming them from indie pop darlings into one-hit wonders. Now four years later, FOW put out their follow-up to Welcome Interstate Managers and their fourth album in their 11-year career, Traffic and Weather. The worldwide exposure the band has experienced has had no affect on their sound, sticking to their throwback power pop routine. While Traffic may not provide another mega hit, it is a likeable album from a band that has worked for more than a decade perfecting their pop. \nTraffic and Weather opens up with the undeniable disco of "Someone to Love," then slides nicely into the road-friendly "92 Subaru" and "Yolanda Hayes," which includes great horn and guitar interplay in its intermission. Distinguished moments like this keep the album from becoming mundane and repetitive. Another instance of a nice change is in the form of "Fire in the Canyon," a churning country tune that is Traffic's fifth track and highest peak. There is not a drop off after this point either. Strong tracks throughout the rest of Traffic keep the ball rolling, like the sly "Strapped For Cash" and the hopeful "Michael and Heather at the Baggage Claim." In addition, the album closer, "Seatbacks and Tray Tables," which is reminiscent of Billy Joel, serves as a nice finish to the album.\nLyrically, Traffic and Weather covers all kind of strange and often humorous love stories. Adam Schlesinger writes mostly about breakups, covering everything from anchormen to potheads. He even throws in some very strange references. In "I-95," he references Barney DVDs and Guns N' Roses album covers seamlessly in the same sentence. While these oddball stories and references may not carry much weight, they do fit well into their brand of indie pop, as Schlesinger and Chris Collingwood do a great job making these odd tales into bright melodies.\nWhile Traffic is not a far cry from previous FOW albums, it is a decent effort for the pop veterans. One shortcoming is that the album lacks longevity, losing its luster after a few lessons. While there are better pop albums this year, like Of Montreal's Hissing Fauna, Are You A Destroyer?, there is no denying Fountains of Wayne have an eye for making good pop music and did so in Traffic and Weather.
(04/05/07 4:00am)
On Macy Gray's fourth album and first album in four years, she finds herself trying to make herself a career artist and not just the girl with the unique voice. She has changed record labels, has Will.I.Am from the Black Eyed Peas as the executive producer, a slew of guest singers and a more sophisticated sound. Gray continues to try to change herself to create something special, like her debut smash, On How Life Is. Even though she gets a lot of help from Justin Timberlake, all the changes don't equal greatness. \nStylistically, the album sounds like '70s soul, with its pristine production, strings and synthesizers, but Big falls short on so many levels. Vocally, Gray struggles at times to hit and sustain notes, which is an ugly thing for an artist only on her fourth album. She sounds out of place at times, even with vocal help from Fergie and Nas, and is much more comfortable singing songs that fit her eccentric personality. \nThe album opens up sounding, well, big. "Finally Made Me Happy" is a sophisticated soul tune that climaxes with help from the soaring strings and backup vocals from none other than Natalie Cole. The album moves into two more sophisticated tunes before hitting Big's first great song, "Okay." Timberlake not only sings on "Okay," he also produces it along with a few others, which are the best songs on the record. Timberlake once again proves himself as heir to the pop throne, as he is able to make Gray sound playful and modern. Then there is "Strange Behavior," a song that does a great job at showing just how quirky Gray is. The song is about a woman and her husband who want to kill each other for insurance money. This is, of course, followed by an extremely mediocre "Slowly," but is once again revived by JT with the funky guitar-driven "Get Out." \nThis is the story of the album as it goes from good to bad and then back again repeatedly throughout. Big is an extreme hit-or-miss album, and once again leaves Gray falling short of her debut. She is unable to establish herself as a continuous force and will be left as the quirky, woozy singer with one great album and a few mediocre ones.
(03/29/07 4:00am)
What would it sound like if a bird made music? More specifically, what would it sound like if a bird made rock 'n' roll? Well, the answer is probably something close to Mr. Bird. Andrew Bird employs superhuman whistling, the violin, glockenspiel and a great vocal range, giving him a sound that mirrors his name. On his seventh album, Armchair Apocrypha, Bird finds himself sticking to his signature sound while also exploring a more electric approach. \nThe album's first 20 seconds set the tone, with a droning electric guitar riff and Wurlitzer electric piano. Throughout the album you hear this change to a more electric sound, the electric guitar becomes more essential, violins are layered, and electric pianos and keyboards are employed. The change is most apparent in "Simple X," a song that is led by a wistful keyboard riff and is his only song that utilizes a drum machine. The reason behind this change may be tour mate and friend Martin Dosh, who contributed to the album by playing on and engineering it.\nThe effect of this slight departure is the album sounds darker and more tragic than previous Bird albums. Instrumental tracks like "The Supine" and the album's closer, "Yawny and the Apocalypse," only add to this atmosphere. The album is not nearly as organic-sounding, something that Bird fans enjoy about his music. While the more organic approach may better fit Andrew Bird, there is no denying that Bird has done a convincing job going in this new direction and finds a way to fit the change into his sound without changing his identity.\nLyrically, the album is similar his previous work with a lot of wordplay about catastrophic and thought-provoking subjects. Whether it's a plane crash ("Fiery Crash"), the Iraq war ("Scythian Empires") or philosophy ("Dark Matter"), Bird always seems to be asking questions and inviting the listener to think. \nWhile not quite as good as his last effort, Andrew Bird & The Mysterious Production of Eggs, Armchair Apocrypha is still a very solid album. The album, while not lacking in dramatics, feels a little more subtle than his past few albums. "Dark Matter" is not only the centerpiece, it is the album's anthem and best song. Other notable tracks include the album's opener, "Fiery Crash," the remade version of Weather System's "I," "Imitosis," and the electronica Dosh track, "Simple X." There are, no doubt, a few forgettable tracks like "Heretics" and "Cataracts," which keep this album from being his best work. But even with its flaws, Armchair Apocrypha is a strong effort and nice departure from Bird's past efforts.
(03/07/07 5:00am)
Sometimes in music, bands are so enamored with a band or style of music that it's all that comes through. Philly indie rockers Dr. Dog are enamored with the '60s psychedelic pop of Sgt. Pepper's Beatles and late'60s Beach Boys. Self-proclaimed as the Beatles cover band that doesn't do Beatles songs, Dr. Dog employs everything Beatles: the strings, the airy three-part harmonies, the twangy guitar and the lively piano. They even attempt to record in the lo-fi manner to create that signature '60s sound. It's the type of album that would sound better on vinyl. All in all, Dr. Dog does not bring anything new to the table on their fourth LP, We All Belong, but they are able to create likeable indie pop tunes reminiscent of the incredible '60s psych pop scene.\nWe All Belong begins with two tracks that really reflect this retro style, with the rousing "Old News" and amiable "My Old Ways." Most of the album reflects the sound of these two songs, however, when Dr. Dog begin to stray from this formula, the band sounds its best. "The Girl" takes a more experimental route and even becomes a little reckless. "Alaska" sounds less carefree than the rest of the record and almost desperate. These songs that administer more raw emotion are the best of the record. While they still deploy '60s pop elements, they sound less like rip-offs and more like pieces of influence. It seems the most Beatles-esque songs, like the title track, "We All Belong," are also some of the best on the record since they have mastered the Beatles' formula. The middle of the spectrum songs like "Worst Trip" and "Keep a Friend" are rather boring and drag the album down.\nSo while many hardcore Beatles fans would probably consider We All Belong blasphemy, others may just find it nice to hear that memorable musical style once more. Though the band sounds irreverent at times, the music is extremely playful and good-natured. Dr. Dog has toured around opening for several big acts like The Strokes and The Raconteurs and will probably stay an opening act for their career. We All Belong is pleasant pop album, but is nothing special.
(03/01/07 5:00am)
While the band's spelling suggests they are of English descent, the Colour are actually from L.A. I first heard about these guys about three years ago from a friend who went to Biola University, a small Christian school where the band had formed. The band originally came up in the wake of the British rock revival scene that included the Strokes, The White Stripes and Hot Hot Heat. Since their forming, the Colour have released a few EPs that received little attention, and now, five years after forming, they've released their debut album, Between Earth and Sky. On the album they mix Rolling Stones-esque groove rock with elements of new wave to make a promising debut.\nThe most dynamic part of the band is lead vocalist Wyatt Hull, who sounds like a mix of Mick Jagger and the Cure's Robert Smith. His vocals also sound similar to those of the Killers' Brandon Flowers on Sam's Town, but Hull puts Flowers to shame. A competent backing band falls behind Hull's vocals, including lead guitarist Luke Macmaster and rhythm guitarist Davey Quon. They provide a classic groove rock sound that is reminiscent of '70s British blues rock. The riffs and grooves are nothing new but sound somewhat refreshing when supporting Hull's new wave vocals.\nBetween Earth and Sky opens up with "Can't You Hear It Call," which is the most apparently Stones-influenced track, with its hip blues guitar riff and bluesy backing vocals. This track is followed by two songs that were released on previous EPs, "Devil's Got a Holda Me," the first single, and the undeniable "Save Yourself." "Save Yourself" is the highlight of the album, with its mix of the band's signature sound with pop sensibility. This song is followed by the beautiful yet gloomy "Silver Meadows," which rings of their fellow L.A. indie rockers the Cold War Kids. However, after this point, the album loses its sparkle. Beside the exceptional "Black Summer," the rest of the record feels more like filler than anything. Maybe it's the novelty wearing off, but the end of the album is rather forgettable. Tracks like "You're A Treasure" and "Salt the Earth," while full of enthusiasm, heed little result. So while it is disappointing that this album isn't solid from start to finish, the few choice tracks show promise of what's to come. Between Earth and Sky is a hit-or-miss debut with hints of brilliance.
(03/01/07 5:00am)
I'm like a kid on Christmas morning as festival season rolls around and it looks to be another great one. With the recent release of the Bonnaroo, Sasquatch, Coachella and SXSW lineups, which include several band reunions, it looks as if the festival scene continues to expand and transform. An excellent example of this is this year's Bonnaroo lineup. Last year people were outraged as Bonnaroo turned from a hippie festival to a hippie and hipster festival (including the likes of Radiohead, Death Cab for Cutie, Bright Eyes, etc.). This year the festival has expanded even more, with headliners Tool, Widespread Panic and the newly reunited Police. These festivals are bringing rock 'n'roll back to life in the way that they are beginning to bring rockers, stoners, hippies, hipsters, hicks, punks, hip-hoppers and metalheads together to enjoy something they all love -- music.\nOpening Festivals\nFestival season opens in a week with South by Southwest and Langerado. SXSW is the festival of discovery in Austin, Texas, where almost a thousand bands play throughout the city for a week and a half in hopes of catching a big break. However, that's not to say the festival does not have a host of indie veterans like Spoon and The Faint. Also opening up festival season is a growing three-day festival in Sunrise, Fla., called Langerado. It has a more jam-based lineup, including Trey Anastasio, O.A.R. and Widespread Panic. However, this is not a one-dimensional lineup in that it also includes indie bands such as the New Pornographers, My Morning Jacket and the Hold Steady. This is also just the start because festival season goes all the way to the fall, giving a few seasons worth of festival madness.\nThe Big Three\nThe mammoth festivals are Coachella, Bonnaroo and Lollapalooza. Coachella features an incredibly diverse lineup, with everyone from Björk to Willie Nelson to the Red Hot Chili Peppers rocking Indio Valley, Calif., in late April. After that there's Bonnaroo, which takes place in Manchester, Tenn., in mid-June. The festival took a big leap last year by breaking from the jam-band mold and including a plethora of indie bands. This year the event goes even further by including metal bands, most notably with headliner Tool. Finally there is Lollapalooza, which takes place in Chicago in August. It started out as an alt-rock festival and last year Lollapalooza hosted an incredible lineup, with 130 bands on eight stages. The lineup included rap, alternative, jam, metal, indie, pop, rock and folk acts bringing more than 100,000 different people together. While the 2007 lineup is yet to be announced, Lollapalooza has made an agreement with the city of Chicago to have the festival in Grant Park for the next five years.\nBand Reunions\nThis festival season there are several bands scheduled to reunite. The most talked about reunion has been The Police, who are set to play at this year's Bonnaroo, along with playing a number of tour dates for their 30-year reunion tour. Next is the one-night, one-time only reunion of political rap-rockers Rage Against the Machine, who will play the final night of Coachella. Coachella also will feature the reunion of indie favorite The Jesus & Mary Chain. Alt-rockers The Smashing Pumpkins are set to play some European festivals, and Genesis, with Phil Collins on vocals, are set to play at Al Gore's global warming awareness concert. Even Guns N' Roses and Van Halen are rumored for reunion tours.\nMy Ultimate Festival\nWith all of these great festivals coming around, it makes me think about what my ultimate three-day festival would be. Located in Central Park, the festival setup would be similar to that of Bonnaroo, where everyone camps in one spot for the weekend and shows go from noon to 4 in the morning. The first day would kick off with a bang with modern rock live greats including The White Stripes, Arcade Fire, My Morning Jacket and Robert Randolph and the Family Band. Then I would have Rage Against the Machine reunite and play the most politically charged show of their career, followed by Nirvana with the resurrected Kurt Cobain. After that U2 would play like they did during their Joshua Tree Tour. Then before the headliner, I would have John Bonham resurrected as Led Zeppelin plays the most rocking set of the festival. The first night's headliner would be Queen, arena rock legends playing their rock anthems as the crowd sang along with the resurrected Freddie Mercury, rock's best vocalist. After the headliner, the late-night show would be three spacey acts, starting with the Secret Machines, followed by Radiohead, only to close with the fathers of psychedelic music, Pink Floyd. \nThe second day would open up with dynamic acts like the Red Hot Chili Peppers, the reunited Oysterhead, live innovators the Flaming Lips and the heavenly Sigur Ros. Then there would be a slew of rock immortals, including the Beach Boys, Chuck Berry and David Bowie. Next Bruce Springsteen and the E Street Band would play like they did during their Born To Run days. My second night headliner would be The Who, with bassist John Entwistle and drummer Keith Moon resurrected, sounding like rock's loudest live act. For the second night of late night shows, I would have an absolute jam fest with the Grateful Dead, the Allman Brothers Band and Phish. Of course Jerry Garcia and Duane Allman would be resurrected, and all three bands together would have the most spectacular jam session in history.\nFinally after an intense two days, the third day would ring of rock's softer sweeter side. Early on I would have Sufjan Stevens and then three singer-songwriters who have been brought back to life: Nick Drake, Jeff Buckley and Elliott Smith. Then I would have Marvin Gaye and James Brown resurrected and blowing people away. Next there would be the sweet sounds of Crosby, Stills, Nash and Young and Simon & Garfunkel. The festival would end the only way an ultimate rock festival can end -- with a collaboration of the rock's greatest guitar players. The resurrected Jimi Hendrix would be the main headliner, with special guests Robert Johnson, Eric Clapton and Duane Allman along with modern guitar greats Robert Randolph, Jack White and John Frusciante. This would be the perfect ending to the most incredible weekend in music history.\nWe are witnessing a special time in rock history since music is rapidly branching out and today's music listeners are expanding their horizons. This may be because of the political climate, new technology or indie music coming to the forefront, but whatever the reason, these are great days for rock 'n' roll. So when it comes down to it, ask me which I like more, Christmas or festival season. The answer would be um ... festival season!
(02/22/07 5:00am)
In recent years there has been a slew of espionage thrillers. From "The Bourne Identity" to "The Departed," America has had a piqued interest in spy movies in recent history. Along comes "Breach," a cat-and-mouse thriller based on the true story of "the worst spy in American history." Since it's a true story, you know the spy will ultimately be caught as well as knowing the general gist, which restricts the movie from being an astonishing film. However, with Billy Ray at the helm in only his second directorial effort, "Breach" is a well-focused and well-depicted story of one of the most malevolent men in U.S. history and his unlikely demise.\nThe movie begins two months before Robert Hanssen's (Chris Cooper) arrest, where up-and-coming agent Eric O'Neil (Ryan Phillippe) is given a new and unusual assignment of following longtime U.S. agent Hanssen. O'Neil is told that Hanssen is a sexual deviant and to follow and jot down his every move. O'Neil, who is initially enamored with Hanssen, sees the assignment as being a waste of time until FBI agent Kate Burroughs (Laura Linney) tells him the real reason behind following Hanssen -- treason to the United States. Hanssen appears to be a devout Catholic, dedicated husband and grandfather, and a man of great moral conviction, but he is also overprotective and tests agent O'Neil constantly. Hanssen begins to invade O'Neil's life and, like most spy movies, O'Neil begins to have trust issues with his newlywed wife. The movie climaxes as Hanssen grows more suspicious of O'Neil and his trust of O'Neil leads to his ultimate arrest.\nThe two leads, Cooper and Phillippe, give top-notch performances. Cooper has been perfectly cast as the hyper-religious double agent who wears his beliefs on his sleeve. He always plays these suspicious roles, from his role as the closet homosexual neighbor in "American Beauty" to the flower-hunting drug addict in "Adaptation." This is not to undermine Phillippe, who puts forth one of the strongest performances of his career. He is well-cast as the cocky yet unsure agent who is put into a difficult situation. Though the movie is built around these two characters, the supporting cast is more than sufficient.\nThough this movie has neither the strongest script nor the most interesting story, it is quite focused and suspenseful. Director Billy Ray has done the most with what he was given. Where Breach lacks action, it picks up in suspense, since it feels more personal than its fellow spy movies, "The Bourne Identity" and "The Good Shepherd." "Breach" lives up to expectations and is not a bad way to spend a night at the movies.
(02/22/07 5:00am)
At the Movies is a collection of Van Morrison songs that have been put on to movie soundtracks. So how does a musician find his way onto 19 different soundtracks throughout his career? Well, it may be Van Morrison's timeless voice or the various emotions that are on display in his songs, but no matter the case, Van Morrison's music is fit for movies.\nThe collection spans Van's entire career, from the early Them classic "Gloria" (from 1983's "The Outsiders") to his biggest hit, "Brown-Eyed Girl" (from "Born on the Fourth of July") to the recent rendition of "Comfortably Numb" that can be found on "The Departed." The collection starts with his early work, opening with the high-energy "Gloria" followed by the rockabilly of "Baby Please Don't Go," and then sliding into the charming "Jackie Wilson Said (I'm in Heaven When You Smile)." \nAlmost half of the songs are live recordings, most of which are exciting versions of the original recordings. There is a rousing rendition of "Domino," as well as a very jazzy "Moondance" and finally a magical "Into the Mystic," all of which shine the brightest on this album.\nThe collection does not forget his biggest hits either, with "Brown-Eyed Girl," "Wild Night," and "Have I Told You Lately" thrown into the mix for good measure. Much of the middle comes from his latter-day ballads, which begin to lull you to sleep. The live version of "Caravan" is dreary, and "Days like This" is unremarkable. Finally, the album closes with two collaborations, first the late- '80s Chieftains collaboration, "Irish Heartbeat," then the performance with Pink Floyd's Roger Waters in "Comfortably Numb."\nThe compilation actually serves as a pretty good greatest hits collection, since it covers most of Morrison's biggest hits throughout his career. But like many hits compilations, At the Movies suffers from a lack of cohesiveness, not only because of the great number of tracks, but because the great span of music that it covers. For many, this would be a compilation where you would only listen to your favorite Van tunes. \nIf one thing's for certain, Van Morrison makes reflective, passionate and sometimes searching music that is fit for not just movies, but for moments in everyone's life. He has written some of the most eternal love songs in rock 'n' roll history and has sung them in one of the most enduring voices.
(02/15/07 5:00am)
Nearly two years after its release, Melbourne's Cat Empire drags their sophomore effort across to U.S. shores, but it's no less fresh than it was upon its original release. Cat Empire is a six-piece musical melting pot of jazz, reggae, ska, funk, rock and even hip-hop. On their second album, Two Shoes, Cat Empire brings a mix of all these world music styles to make a truly great record.\nTwo Shoes was recorded in legendary Egrem studio in Havana, recording home of the Buena Vista Social Club. The studio's Latin production is clearly heard throughout the record, which is a mix of new versions of fan favorites and new material. Percussionist Felix Riebl and trumpeter Harry James Angus split vocal duties, with Harry taking the bulk of the singing duties on this album. Band founder Oliver McGill brings in the element of jazz, with his jazz piano running throughout the album, most notably on the Latin-flavored "Sol y Sombra." Add in horns and reggae beats, and you have the sound of Two Shoes.\nThe album is full of a variety of styles and genres. The record opens up with the ska funk of "Sly," one of record's many highlights. Then there is the hip-hop horn-laden "Lullaby," followed by the youthful "Car Song." The middle sectio n is a slew of reggae and Latin tracks, followed by the properly titled "Party Started." The album closes up with the poppy piano-filled "Protons, Neutrons, Electrons," and then ends with a new version of the fan favorite "The Night That Never End." What's truly incredible about this record is how comfortable the band sounds in every style.\nThroughout the album, Cat Empire covers the themes of freedom and war. The new versions of fan favorites "The Chariot" and "Two Shoes" are both great politically charged reggae tracks. "On my feet I wear two shoes for dancing; dancing to be free; my feet they're paying tribute to the Bobby Marley legacy," sings Harry in the title track. Although the album is full of political themes, you can still hear their belief in a carefree attitude and lifestyle, which brings exuberance to the record.\nWhile Cat Empire is already big overseas, they are on the rise in the United States. After creating buzz at Bonnaroo in 2006, expect to hear more from this band in the upcoming years. For those of you looking to take a chance on something new, Two Shoes is a musically intelligent album that you won't regret picking up.
(02/15/07 5:00am)
In "Flags of Our Fathers," a World War II film adapted from the John Bradley novel, Clint Eastwood makes a time piece that portrays the feelings and mindset of the greatest generation in American history. The movie does an excellent job of paying homage to the men and women who gave their lives to preserve our way of life, as it shows the soldiers in a glorious light. However, the movie also shows the ugly side of the war and the propaganda that went along with the most iconic image of the 20th century. But no matter what Eastwood is trying to express, he makes a powerful, evoking film that captures the spirit and character of the men and women fighting in the most important war of the 20th century.\n"Flags" is based around the lives of three of the six men who were captured in Joe Rosenthal's Pulitzer Prize-winning photo of the flag being hoisted on top Mount Suribachi in the Battle of Iwo Jima. These soldiers, who were actually in a second, staged raising of the flag, are thrown into the spotlight as they are used as heroes to raise money for the war. The three men, John Bradley (Ryan Phillippe), Rene Gagnon (Jesse Bradford) and Ira Hayes (Adam Beach), are all captured in different lights, but they are all glorified for their humility and character. \nGagnon, a Marine, embraces the spotlight in an attempt to secure himself a future after the war. Hayes, the tragic hero of the story, feels guilty about being used as propaganda for the war and longs to be back on the battlefield with his fellow soldiers. As an American Indian, he is bruised by racism and numbs himself of the pain with alcohol. Beach, who plays Hayes, puts forth the most compelling performance of the movie and is deserving of an Oscar, yet unfortunately didn't manage to snag even a nomination. Bradley, a Navy medic, plays the most reserved role of the three but serves as the centerpiece of the movie.\nOn the other hand, the movie's special features are, well, nonexistent. The movie has literally no special features, not even a commentary. This was done maybe with the thought that this movie could stand on its own, with nothing extra needed. So if you want a well-directed war memoir, buy this DVD, but don't expect anything more than just the movie.
(02/14/07 11:56pm)
In "Flags of Our Fathers," a World War II film adapted from the John Bradley novel, Clint Eastwood makes a time piece that portrays the feelings and mindset of the greatest generation in American history. The movie does an excellent job of paying homage to the men and women who gave their lives to preserve our way of life, as it shows the soldiers in a glorious light. However, the movie also shows the ugly side of the war and the propaganda that went along with the most iconic image of the 20th century. But no matter what Eastwood is trying to express, he makes a powerful, evoking film that captures the spirit and character of the men and women fighting in the most important war of the 20th century.\n"Flags" is based around the lives of three of the six men who were captured in Joe Rosenthal's Pulitzer Prize-winning photo of the flag being hoisted on top Mount Suribachi in the Battle of Iwo Jima. These soldiers, who were actually in a second, staged raising of the flag, are thrown into the spotlight as they are used as heroes to raise money for the war. The three men, John Bradley (Ryan Phillippe), Rene Gagnon (Jesse Bradford) and Ira Hayes (Adam Beach), are all captured in different lights, but they are all glorified for their humility and character. \nGagnon, a Marine, embraces the spotlight in an attempt to secure himself a future after the war. Hayes, the tragic hero of the story, feels guilty about being used as propaganda for the war and longs to be back on the battlefield with his fellow soldiers. As an American Indian, he is bruised by racism and numbs himself of the pain with alcohol. Beach, who plays Hayes, puts forth the most compelling performance of the movie and is deserving of an Oscar, yet unfortunately didn't manage to snag even a nomination. Bradley, a Navy medic, plays the most reserved role of the three but serves as the centerpiece of the movie.\nOn the other hand, the movie's special features are, well, nonexistent. The movie has literally no special features, not even a commentary. This was done maybe with the thought that this movie could stand on its own, with nothing extra needed. So if you want a well-directed war memoir, buy this DVD, but don't expect anything more than just the movie.
(02/14/07 11:29pm)
Nearly two years after its release, Melbourne's Cat Empire drags their sophomore effort across to U.S. shores, but it's no less fresh than it was upon its original release. Cat Empire is a six-piece musical melting pot of jazz, reggae, ska, funk, rock and even hip-hop. On their second album, Two Shoes, Cat Empire brings a mix of all these world music styles to make a truly great record.\nTwo Shoes was recorded in legendary Egrem studio in Havana, recording home of the Buena Vista Social Club. The studio's Latin production is clearly heard throughout the record, which is a mix of new versions of fan favorites and new material. Percussionist Felix Riebl and trumpeter Harry James Angus split vocal duties, with Harry taking the bulk of the singing duties on this album. Band founder Oliver McGill brings in the element of jazz, with his jazz piano running throughout the album, most notably on the Latin-flavored "Sol y Sombra." Add in horns and reggae beats, and you have the sound of Two Shoes.\nThe album is full of a variety of styles and genres. The record opens up with the ska funk of "Sly," one of record's many highlights. Then there is the hip-hop horn-laden "Lullaby," followed by the youthful "Car Song." The middle sectio n is a slew of reggae and Latin tracks, followed by the properly titled "Party Started." The album closes up with the poppy piano-filled "Protons, Neutrons, Electrons," and then ends with a new version of the fan favorite "The Night That Never End." What's truly incredible about this record is how comfortable the band sounds in every style.\nThroughout the album, Cat Empire covers the themes of freedom and war. The new versions of fan favorites "The Chariot" and "Two Shoes" are both great politically charged reggae tracks. "On my feet I wear two shoes for dancing; dancing to be free; my feet they're paying tribute to the Bobby Marley legacy," sings Harry in the title track. Although the album is full of political themes, you can still hear their belief in a carefree attitude and lifestyle, which brings exuberance to the record.\nWhile Cat Empire is already big overseas, they are on the rise in the United States. After creating buzz at Bonnaroo in 2006, expect to hear more from this band in the upcoming years. For those of you looking to take a chance on something new, Two Shoes is a musically intelligent album that you won't regret picking up.
(02/08/07 5:14am)
Jigsaw is back, and he is up to the same old games. The third installment is bigger and gorier than ever before. It seems to serve as the huge finale to the series, or so we hope. While the first movie was not exactly perfect, it still brought a new element to the horror genre that was a fresh breath of air: making death a game. This novel idea only really lasts so long though. As the series progresses, the traps and twists just get more ridiculous.\n"Saw III" starts off with Jigsaw on his deathbed, with his apprentice Amanda struggling to keep him alive. So Amanda kidnaps Lynn, a depressed doctor, involving her in a game where if Jigsaw dies, she dies as well. There is also another ongoing game of a man coming across people associated with his son's death with the choice to save them from their traps or let them die. All the while there are flashbacks linking the series together. The two games end up coming together for the biggest and most elaborate series of twists in the "Saw" series.\nThis, however, does not make it the best of the series. In fact, it is probably the worst. Although there is more gore, traps and twists than ever, they are more repetitive and less puzzling then ever. Also the acting is extremely poor, not only lacking in known actors, but actual acting. Much of the acting in the trap scenes is over-the-top and not very believable. The general premise is different, but that does not make it a good one. "Saw II's" fun house setup was interesting but was more silly than anything. Horror movies are made scary by the element of surprise, something the "Saw" series now lacks. With its continual use of Billy the puppet, the pig masks and similar traps, "Saw III" is more of the same, something you do not want in a horror series. At this point we can only hope this is the end of "Saw."\nThe special features, however, are better than average. The features include three standard commentaries with varying combinations of the director, writer, editors and producers. It includes some interesting features on the making of the movie, like the making of the traps and props. There is also a director's diary and a few deleted scenes, but overall, I would only recommend this DVD to hardcore "Saw" fans.
(02/08/07 5:00am)
Katharine McPhee should have beaten Taylor Hicks for "American Idol." Yeah, that's right, I proudly watch the show. Katharine McPhee actually fits the role of the "American Idol" much in the way Kelly Clarkson did in the first season of the show. She even has the pipes and the image to translate into commercial success and to be something special, but in her self-titled debut album, McPhee presents a dichotomy between the big old-fashioned vocal numbers and modern pop. The album suffers from the lack of an identity and misses out in the process.\nThe modern pop portion of the album is a good step for her if she wants to reach her target audience: teenage girls. But McPhee has yet to develop a personality, and this is an obvious flaw in her more modern-sounding songs. While Clarkson went the pop-rock route, McPhee delves into hip-hop, dance pop and R&B. In the end, she just ends up sounding like she is doing a bad impression of either Beyonce ("Do What You Do") or Christina Aguilera ("Dangerous"). Some songs are better than others, like the album's first two tracks -- "Love Story," which has a cool '70s groove, followed by the catchy single, "Over It." However, musical sins like "Open Toes" (which is a high-speed hip-hop tune about, yes, open-toed sandals) and slow jam "Each Other" bring the album to a halt like an anchor.\nThe old-fashioned ballads, which are more of what she sang on "American Idol," fit her much better. Similar to her well-known cover of "Somewhere, Over the Rainbow," these songs bring back memories of her "American Idol" days. Though these songs allow her to display her singing capabilities and show her fans the Katharine they know, they reach an older crowd than her target audience and are poorly written run-of-the-mill pop ballads. Among this group ("Home," "Ordinary World" and "Better Off Alone"), there seems to be no standouts or defining moments.\nAt this point, McPhee lacks the personality and charisma of "Idol" mate Clarkson. She also clearly lacks the quality songwriting and producing that Clarkson has. However, in "Not Ur Girl," a song Katharine wrote herself, she shows her personality in what is her own "Miss Independent." So although McPhee is unsure of her musical identity and has put out a second-rate debut album, don't lose the McPhever just yet. She is still only 22 and has the potential for the kind of success Clarkson has had. We will just have to wait for a sophomore effort, since her first album is an unusual mix of mediocrity.
(02/08/07 5:00am)
Jigsaw is back, and he is up to the same old games. The third installment is bigger and gorier than ever before. It seems to serve as the huge finale to the series, or so we hope. While the first movie was not exactly perfect, it still brought a new element to the horror genre that was a fresh breath of air: making death a game. This novel idea only really lasts so long though. As the series progresses, the traps and twists just get more ridiculous.\n"Saw III" starts off with Jigsaw on his deathbed, with his apprentice Amanda struggling to keep him alive. So Amanda kidnaps Lynn, a depressed doctor, involving her in a game where if Jigsaw dies, she dies as well. There is also another ongoing game of a man coming across people associated with his son's death with the choice to save them from their traps or let them die. All the while there are flashbacks linking the series together. The two games end up coming together for the biggest and most elaborate series of twists in the "Saw" series.\nThis, however, does not make it the best of the series. In fact, it is probably the worst. Although there is more gore, traps and twists than ever, they are more repetitive and less puzzling then ever. Also the acting is extremely poor, not only lacking in known actors, but actual acting. Much of the acting in the trap scenes is over-the-top and not very believable. The general premise is different, but that does not make it a good one. "Saw II's" fun house setup was interesting but was more silly than anything. Horror movies are made scary by the element of surprise, something the "Saw" series now lacks. With its continual use of Billy the puppet, the pig masks and similar traps, "Saw III" is more of the same, something you do not want in a horror series. At this point we can only hope this is the end of "Saw."\nThe special features, however, are better than average. The features include three standard commentaries with varying combinations of the director, writer, editors and producers. It includes some interesting features on the making of the movie, like the making of the traps and props. There is also a director's diary and a few deleted scenes, but overall, I would only recommend this DVD to hardcore "Saw" fans.
(02/08/07 4:48am)
Katharine McPhee should have beaten Taylor Hicks for "American Idol." Yeah, that's right, I proudly watch the show. Katharine McPhee actually fits the role of the "American Idol" much in the way Kelly Clarkson did in the first season of the show. She even has the pipes and the image to translate into commercial success and to be something special, but in her self-titled debut album, McPhee presents a dichotomy between the big old-fashioned vocal numbers and modern pop. The album suffers from the lack of an identity and misses out in the process.\nThe modern pop portion of the album is a good step for her if she wants to reach her target audience: teenage girls. But McPhee has yet to develop a personality, and this is an obvious flaw in her more modern-sounding songs. While Clarkson went the pop-rock route, McPhee delves into hip-hop, dance pop and R&B. In the end, she just ends up sounding like she is doing a bad impression of either Beyonce ("Do What You Do") or Christina Aguilera ("Dangerous"). Some songs are better than others, like the album's first two tracks -- "Love Story," which has a cool '70s groove, followed by the catchy single, "Over It." However, musical sins like "Open Toes" (which is a high-speed hip-hop tune about, yes, open-toed sandals) and slow jam "Each Other" bring the album to a halt like an anchor.\nThe old-fashioned ballads, which are more of what she sang on "American Idol," fit her much better. Similar to her well-known cover of "Somewhere, Over the Rainbow," these songs bring back memories of her "American Idol" days. Though these songs allow her to display her singing capabilities and show her fans the Katharine they know, they reach an older crowd than her target audience and are poorly written run-of-the-mill pop ballads. Among this group ("Home," "Ordinary World" and "Better Off Alone"), there seems to be no standouts or defining moments.\nAt this point, McPhee lacks the personality and charisma of "Idol" mate Clarkson. She also clearly lacks the quality songwriting and producing that Clarkson has. However, in "Not Ur Girl," a song Katharine wrote herself, she shows her personality in what is her own "Miss Independent." So although McPhee is unsure of her musical identity and has put out a second-rate debut album, don't lose the McPhever just yet. She is still only 22 and has the potential for the kind of success Clarkson has had. We will just have to wait for a sophomore effort, since her first album is an unusual mix of mediocrity.
(02/01/07 5:00am)
In the past year, Bruce Springsteen, Tom Petty and Bob Dylan have all released albums to much critical acclaim. Now Indiana legend John Mellencamp follows suit with his first album since his 2003 cover album, Trouble No More. This album is standard Mellencamp in that it sounds like what he is, a Midwest baby-boomer singing in the name of America's heartland. Freedom's Road is nothing special.\nLyrically, the album covers politics, more specifically injustice and intolerance. He sings songs of hope ("Someday") and protest ("Jim Crow") against injustice in America. The lyrics, which in many ways fall short, seem to rely on simplicity. For example, in "Forgiveness," Mellencamp sings: "Thank God for forgiveness; I don't know how else we could get along; without forgiveness; without forgiveness." Lyrics as simple as these plague the album and really sell the message short. However songs like "Jim Crow" and the finale, "Heaven is a Lonely Place," have this extra bit of lyrical depth that helps make the protest a little more powerful. \nThere are two songs that are not about politics but patriotism, "Our Country" and "The Americans." "Our Country" (which you've heard countless times in Chevy commercials or at Indiana's homecoming football game) is a simple anthem that seems like just an attempt to grab another radio hit. What bothers me most about this song isthat I can see it as a sing-along at rodeos and NASCAR races across the country. "The Americans" also lacks depth.\nMusically, the album covers a few genres, mostly roots, folk, rock and country. Throughout the album, Mellencamp is backed by the country quartet Little Big Town, most notably on "Heaven is a Lonely Place." The album also blends acoustic, electric and fiddle to give Freedom's Road its country flavor. \nThe few album highlights reach back to older styles of music. "Jim Crow," featuring folk legend Joan Baez, provides a fresh change. "Rural Route," an acoustic roots song about a kidnapping and injustice in rural America, is a nice surprise. Other than that, Freedom's Road seems full of already-charted territory, which lacks the charm and ingenuity his blue-collar peers Springsteen and Petty exhibit. Add on an annoying hidden track ("Rodeo Clown") and bad production value, and you have an album that is easily forgetful and dull when held up to the latter work of other heartland rockers.