Election Day is 14 days away and the President of the United States (Michael Belson) is caught fondling with a girl scout in the White House Oval Office. His re-election campaign slogan “Don’t change horses in midstream” is blatantly worthless following the media’s uprising in regards to the scandal.
Conrad Brean (Robert De Niro) and Stanley Motss (Dustin Hoffman) are recruited to distract voters from the presidential sex scandal. What ensues is clever and astonishing yet, in every respect, degrading of the country’s citizens.
Within hours, the United States is fighting a war with Albania. Stanley was able to hire an Albanian-looking girl to run through an imaginary Albanian-like village holding a bag of Tostitos Tortilla Chips and ideally fighting for her life. (The scene was later edited and the bag of chips was replaced with a dying white cat at the behest of the President.) War cries and volatile ruckus could be heard in the background. The scene is ridiculously pathetic but intricately fabricated.
The footage of the Albanian orphan is played and replayed across major media outlets. And although the Albanian embassy in the United States repeatedly refuted the war in Albania saying there is no such thing, the American people fall in love with the prospect. This is laughably appalling and somewhat disgraceful. The idea that the American people can so easily be manipulated by the media is ludicrous.
The President’s fallacious agenda for re-election continues despite some serious road blocks. The most comical incident occurs when Stanley, Conrad, and Winifred Ames (Anne Heche) embark on a mission to find a war hero- later identified as Old Shoe. When the Hollywood producers realize their war hero is actually a psychotic Army man convicted of raping a nun, the story peaks, then crashes, literally. The plane destined to deliver the war hero, Sergeant William Schumann (Woody Harrelson), who had been left behind on the battlefield, never reached its final destination.
Patriotism is at an all time high. The President of the United States has successfully ended a war between the Albanians and revolutionaries. An American soldier is accidently (purposefully for the sake of Hollywood) left behind to continue the fight for justice and democracy. The war hero dies “behind enemy lines” and the President is deemed the savior.
Could this actually happen in the real world? Is it possible to embellish a non-existing war to the extent of winning a presidential election? I don’t think so. This tale could never take place. Surely, we are too sophisticated. However, I am convinced that inappropriate, scumbag-esque issues relating to a specific candidate, like a sex scandal, can easily be diminished during election times. Wag the Dog is a phenomenal film lacking legitimacy.
Sunday, May 17, 2009
Friday, May 15, 2009
State of Play
Washington Globe reporter Cal McAffery (Russell Crowe) has been assigned a story about the unexplained shooting of two people which resulted in the death of one man and sent the other into a coma. Meanwhile, an aide to Congressman Stephen Collins (Ben Affleck) dies in what appears to be a tragic accident. And the multi-billion-dollar-a-year corporation PointCorp is under investigation by Collins who is suddenly under fire for an alleged affair with the recently deceased aide.
Doesn’t that just smell like a conspiracy?
The very recently released film State of Play is a modern day thriller about a political conspiracy inside Congress involving one of the nations largest paramilitary corporations and the reporter who attempts to discover the truth about what really happened to the innocent people murdered.
It is difficult to explain the plot while at the same time leaving information out because the plot is interwoven so well. It truly is a well-spun web of truth and lies with several interesting plot twists that keep the viewer captivated.
For the subject matter, the film is surprisingly humorous. Cal has wonderful chemistry with his boss, Cameron Lynne (Helen Mirren) and with his co-reporter Della Frye (Rachel McAdams) and there are several funny moments throughout the film. At first I felt the humor was a bit out of place in the dark story surrounding the plot but after a while, it seemed to lighten the mood.
The acting throughout the film is very good: Crowe, as usual, is superb and is well supported by McAdams. Congressman Collins’ wife, Anne, is played by Robin Wright Penn (Forrest Gump, The Princess Bride) who portrays the emotionally wounded spouse wonderfully. From the sleaz-bag Dominic Foy (Jason Bateman) to Detective Donald Bell (Harry Lennix), the supporting characters are well cast and strongly portrayed.
My one complaint with the movie is that the plot becomes slightly convoluted as the story progresses. So much speculation is made that I sometimes was confused as to what was fact and what was fiction (in respect to the conspiracy). Overall, however, I thought the film was excellently made and is definitely award winning material.
Doesn’t that just smell like a conspiracy?
The very recently released film State of Play is a modern day thriller about a political conspiracy inside Congress involving one of the nations largest paramilitary corporations and the reporter who attempts to discover the truth about what really happened to the innocent people murdered.
It is difficult to explain the plot while at the same time leaving information out because the plot is interwoven so well. It truly is a well-spun web of truth and lies with several interesting plot twists that keep the viewer captivated.
For the subject matter, the film is surprisingly humorous. Cal has wonderful chemistry with his boss, Cameron Lynne (Helen Mirren) and with his co-reporter Della Frye (Rachel McAdams) and there are several funny moments throughout the film. At first I felt the humor was a bit out of place in the dark story surrounding the plot but after a while, it seemed to lighten the mood.
The acting throughout the film is very good: Crowe, as usual, is superb and is well supported by McAdams. Congressman Collins’ wife, Anne, is played by Robin Wright Penn (Forrest Gump, The Princess Bride) who portrays the emotionally wounded spouse wonderfully. From the sleaz-bag Dominic Foy (Jason Bateman) to Detective Donald Bell (Harry Lennix), the supporting characters are well cast and strongly portrayed.
My one complaint with the movie is that the plot becomes slightly convoluted as the story progresses. So much speculation is made that I sometimes was confused as to what was fact and what was fiction (in respect to the conspiracy). Overall, however, I thought the film was excellently made and is definitely award winning material.
Thursday, May 14, 2009
The Madcap Laughs and Barrett
Being the great Pink Floyd fan that I am, I’ve made it my mission to listen to every one of their albums. Beginning in the late 60s, they began producing their first few albums. At the time, singer-songwriter and guitarist Roger ‘Syd’ Barrett led Floyd. He wrote and co-wrote many of the bands early songs. The early work of Floyd had heavy psychedelic undertones owing to Barrett’s almost constant use of LSD and other drugs.
The early Floyd albums are hit and miss; songs on the albums are sometimes beautifully written while others are poorly produced with a clumsy, even unprofessional, sound.
Even with these inconsistencies, I wanted to give Barrett’s two solo albums a try. The Madcap Laughs and Barrett were released around the same time Floyd, with new guitarist and former best friend of Barrett, David Gilmour, was in the production stage of Dark Side of The Moon.
These two albums have much in common with those produced by Floyd during the Barrett-led era. Not only is the songwriting similar, but the instrumentation is also almost the same because former band mates of Barrett’s collaborated with him on the album (Rick Wright, David Gilmour, and Nick Masson, all of Pink Floyd).
TML and Barrett are similarly inconsistent on a song-to-song basis: some are smoothly made with interesting guitar parts and lyrics while others seem to have the same chord progressions. Often it was difficult to tell one song from another owing to the unnoticeable differences between some songs.
For someone who enjoyed Barrett’s early work with Pink Floyd (i.e. A Saucerful of Secrets), I was, for the most part, disappointed by his two solo albums. It is said that his mental condition had declined severely at this point which may have played a role in the quality of his music. However, with that in mind, I still only found 2 or 3 songs on each album that I find musically moving.
Perhaps the reason for my dislike of the album is the fact that I do not, unlike Barrett, habitually abuse LSD. But I don’t think music should only be enjoyable when using hallucinogenic drugs.
The early Floyd albums are hit and miss; songs on the albums are sometimes beautifully written while others are poorly produced with a clumsy, even unprofessional, sound.
Even with these inconsistencies, I wanted to give Barrett’s two solo albums a try. The Madcap Laughs and Barrett were released around the same time Floyd, with new guitarist and former best friend of Barrett, David Gilmour, was in the production stage of Dark Side of The Moon.
These two albums have much in common with those produced by Floyd during the Barrett-led era. Not only is the songwriting similar, but the instrumentation is also almost the same because former band mates of Barrett’s collaborated with him on the album (Rick Wright, David Gilmour, and Nick Masson, all of Pink Floyd).
TML and Barrett are similarly inconsistent on a song-to-song basis: some are smoothly made with interesting guitar parts and lyrics while others seem to have the same chord progressions. Often it was difficult to tell one song from another owing to the unnoticeable differences between some songs.
For someone who enjoyed Barrett’s early work with Pink Floyd (i.e. A Saucerful of Secrets), I was, for the most part, disappointed by his two solo albums. It is said that his mental condition had declined severely at this point which may have played a role in the quality of his music. However, with that in mind, I still only found 2 or 3 songs on each album that I find musically moving.
Perhaps the reason for my dislike of the album is the fact that I do not, unlike Barrett, habitually abuse LSD. But I don’t think music should only be enjoyable when using hallucinogenic drugs.
Tuesday, May 12, 2009
Minstrel In the Galaxy
In trying to expand my musical library, I stumbled on to a psychedelic/space rock group called Acid Mothers Temple. The 30-second clips on iTunes led me to believe that I might be able to find something in their music so I downloaded the album and gave it a go.
Minstrel In the Galaxy is a short album; just three songs, one of which is a reprise of the other. The third (second on the album), however, is a 40-minute drone of odd sounds and vocals.
As far as I am aware and from the limited research I have done, Acid Mothers Temple has sought to create the best ‘trip’ music for those using LSD (acid) or other hallucinogenic drugs. Having never used or planned to use either, I am forced to review the album purely by the sound-value.
The first song began with a very pretty acoustic riff that repeated itself later in the third track. In the background are a number of odd sythn sounds; it is not difficult to tell that this album is intended to sound like space-rock. Shortly after the riff beings, it stops, only to be replaced by the incoherent mumbling of a Japanese woman (Acid Mothers Temple are a Japanese band, if I forgot to mention it).
The 40-minute song begins shortly after and, as you can imagine, it is unimaginably long. MUCH of the song is given over to long periods of near silence punctuated only by little beeps and distant background singing (along with other space sounds).
Near about 9 minutes the real music beings; but real music as defined by Acid Mothers Temple is different than what most would consider music: do not expect any heart-stopping acoustic riffs played by the Jonas Brothers or any other pop icon. THIS music is comprised of a heavy bass riff over layered by a vibrato space guitar and unsteady percussion. Also present are a number of odd vocal anomalies which can most closely be compared to the sounds ‘Indians’ make when they’re about to attack white settlers in those Ol’ West movies.
For someone who usually looks at music for people with refined taste (not superior, r-e-f-i-n-e-d) this album is DEFINITELY for people with EXTREAMLY refined taste.
Minstrel In the Galaxy is a short album; just three songs, one of which is a reprise of the other. The third (second on the album), however, is a 40-minute drone of odd sounds and vocals.
As far as I am aware and from the limited research I have done, Acid Mothers Temple has sought to create the best ‘trip’ music for those using LSD (acid) or other hallucinogenic drugs. Having never used or planned to use either, I am forced to review the album purely by the sound-value.
The first song began with a very pretty acoustic riff that repeated itself later in the third track. In the background are a number of odd sythn sounds; it is not difficult to tell that this album is intended to sound like space-rock. Shortly after the riff beings, it stops, only to be replaced by the incoherent mumbling of a Japanese woman (Acid Mothers Temple are a Japanese band, if I forgot to mention it).
The 40-minute song begins shortly after and, as you can imagine, it is unimaginably long. MUCH of the song is given over to long periods of near silence punctuated only by little beeps and distant background singing (along with other space sounds).
Near about 9 minutes the real music beings; but real music as defined by Acid Mothers Temple is different than what most would consider music: do not expect any heart-stopping acoustic riffs played by the Jonas Brothers or any other pop icon. THIS music is comprised of a heavy bass riff over layered by a vibrato space guitar and unsteady percussion. Also present are a number of odd vocal anomalies which can most closely be compared to the sounds ‘Indians’ make when they’re about to attack white settlers in those Ol’ West movies.
For someone who usually looks at music for people with refined taste (not superior, r-e-f-i-n-e-d) this album is DEFINITELY for people with EXTREAMLY refined taste.
Sunday, May 10, 2009
Teeth
So, this girl, she lives next to a nuclear power plant and there is a young boy and girl, whose parents are getting married, playing in a pool. The little boy says, “If you show me yours, I’ll show you mine.” And the little boy puts his finger under the water and screams; he pulls it out and his finger is badly cut.
13 or so years later, the same girl is in high school, head of the Purity Club. She travels from elementary to elementary to talk to kids about waiting for marriage to have sex. Her brother has become a Goth/sex addict with vagina-phobia (just to clarify, he only likes anal sex) because of the incident as a kid.
Later, Purity Girl and the boy she likes go to a lake to spend some time alone together. The boy is a little less than satisfied with his sexual situation and tries to take advantage of Purity Girl. What he doesn’t know is that what goes in to Purity Girl’s vagina doesn’t come out. The set of shark-like teeth in Purity Girls vag bite off his entire Johnson and spits it out on a rock.
By now you should be wondering if this plot is a creation of my own twisted imagination but no, it is not. This is a real movie and is on the shelf at your local video store. Surprised? I was too. Back to the story!
After the cock-gobbling, Purity Girl does research about a mythical creature who has a similar condition. She discovers that the monster in her vagina can only be conquered by a great hero.
Through a series of sexual encounters, Purity Girl discovers that consent is the key to unlock the dick-eating vagina. She finds out that if she wants to have sex with the person, she can control the teeth and prevent them from harming men.
I’m forced to wonder what influenced the creators of this film to write such a terrible movie: are they making a statement about free speech? Or are they trying to discourage people from having frivolous unprotected sex? Or are they just incredibly stupid?
Terrible movie.
13 or so years later, the same girl is in high school, head of the Purity Club. She travels from elementary to elementary to talk to kids about waiting for marriage to have sex. Her brother has become a Goth/sex addict with vagina-phobia (just to clarify, he only likes anal sex) because of the incident as a kid.
Later, Purity Girl and the boy she likes go to a lake to spend some time alone together. The boy is a little less than satisfied with his sexual situation and tries to take advantage of Purity Girl. What he doesn’t know is that what goes in to Purity Girl’s vagina doesn’t come out. The set of shark-like teeth in Purity Girls vag bite off his entire Johnson and spits it out on a rock.
By now you should be wondering if this plot is a creation of my own twisted imagination but no, it is not. This is a real movie and is on the shelf at your local video store. Surprised? I was too. Back to the story!
After the cock-gobbling, Purity Girl does research about a mythical creature who has a similar condition. She discovers that the monster in her vagina can only be conquered by a great hero.
Through a series of sexual encounters, Purity Girl discovers that consent is the key to unlock the dick-eating vagina. She finds out that if she wants to have sex with the person, she can control the teeth and prevent them from harming men.
I’m forced to wonder what influenced the creators of this film to write such a terrible movie: are they making a statement about free speech? Or are they trying to discourage people from having frivolous unprotected sex? Or are they just incredibly stupid?
Terrible movie.
Thursday, May 7, 2009
Watchmen
Having never read the novel, I wasn’t sure what to expect when I went to see Watchmen. From the commercials, I was certain I’d see a sizeable portion of graphic violence, which was enough to coerce me into going. I was not, however, expecting to see so much of Dr. Manhattan’s radiating package. But hey, it’s my own fault.
Giant blue penis aside, Watchmen was easily one of the most visually stunning films I’ve seen since the Planet Earth series and 300 (which was directed by the same man).
The film is set in an alternate American history: the year is 1985; Nixon is still president and the United States easily won the Vietnam War (with the help of the superhuman Dr. Manhattan). Masked super heroes are commonplace in our society (although none but Manhattan have any real super powers).
Plot wise, this film is difficult to explain. There is a lot going on throughout the movie and quite honestly, I was only really interested in Manhattan because he was easily the coolest character in the film (I’ve never been so inspired by watching a giant blue man with a giant blue penis as he vaporized little Vietnamese Commies).
Even so, the story beings by setting the stage for the events to come: Rorschach, a masked vigilante who has remained active even after the outlawing of supers, is investigating the murder of a colleague. He believes the murder is the first in a series of events being executed to eradicate the heroes.
Meanwhile, Dr. Manhattan, born from a science project gone wrong, is trying to create a solution to the world’s energy problems using his superhuman powers (he is also getting handsie with Silk Spectre II, at the same time because he can split himself if he needs to). Silk Spectre is hurt by Manhattan’s unconceren for the state of the human world; she throws a fit and leaves to stay with Nite Owl II.
Really I was confused by a lot of things in the movie. While well made, I couldn’t help but wonder why Manhattan wasn’t able to see the murder, Silk Spectre leaving, the plot by Ozymandious or several other things. For being all powerful, he was very weak.
Giant blue penis aside, Watchmen was easily one of the most visually stunning films I’ve seen since the Planet Earth series and 300 (which was directed by the same man).
The film is set in an alternate American history: the year is 1985; Nixon is still president and the United States easily won the Vietnam War (with the help of the superhuman Dr. Manhattan). Masked super heroes are commonplace in our society (although none but Manhattan have any real super powers).
Plot wise, this film is difficult to explain. There is a lot going on throughout the movie and quite honestly, I was only really interested in Manhattan because he was easily the coolest character in the film (I’ve never been so inspired by watching a giant blue man with a giant blue penis as he vaporized little Vietnamese Commies).
Even so, the story beings by setting the stage for the events to come: Rorschach, a masked vigilante who has remained active even after the outlawing of supers, is investigating the murder of a colleague. He believes the murder is the first in a series of events being executed to eradicate the heroes.
Meanwhile, Dr. Manhattan, born from a science project gone wrong, is trying to create a solution to the world’s energy problems using his superhuman powers (he is also getting handsie with Silk Spectre II, at the same time because he can split himself if he needs to). Silk Spectre is hurt by Manhattan’s unconceren for the state of the human world; she throws a fit and leaves to stay with Nite Owl II.
Really I was confused by a lot of things in the movie. While well made, I couldn’t help but wonder why Manhattan wasn’t able to see the murder, Silk Spectre leaving, the plot by Ozymandious or several other things. For being all powerful, he was very weak.
Tuesday, May 5, 2009
A Fish Called Wanda
Released in 1988, A Fish Called Wanda is the English-American comedy film of a jewelry heist in London.
Wanda Gershwitz (Jamie Lee Curtis) is an American thief who is working with her English lover George Thomason (Tom Georgeson) to rob £13 million ($20 million) in jewels. Assisting them are Wanda’s secret lover and pretend brother, Otto West (Kevin Kline), and George’s friend Ken Pile (Michael Palin). The four plan to rob the jeweler, wait a few days, and then leave England for the carribean.
The robbery is a success and the four involved hide the jewels and plan to meet at the airport in a week. Wanda and Otto, however, had planned to turn George in and so alert the police. George is arrested for the robbery but when the two return to where they believe the jewels are hidden, they find that George has moved them.
In an attempt to discover where the jewels are, Wanda beings to seduce George’s barrister, Archie Leach (John Cleese). She attempts to use him to garner information on George’s trial as Archie is the first person whom George would divulge the location of the jewels.
As the story develops, Archie begins to fall in love with Wanda while she continues to work towards her own end. However, Otto discovers the location of the jewels before his ‘sister’ does. So rather than testifying for George to get him off, Wanda provides evidence that he was the sole person involved in the robbery.
Genuinely funny writing and a well-written plot hold the film together. The portrayal of the characters is also brilliant. Kline’s outrageous performance as Otto is easily one of the funniest I’ve seen (I don’t know whether he actually ate live fish, but its completely convincing).
The comical mixture of the film combines stupidity with romance and creates an interesting blend of scenes that are always funny and never dull. It’s difficult to find a scene void of humor in some shape or form.
Wanda Gershwitz (Jamie Lee Curtis) is an American thief who is working with her English lover George Thomason (Tom Georgeson) to rob £13 million ($20 million) in jewels. Assisting them are Wanda’s secret lover and pretend brother, Otto West (Kevin Kline), and George’s friend Ken Pile (Michael Palin). The four plan to rob the jeweler, wait a few days, and then leave England for the carribean.
The robbery is a success and the four involved hide the jewels and plan to meet at the airport in a week. Wanda and Otto, however, had planned to turn George in and so alert the police. George is arrested for the robbery but when the two return to where they believe the jewels are hidden, they find that George has moved them.
In an attempt to discover where the jewels are, Wanda beings to seduce George’s barrister, Archie Leach (John Cleese). She attempts to use him to garner information on George’s trial as Archie is the first person whom George would divulge the location of the jewels.
As the story develops, Archie begins to fall in love with Wanda while she continues to work towards her own end. However, Otto discovers the location of the jewels before his ‘sister’ does. So rather than testifying for George to get him off, Wanda provides evidence that he was the sole person involved in the robbery.
Genuinely funny writing and a well-written plot hold the film together. The portrayal of the characters is also brilliant. Kline’s outrageous performance as Otto is easily one of the funniest I’ve seen (I don’t know whether he actually ate live fish, but its completely convincing).
The comical mixture of the film combines stupidity with romance and creates an interesting blend of scenes that are always funny and never dull. It’s difficult to find a scene void of humor in some shape or form.
Monday, April 20, 2009
I Hate Twilight
There are places I go where I expect to hear certain things: I go to the doctor to get medical advice; I go to a concert to hear music; I go home to hear about how I’m going to flip burgers if I don’t get my grades up. School has always been a place where I don’t expect to hear anything in particular; where conversation is delightfully random.
Until Twilight.
Dark were the days when all I heard around me was “Oh my God, I LOVE Edward!!!” Everywhere I turned, it seemed, girls were crooning about how beautiful Edward Cullen was and how he was so sweet, so strong, so…wonderful (said with a glossy-eyed stare into space).
I tolerated these outbreaks of affection for the fictional hero. And of course by ‘tolerated’ I mean I took every honest opportunity I got to destroy his reputation and destabilize his regime as ‘pop-icon’. The fighting reached a fever pitch when the movie was released, the veritable ‘A-bomb’ of the Twilight arsenal. After that calamity, I lost hope. “How,” I pleaded, “how could anyone let that book become a movie?”
In an attempt to make peace, I begrudgingly tried to read the first book; I didn’t make it far. But it did open my eyes to several things: firstly, it made me wonder a lot about the way popular media preys on their target audience. I mean no disrespect when I say this, but to a large degree this book seems to be capitalizing on the emotions of ‘tweenage’ girls. Which is obviously what you’d want to do if you were writing a book and you wanted it to sell.
However it’s fairly clear that that is ALL the author wanted to do. The story is so convoluted and full of drama that it becomes unbelievably unreal (even unreal-er than it was originally) that it hardly even passes as a fairy tale. I liked that the author took a new and unique angle on vampires. In doing so, however, she turned a frightening Transylvanian myth into the hot hunky dream-vampire…manthing…of a generation.
I did everything I could to win the war, but fighting Twilight supporters is like fighting the Chinese: there are just too many of them and they’re all willing to sacrifice themselves in the name of their ideals. I fear that the continued dominance of Edward and his band of vampire friends will only lead to another, more devastating conflict between realism and far-far-far-far-fetched tales.
Until Twilight.
Dark were the days when all I heard around me was “Oh my God, I LOVE Edward!!!” Everywhere I turned, it seemed, girls were crooning about how beautiful Edward Cullen was and how he was so sweet, so strong, so…wonderful (said with a glossy-eyed stare into space).
I tolerated these outbreaks of affection for the fictional hero. And of course by ‘tolerated’ I mean I took every honest opportunity I got to destroy his reputation and destabilize his regime as ‘pop-icon’. The fighting reached a fever pitch when the movie was released, the veritable ‘A-bomb’ of the Twilight arsenal. After that calamity, I lost hope. “How,” I pleaded, “how could anyone let that book become a movie?”
In an attempt to make peace, I begrudgingly tried to read the first book; I didn’t make it far. But it did open my eyes to several things: firstly, it made me wonder a lot about the way popular media preys on their target audience. I mean no disrespect when I say this, but to a large degree this book seems to be capitalizing on the emotions of ‘tweenage’ girls. Which is obviously what you’d want to do if you were writing a book and you wanted it to sell.
However it’s fairly clear that that is ALL the author wanted to do. The story is so convoluted and full of drama that it becomes unbelievably unreal (even unreal-er than it was originally) that it hardly even passes as a fairy tale. I liked that the author took a new and unique angle on vampires. In doing so, however, she turned a frightening Transylvanian myth into the hot hunky dream-vampire…manthing…of a generation.
I did everything I could to win the war, but fighting Twilight supporters is like fighting the Chinese: there are just too many of them and they’re all willing to sacrifice themselves in the name of their ideals. I fear that the continued dominance of Edward and his band of vampire friends will only lead to another, more devastating conflict between realism and far-far-far-far-fetched tales.
Sunday, April 5, 2009
Galaxy Quest
I used to come home from school every day and turn to channel 59 (Spike) to watch Star Trek: Next Generation. I don’t know what it was about the show that made me love it so much (probably Jean-Luc Picard’s keen intellect and his cool collective nature in the face of danger) but the fact is that the show was great and always a favorite of mine. I never dreamed imagined there would be a parody of such an epic show.
Galaxy Quest came out in 1999. It is the tale of a retired troupe of actors who make a living off of appearing at fan-conventions for their long dead show, Galaxy Quest. The crew commander, Jason Nesmith (Tim Allen) enjoys a large fan base, while the rest of the crew walks in his shadow. All of his co-stars are bitter towards him for his enthusiasm at being a worshiped has-been.
At the convention, Jason is approached by an odd group of people claiming to be aliens called Thermians. They ask for the help of Commander Tagert (Jason Nesmith) who they believe is an actual space-commander.
Nesmith goes home and drinks himself to sleep where he is awoken by the Thermians who have come to take him to their ship. Believing that it is just another convention, he goes with them to their ship where he discovers that the Thermians had watched his show and duplicated it, thinking the show was a historical document.
Nesmith returns to earth after having attacked the Thermian’s enemy, Seris, and attempts to convince the rest of his crew that what he experienced was real. At the request of the Thermians, Tagert and his crew travel to the ship to fight the evil Seris.
For someone who watches Star Trek, this film is incredibly funny. It takes every aspect of the show and adds a satirical twist to it. On it’s own, the story is very well written. But as a satire, the film becomes a great parody of an American classic.
Galaxy Quest came out in 1999. It is the tale of a retired troupe of actors who make a living off of appearing at fan-conventions for their long dead show, Galaxy Quest. The crew commander, Jason Nesmith (Tim Allen) enjoys a large fan base, while the rest of the crew walks in his shadow. All of his co-stars are bitter towards him for his enthusiasm at being a worshiped has-been.
At the convention, Jason is approached by an odd group of people claiming to be aliens called Thermians. They ask for the help of Commander Tagert (Jason Nesmith) who they believe is an actual space-commander.
Nesmith goes home and drinks himself to sleep where he is awoken by the Thermians who have come to take him to their ship. Believing that it is just another convention, he goes with them to their ship where he discovers that the Thermians had watched his show and duplicated it, thinking the show was a historical document.
Nesmith returns to earth after having attacked the Thermian’s enemy, Seris, and attempts to convince the rest of his crew that what he experienced was real. At the request of the Thermians, Tagert and his crew travel to the ship to fight the evil Seris.
For someone who watches Star Trek, this film is incredibly funny. It takes every aspect of the show and adds a satirical twist to it. On it’s own, the story is very well written. But as a satire, the film becomes a great parody of an American classic.
Thursday, April 2, 2009
Napoleon Dynamite
The story of the outcast-nerd trying to find themselves in the world of high school is a common one that has been told many different times. Each story begins with the loveable nerd whom their peers hate and who seems to be completely alone. The audience is made to feel sorry for this nerd; to have empathy with their struggle. This feeling of pity is what makes the story worth telling.
But Napoleon Dynamite is not that story. John Hader stars as the geeky outsider Napoleon, the friendless daydreaming dweeb of his high school in Idaho. He lives with his 32 year-old-brother Kip and his grandmother. Kip, who is similarly loser-ish, is unemployed and spends most of his days in online chat-rooms looking for love (which is significant later).
While visiting friends in the middle of the desert, Napoleon’s grandmother injures herself and is unable to return home to care for her two grandsons. So she enlists the help of their uncle, Rico, to watch over Kip and Napoleon while she recovers. Uncle Rico is a former star quarterback who has lived in the year 1982 since his team won the state championship.
The movie is full of awkward acting, bad jokes and situations that try too hard to be funny. Absent from the movie is a plot, good writing, and any character development.
Very little happens to indicate a plot: sure, Pedro (Napoleon’s friend) does try to run for class president and yes, he does meet a girl, but neither of those quests is fully finished until the very end of the film. To me, it seemed like the film was made up of a hodge-podge of random events in Napoleon’s life, which are loosely strung together by the theme of him being a complete loser.
The one good part of this movie is the performance of John Hader as Napoleon. In the traditional sense of an outsider movie, there is no quality about Hader’s Napoleon that is loveable. He’s just an asshole the whole movie. A wimpy asshole, maybe, but if he had been a pitiable loser who tries but fails to be accepted, the film would have been even worse.
But Napoleon Dynamite is not that story. John Hader stars as the geeky outsider Napoleon, the friendless daydreaming dweeb of his high school in Idaho. He lives with his 32 year-old-brother Kip and his grandmother. Kip, who is similarly loser-ish, is unemployed and spends most of his days in online chat-rooms looking for love (which is significant later).
While visiting friends in the middle of the desert, Napoleon’s grandmother injures herself and is unable to return home to care for her two grandsons. So she enlists the help of their uncle, Rico, to watch over Kip and Napoleon while she recovers. Uncle Rico is a former star quarterback who has lived in the year 1982 since his team won the state championship.
The movie is full of awkward acting, bad jokes and situations that try too hard to be funny. Absent from the movie is a plot, good writing, and any character development.
Very little happens to indicate a plot: sure, Pedro (Napoleon’s friend) does try to run for class president and yes, he does meet a girl, but neither of those quests is fully finished until the very end of the film. To me, it seemed like the film was made up of a hodge-podge of random events in Napoleon’s life, which are loosely strung together by the theme of him being a complete loser.
The one good part of this movie is the performance of John Hader as Napoleon. In the traditional sense of an outsider movie, there is no quality about Hader’s Napoleon that is loveable. He’s just an asshole the whole movie. A wimpy asshole, maybe, but if he had been a pitiable loser who tries but fails to be accepted, the film would have been even worse.
Wednesday, April 1, 2009
This Is Spinal Tap
This Is Spinal Tap is the ‘rock-umentary’ about the semi-fictitious hard-rock band, Spinal Tap. Directed by Rob Reiner (who also directed Princess Bride), the film stars David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), and Derek Smalls (Harry Shearer).
The film is supposed to be based on Tap’s tour in America to promote their latest album, Smell The Glove. The band is infamous for their loud, obnoxious sound and their less than politically correct lyrics (with songs like “Working On A Sex Farm” and “Big Bottom”).
Tap beings their tour across America by first visiting their producers who have refused to produce the album because the cover is sexually degrading to women. The band manager, Ian Faith (Tony Hendra), attempts to influence the record company while he tries to keep the band in line.
As the band tours America, the audience is given a chance to learn more about its members and history. The film is set up in a way that shows a series of events concerning their American tour while simultaneously adding small interviews with different members of the band and, sometimes, the entire group.
As it turns out, the band has a primarily male audience (who would be surprise by that when you listen to their songs) and so their shows have become smaller. They experience cancellations in several cities as well.
While trying to put on a ‘Stonehenge/ druidian’ themed show, the band manager fails to come through with a piece of stagecraft, which he argues was the fault of one of the band members. This leads to discord between the band and Ian and so he leaves the group to be replaced by David’s girlfriend, Jeanine.
Once Jeanine takes over however, the band’s encounter even more cancellations and find themselves opening for puppet shows at the local fair and for military parties. It’s at this point that Nigel, who already had a rocky relationship with Jeanine leaves the band.
As sad as the plot sounds, the movie as actually hugely funny. It is said that the vast majority of this film was ad-libbed which makes the dialogue even funnier. The acting in the film is weirdly real for being a complete spoof of a rock band. What I mean is that they portray a totally convincing group of idiots.
The film is supposed to be based on Tap’s tour in America to promote their latest album, Smell The Glove. The band is infamous for their loud, obnoxious sound and their less than politically correct lyrics (with songs like “Working On A Sex Farm” and “Big Bottom”).
Tap beings their tour across America by first visiting their producers who have refused to produce the album because the cover is sexually degrading to women. The band manager, Ian Faith (Tony Hendra), attempts to influence the record company while he tries to keep the band in line.
As the band tours America, the audience is given a chance to learn more about its members and history. The film is set up in a way that shows a series of events concerning their American tour while simultaneously adding small interviews with different members of the band and, sometimes, the entire group.
As it turns out, the band has a primarily male audience (who would be surprise by that when you listen to their songs) and so their shows have become smaller. They experience cancellations in several cities as well.
While trying to put on a ‘Stonehenge/ druidian’ themed show, the band manager fails to come through with a piece of stagecraft, which he argues was the fault of one of the band members. This leads to discord between the band and Ian and so he leaves the group to be replaced by David’s girlfriend, Jeanine.
Once Jeanine takes over however, the band’s encounter even more cancellations and find themselves opening for puppet shows at the local fair and for military parties. It’s at this point that Nigel, who already had a rocky relationship with Jeanine leaves the band.
As sad as the plot sounds, the movie as actually hugely funny. It is said that the vast majority of this film was ad-libbed which makes the dialogue even funnier. The acting in the film is weirdly real for being a complete spoof of a rock band. What I mean is that they portray a totally convincing group of idiots.
Friday, March 27, 2009
Fired Up
I don’t know why or how I ended up in a theatre to see Fired Up, but I managed it. I like to think the story involves me being confronted by two thugs who I attempted to fight off valiantly to no avail. I hope they knocked me out, moved me to the theatre, and locked the door so I couldn’t escape. But no, I believe I went by choice, a much sadder and depressing story in itself.
I suppose most sixteen year olds would find Fired Up a very funny movie. Now, I don’t think I’m superior to any of my friends, but I definitely could not understand why they were all laughing while I sat wondering, “Why was this movie made?”
Fired Up is the story of two high school football players, Shawn and Nick (Nicholas D’Agosto and Eric Christian Olsen), who are both known for being womanizers. They pride themselves on their ability to ‘get with’ their classmates. The two decide that they would rather not go to their summer football training camp and instead want to go to cheerleading camp. As I recall, their prime motivation was “300 new hotties.”
Using the business skills of Shawn’s younger sister, Poppy (Juliette Goglia) the two convince the school cheer squad that they would like nothing better to go to cheer camp with them.
Maybe it was just me, but I felt like I’ve seen this movie before: a couple’a ‘bros’ go undercover to hook up with as many girls as possible; one bro falls in love with one of the girls he wasn’t supposed to but right when he’s about to tell her his feelings, the girls find out that they weren’t planning to stay for the final competition (when the girls needed them most). Then the bros make epic speeches to each other and they decide to go back and help the girls, even if they don’t want it. Exciting!
Even if you aren’t familiar with the plot line, you’ll soon be sick of the jokes: it seemed like half of the entire movie was spent making different metaphors for ‘I want to have sex with that girl’. The acting is, at least, decent considering the content, and I couldn’t help being reminded of Demitri Martin when I saw D’Agosto, who looks similar but whose jokes are bad and timing is worse.
I suppose most sixteen year olds would find Fired Up a very funny movie. Now, I don’t think I’m superior to any of my friends, but I definitely could not understand why they were all laughing while I sat wondering, “Why was this movie made?”
Fired Up is the story of two high school football players, Shawn and Nick (Nicholas D’Agosto and Eric Christian Olsen), who are both known for being womanizers. They pride themselves on their ability to ‘get with’ their classmates. The two decide that they would rather not go to their summer football training camp and instead want to go to cheerleading camp. As I recall, their prime motivation was “300 new hotties.”
Using the business skills of Shawn’s younger sister, Poppy (Juliette Goglia) the two convince the school cheer squad that they would like nothing better to go to cheer camp with them.
Maybe it was just me, but I felt like I’ve seen this movie before: a couple’a ‘bros’ go undercover to hook up with as many girls as possible; one bro falls in love with one of the girls he wasn’t supposed to but right when he’s about to tell her his feelings, the girls find out that they weren’t planning to stay for the final competition (when the girls needed them most). Then the bros make epic speeches to each other and they decide to go back and help the girls, even if they don’t want it. Exciting!
Even if you aren’t familiar with the plot line, you’ll soon be sick of the jokes: it seemed like half of the entire movie was spent making different metaphors for ‘I want to have sex with that girl’. The acting is, at least, decent considering the content, and I couldn’t help being reminded of Demitri Martin when I saw D’Agosto, who looks similar but whose jokes are bad and timing is worse.
Nick and Norah's Infinite Playlist
Michael Cera stars in Nick and Norah’s Infinite Playlist, the witty tale of ‘emo-punk rocker’ Nick O’Leary (Cera) and his quest for closure after he has his heart broken by popular girl Tris (Alexis Dziena).
Desperate to talk to Tris, Nick makes her a series of mix-tapes that he leaves on her doorstep. These mixes fall into the hands of Norah Silverberg, daughter of a famous studio owner, who shares similar musical taste.
Nick and his band, The Jerk-Offs (of which Nick is the only heterosexual member) travel to New York to play a show and to discover where Nick’s favorite band, Where’s Fluffy, will play their next show.
Also searching for the infamous band is Norah, who is accompanied by her drunken friend Caroline. In their search for the band, Norah and Caroline end up attending Nick’s concert along with Tris. It is here that Nick and Norah meet for the first time.
From then on, the movie becomes a teenage emotional rollercoaster as Nick and Norah try to find the location of the Where’s Fluffy concert. Nick’s constant struggle to overcome his issues with Tris alienates Norah while her ex-boyfriend intervenes between her and Nick.
The movie is likeable in many ways: the performances by all the primary characters are certainly believable when it comes to teen drama; the writing is witty and there aren’t long dull periods where nothing happens; also, Norah’s friend, Caroline, plays an outstanding drunk.
However, the movie as a whole seems somewhat aimless; that isn’t to say that nothing happens in the movie, but generally the movie feels like it has no direction. Sometimes it seems like a weak mix of dry teenage humor without any direction whatsoever.
I agree with several prominent critics who pointed out that the film is full of references to music and bands and clubs but has very little explanation as to why the characters like the music. I felt that this was a major gap in the writing especially since music is the uniting theme in the story.
Also, I was majorly disappointed when, after more than an hour, everyone finally arrives at the Where’s Fluffy concert, but we, the audience, don’t get to hear them play. While I’m happy for Nick and Norah, I wish they wouldn’t have left the concert.
Desperate to talk to Tris, Nick makes her a series of mix-tapes that he leaves on her doorstep. These mixes fall into the hands of Norah Silverberg, daughter of a famous studio owner, who shares similar musical taste.
Nick and his band, The Jerk-Offs (of which Nick is the only heterosexual member) travel to New York to play a show and to discover where Nick’s favorite band, Where’s Fluffy, will play their next show.
Also searching for the infamous band is Norah, who is accompanied by her drunken friend Caroline. In their search for the band, Norah and Caroline end up attending Nick’s concert along with Tris. It is here that Nick and Norah meet for the first time.
From then on, the movie becomes a teenage emotional rollercoaster as Nick and Norah try to find the location of the Where’s Fluffy concert. Nick’s constant struggle to overcome his issues with Tris alienates Norah while her ex-boyfriend intervenes between her and Nick.
The movie is likeable in many ways: the performances by all the primary characters are certainly believable when it comes to teen drama; the writing is witty and there aren’t long dull periods where nothing happens; also, Norah’s friend, Caroline, plays an outstanding drunk.
However, the movie as a whole seems somewhat aimless; that isn’t to say that nothing happens in the movie, but generally the movie feels like it has no direction. Sometimes it seems like a weak mix of dry teenage humor without any direction whatsoever.
I agree with several prominent critics who pointed out that the film is full of references to music and bands and clubs but has very little explanation as to why the characters like the music. I felt that this was a major gap in the writing especially since music is the uniting theme in the story.
Also, I was majorly disappointed when, after more than an hour, everyone finally arrives at the Where’s Fluffy concert, but we, the audience, don’t get to hear them play. While I’m happy for Nick and Norah, I wish they wouldn’t have left the concert.
The Princess Bride
I don’t remember the first time I watched The Princess Bride, but I can remember not understanding it. Other than the basic plot line, a lot of the movie went over my head. Most of the dialogue was too witty, the jokes too hard for me to comprehend.
I knew that Westley (Cary Elwes) was a poor farm boy and the he was in love with Buttercup (Robin Wright Penn). I understood the events that transpired which separated the two lovers and had Buttercup poised to be the next princess of Florin.
I did not, however, understand that this movie was a satire. At my young age, I took it for what it was: a tale of true love, pirates, saber-fighting, and a giant.
Now that I’m a bit smarter, I’ve come to appreciate this movie as a great work among satirical comedies. The writing is superb; the dialogue between Westley and Buttercup is fantastic, and many of the supporting characters are completely nutty. All of it comes together to create this 1987 film.
It beings with Buttercup and Westley; Westley, the young, handsome farm boy, and Buttercup, the pretty daughter of a farmer. The two fall in love but have no money for a marriage. Westley leaves the farm in search of money to provide a marriage and a home for his new love. However, his ship is attacked by the Dread Pirate Roberts and he never returns.
Buttercup is heartbroken by this news but, against her will, arrangements are made for her to marry the Prince of Florin, Humperdink. While she waits to be wed, she is kidnapped by three men: Vizzini (Wallace Shawn), Inigo Montoya (Mandy Patinkin), and Fezzic (Andre the Giant). These three men, led by Vizzini, are attempting to start a war between Florin and its neighbor, Gilder, by kidnapping the bride-to-be and killing her, while making Gilder look responsible.
Even as a satirical fairytale, this film has a surprisingly well-strung story that ties Westley’s quest to save Buttercup to the lives of Inigo and Fezzic.
The film is a great one for those who wish to witness a well-told story of ‘twue wove’ (it’ll make sense when you watch the movie).
I knew that Westley (Cary Elwes) was a poor farm boy and the he was in love with Buttercup (Robin Wright Penn). I understood the events that transpired which separated the two lovers and had Buttercup poised to be the next princess of Florin.
I did not, however, understand that this movie was a satire. At my young age, I took it for what it was: a tale of true love, pirates, saber-fighting, and a giant.
Now that I’m a bit smarter, I’ve come to appreciate this movie as a great work among satirical comedies. The writing is superb; the dialogue between Westley and Buttercup is fantastic, and many of the supporting characters are completely nutty. All of it comes together to create this 1987 film.
It beings with Buttercup and Westley; Westley, the young, handsome farm boy, and Buttercup, the pretty daughter of a farmer. The two fall in love but have no money for a marriage. Westley leaves the farm in search of money to provide a marriage and a home for his new love. However, his ship is attacked by the Dread Pirate Roberts and he never returns.
Buttercup is heartbroken by this news but, against her will, arrangements are made for her to marry the Prince of Florin, Humperdink. While she waits to be wed, she is kidnapped by three men: Vizzini (Wallace Shawn), Inigo Montoya (Mandy Patinkin), and Fezzic (Andre the Giant). These three men, led by Vizzini, are attempting to start a war between Florin and its neighbor, Gilder, by kidnapping the bride-to-be and killing her, while making Gilder look responsible.
Even as a satirical fairytale, this film has a surprisingly well-strung story that ties Westley’s quest to save Buttercup to the lives of Inigo and Fezzic.
The film is a great one for those who wish to witness a well-told story of ‘twue wove’ (it’ll make sense when you watch the movie).
Star Trek: First Contact
I was 4 when Star Trek: First Contact came out. It is not difficult for me to remember watching the film with my parents: them, sitting together on the couch; me, cowering behind it.
The Borg, a race of humanoid life forms who have evolved to include synthetic technology, haunted my dreams from a very young age. They are ruthlessly strong, able to adapt to different types of weapons, and intent on assimilating all races until they achieve perfection.
However, recently, I found our ancient VHS tape of Star Trek: First Contact and watched it.
Ironically, the film begins with Jean-Luc Picard (Patrick Stewart) waking from a nightmare of the Borg, who have reentered known space and now present a direct threat to the United Federation of Planets. A Borg cube is headed for earth with the intent of assimilating the entire planets population.
Picard and his crew are sent to the Romulin border; it is believe by Starfleet command that Piccard, who was previously assimilated by the Borg, would be an unnecessary risk to Earth’s defense. As the Borg Cube approaches earth, the Enterprise decided to defy orders and head for earth to help in its defense.
He arrives just as his fleet is falling apart and takes control of the battle. After rescuing survivors, he destroys the Borg Cube.
However, a minor Borg space craft manages to escape from it’s dying mother ship and heads for earth. The Enterprise pursues it through a temporal rift, into the past, where the Borg Sphere begins firing on the planets surface. It is 2063, just after the third world war, and the Borg is attacking an area where Dr. Zefram Cochrane is located. Cochrane, in 2063, is attempting to build a space ship that will surpass the speed of light.
The Enterprise destroys the Borg Sphere and sends a search team down to the surface to discover the fate of Cochrane, who’s flight will be the turning point in human history, as it results in Earth’s first contact with aliens.
Without the knowledge of the Picard or his crew, however, several borg managed to transport the Enterprise before their own ship was destroyed. This leads to a struggle that will decided the fate and history of mankind.
Star Trek: First Contact has become a favorite of mine. It was made in the early nineties so the visual effects aren’t particularly stunning, but it is certainly much more visually appealing than any of its predecessors. The film also stands out from other products of the Star Trek franchise because the quality of the acting is great. The performance given by Alice Krige as the Borg Hive Queen is easily one of my all time favorites.
The Borg, a race of humanoid life forms who have evolved to include synthetic technology, haunted my dreams from a very young age. They are ruthlessly strong, able to adapt to different types of weapons, and intent on assimilating all races until they achieve perfection.
However, recently, I found our ancient VHS tape of Star Trek: First Contact and watched it.
Ironically, the film begins with Jean-Luc Picard (Patrick Stewart) waking from a nightmare of the Borg, who have reentered known space and now present a direct threat to the United Federation of Planets. A Borg cube is headed for earth with the intent of assimilating the entire planets population.
Picard and his crew are sent to the Romulin border; it is believe by Starfleet command that Piccard, who was previously assimilated by the Borg, would be an unnecessary risk to Earth’s defense. As the Borg Cube approaches earth, the Enterprise decided to defy orders and head for earth to help in its defense.
He arrives just as his fleet is falling apart and takes control of the battle. After rescuing survivors, he destroys the Borg Cube.
However, a minor Borg space craft manages to escape from it’s dying mother ship and heads for earth. The Enterprise pursues it through a temporal rift, into the past, where the Borg Sphere begins firing on the planets surface. It is 2063, just after the third world war, and the Borg is attacking an area where Dr. Zefram Cochrane is located. Cochrane, in 2063, is attempting to build a space ship that will surpass the speed of light.
The Enterprise destroys the Borg Sphere and sends a search team down to the surface to discover the fate of Cochrane, who’s flight will be the turning point in human history, as it results in Earth’s first contact with aliens.
Without the knowledge of the Picard or his crew, however, several borg managed to transport the Enterprise before their own ship was destroyed. This leads to a struggle that will decided the fate and history of mankind.
Star Trek: First Contact has become a favorite of mine. It was made in the early nineties so the visual effects aren’t particularly stunning, but it is certainly much more visually appealing than any of its predecessors. The film also stands out from other products of the Star Trek franchise because the quality of the acting is great. The performance given by Alice Krige as the Borg Hive Queen is easily one of my all time favorites.
Almost Famous
I doubt William Miller (Patrick Fugit) had any idea where his love for music would take him when he, under the instruction of his older sister, listens to the rock album Tommy with a candle burning to see his future.
Almost Famous is the story of William Miller, a teen who is among the social rejects at his high school, and his travels with the fictional rock band Stillwater. It begins, however, several years early when Anita (Zooey Deschanel) leaves their home amidst a troubled relationship with William’s mother, Elaine (Frances McDormand).
Before she leaves, she passes on her collection of rock music that she had hid from her mother with instructions that he listen and come to appreciate what he’s missing.
Fast-forward several years, and William is now in high school, writing for his local underground paper and sending pieces on to renowned rock critic Lester Bangs (Philip Seymour Hoffman) who asks William to meet him. From then on, Lester assumes the role of his mentor while William begins to write, first for him, and then for Rolling Stone.
While out on a writing assignment for Bangs, William meets Miss Penny Lane (Kate Hudson) a band-aide who tries to get him a backstage pass to talk to Black Sabbath. However, while waiting for Penny Lane to return, the opening act Stillwater arrives and brings William in with them.
William is contacted by Ben Fong-Torres of Rolling Stone who assigns him a story on Stillwater.
From there, William embarks on a journey with them as they travel around the country playing shows. During this time, he falls for Penny Lane but only finds out that she is involved with Russell Hammond (Billy Crudup), the lead guitar player for Stillwater.
But it isn’t all fun for the famous: problems occur, however, when the band begins to have internal arguments and William finds out that Russell is trying to sell Penny Lane to another band because his wife is meeting the band in New York.
Things continue to go downhill when Rolling Stone rejects William’s story because the band denies its validity.
The performances of all the actors in this film are phenomenal: Frances McDormand’s role as Williams mother is spectacular. During one particular scene, she has a lovely and inspirational phone conversation with Billy Crudup’s character that is absolutely hilarious.
Full of humor, drama, and spectacular acting, Almost Famous is one of my all time favorite movies.
Almost Famous is the story of William Miller, a teen who is among the social rejects at his high school, and his travels with the fictional rock band Stillwater. It begins, however, several years early when Anita (Zooey Deschanel) leaves their home amidst a troubled relationship with William’s mother, Elaine (Frances McDormand).
Before she leaves, she passes on her collection of rock music that she had hid from her mother with instructions that he listen and come to appreciate what he’s missing.
Fast-forward several years, and William is now in high school, writing for his local underground paper and sending pieces on to renowned rock critic Lester Bangs (Philip Seymour Hoffman) who asks William to meet him. From then on, Lester assumes the role of his mentor while William begins to write, first for him, and then for Rolling Stone.
While out on a writing assignment for Bangs, William meets Miss Penny Lane (Kate Hudson) a band-aide who tries to get him a backstage pass to talk to Black Sabbath. However, while waiting for Penny Lane to return, the opening act Stillwater arrives and brings William in with them.
William is contacted by Ben Fong-Torres of Rolling Stone who assigns him a story on Stillwater.
From there, William embarks on a journey with them as they travel around the country playing shows. During this time, he falls for Penny Lane but only finds out that she is involved with Russell Hammond (Billy Crudup), the lead guitar player for Stillwater.
But it isn’t all fun for the famous: problems occur, however, when the band begins to have internal arguments and William finds out that Russell is trying to sell Penny Lane to another band because his wife is meeting the band in New York.
Things continue to go downhill when Rolling Stone rejects William’s story because the band denies its validity.
The performances of all the actors in this film are phenomenal: Frances McDormand’s role as Williams mother is spectacular. During one particular scene, she has a lovely and inspirational phone conversation with Billy Crudup’s character that is absolutely hilarious.
Full of humor, drama, and spectacular acting, Almost Famous is one of my all time favorite movies.
Saturday, March 14, 2009
Body of Lies
Explosions have occurred in several major European cities; terrorists have claimed responsibility and pledge to continue the attacks. Amsterdam, Manchester and other cities have fallen victim to the jihadist war against the West.
Agent Roger Ferris (Leonardo DiCaprio) of the CIA is a special operative who’s mission it is to find information on the Al-Qaeda terrorist Al Saleem. His mission takes him around the Middle East from places like Iraq, Jordan, and the United Arab Emirates.
With the help of his supervisor, Ed Hoffman (Russell Crowe), Ferris makes contact with the Jordanian General Intelligence Department, headed by Hani Salaam (Mark Strong).
Ferris and Hoffman discover the existence of an Al-Qaeda safe-house which, with the assistance of Hani Salaams operatives, they stake out. However, another of Hoffman’s agents blows the operation and sends one of Al Saleem’s men running. Ferris is forced to kill him in order to protect the mission.
Having received several injuries from rabid dogs while trying to prevent Saleem’s man from escaping, Ferris goes to a hospital to receive treatment. There, he meets Aisha (Golshifteh Farahani), whom he immediately begins to like.
The continued cooperation between the Americans and the Jordanians ends when Hoffman sends men to kidnap one of Hani’s best operatives inside the safe house, an operative that Hoffman had personally asked Hani to turn over.
Ferris then leaves Jordan for the United Arab Emirates where he begins work on his own project to create a fictional terrorist group which he hopes will be contacted by Al Saleem’s organization. However the plan backfires when Al Saleem finds and interrogates the man that Ferris arranged to be the head of his false terror cell (the man he chose was not aware of his new job).
After this, Ferris looses complete trust with Hani, who had welcomed him back to Jordan on the condition that Ferris be truthful from then on. Aisha is kidnapped and Ferris offers himself as a trade.
The film, directed by Ridley Scott, is a fast-paced and thrilling experience. Full of violent and very realistic gunfights and scenes of torture, the film paints a very real picture of the violence in the Middle East.
The performances given by the main stars in the picture, particularly Crowe and Strong, are very good. Many of the lesser characters also gave very convincing portrayals.
Agent Roger Ferris (Leonardo DiCaprio) of the CIA is a special operative who’s mission it is to find information on the Al-Qaeda terrorist Al Saleem. His mission takes him around the Middle East from places like Iraq, Jordan, and the United Arab Emirates.
With the help of his supervisor, Ed Hoffman (Russell Crowe), Ferris makes contact with the Jordanian General Intelligence Department, headed by Hani Salaam (Mark Strong).
Ferris and Hoffman discover the existence of an Al-Qaeda safe-house which, with the assistance of Hani Salaams operatives, they stake out. However, another of Hoffman’s agents blows the operation and sends one of Al Saleem’s men running. Ferris is forced to kill him in order to protect the mission.
Having received several injuries from rabid dogs while trying to prevent Saleem’s man from escaping, Ferris goes to a hospital to receive treatment. There, he meets Aisha (Golshifteh Farahani), whom he immediately begins to like.
The continued cooperation between the Americans and the Jordanians ends when Hoffman sends men to kidnap one of Hani’s best operatives inside the safe house, an operative that Hoffman had personally asked Hani to turn over.
Ferris then leaves Jordan for the United Arab Emirates where he begins work on his own project to create a fictional terrorist group which he hopes will be contacted by Al Saleem’s organization. However the plan backfires when Al Saleem finds and interrogates the man that Ferris arranged to be the head of his false terror cell (the man he chose was not aware of his new job).
After this, Ferris looses complete trust with Hani, who had welcomed him back to Jordan on the condition that Ferris be truthful from then on. Aisha is kidnapped and Ferris offers himself as a trade.
The film, directed by Ridley Scott, is a fast-paced and thrilling experience. Full of violent and very realistic gunfights and scenes of torture, the film paints a very real picture of the violence in the Middle East.
The performances given by the main stars in the picture, particularly Crowe and Strong, are very good. Many of the lesser characters also gave very convincing portrayals.
Change In the Blog
I've decided, these next few months, to being reviewing movies as well as CDs. I hope to do an even amount of both types of reviews. Again, if you have any suggestions, please let me know.
Wednesday, February 18, 2009
My Pink Floyd Playlist
I know I reviewed a Pink Floyd album already, but I’m honestly in love with their sound. I can’t explain it and I know most of my friends don’t understand it, but my obsession with them is such that when I write my own music, I draw extremely heavily from their influence.
So, I went through my various Floyd albums and decided to compile a little list of my favorites, as well as playing a few of them on guitar (or at least the bits and pieces I know).
Perhaps you’ve noticed, but I tend to favor the long instrumental songs over the short and sweet ones with soppy lyrics. Of course, then, my first pick would have to be ‘A Saucerful of Secrets’ from the album that shares the songs name. In truth I prefer the live version of the song on the album ‘Ummagumma’ but since I don’t like any other songs on ‘Ummagumma’ I try to pretend the live version is on the original album.
ANYWAYS, ‘A Saucerful of Secrets’ is a lengthy instrumental song with about 7 minutes of random instrumental passages followed by a further 6 minutes of what I consider the true song. Why do I choose a song with 7 minutes of what some people would call garbage? Well, because the 6 minutes at the end are, to me, one of the most moving Floyd melodies (Gilmours agonizing cries at the end, especially). And the base on the song is phenomenal.
My next song is yet ANOTHER instrumental, longer and stranger than the last. The song, ‘Atom Heart Mother’ was also an album-title-track what was released in 1970. I can’t express how much I enjoy the masterful combination of what sounds like an entire symphonic orchestra and the traditional instruments of rock and roll. The song goes through a series of stages (or parts, like many other Pink Floyd songs) all of which are unique, but usually feed off of each other as they slowly roll towards the final countdown where all elements are combined (if you’re not interested in waiting 22 minutes for the climax, I suggest you skip ahead to 19:10).
Third on my list is a lesser-known song by the band, which appeared on an album they created for a French film (La Vallée), called ‘Childhood’s End’. This song is a slightly more traditional rock song: it follows a basic chord prgression, has lyrics, and is only about four and a half minutes long. And oddly enough, I like the song for all of those reasons. It’s got a great main riff, a excellent solo and a nice amount of badass-ness to it.
Returning to my norm, my fourth song is, again, completely instrumental. It’s not that I don’t appreciate Pink Floyd’s lyrics, in fact, I love them, but it’s definitely more about the music to me. Of course people argue that the lyrics complete the music and that they are part of the music, but really, you know what I mean by ‘music.’.
The fourth song appeared on the legendary album ‘Dark Side of the Moon’ which was released in 1973. ‘Any Colour You Like’ stood as the 7th song on the album and its thumpin’ bass line is all I need to get pumped up. Being a lead guitar player, you might find it odd that I enjoy Waters’ bass parts so much. But honestly, I’m desperately and sadly in love with the way he rocked the bass guitar. Its like someone took a gifted guitar player, told him to do the exact same for the bass and just let him at it. What I mean is that he plays the bass with as much variety as many play the guitar. Nowadays you hear songs with melancholy excuses for bass lines that just bore you to death, but with Waters its always unique.
Second to last on my list is, in my opinion, one of the greatest songs ever written. It appeared just one year after ‘Atom Heart Mother’ on the album ‘Meddle’. At more than 20 minutes long, ‘Echoes’ is my favorite Pink Floyd song. It combines a slow minor* melody with a major* bridge and beautiful, psychedelically abstract lyrics to create a musical masterpiece. I particularly enjoy the jam in C# after the first two lyrical verses and before the long period of what sounds like a humpback whale dying,
My final song is, again, from DSOTM and is the first track on that album. ‘Speak To Me/Breathe’ is perhaps the best way to being an album. I can’t explain what it is that makes me like this song, since nearly half of it as silence but for the soft thumps of a beating heart. Maybe is a combination of everything I’ve previously mentioned.
That’s my list. I highly recommend them to anyone looking for good music to try.
So, I went through my various Floyd albums and decided to compile a little list of my favorites, as well as playing a few of them on guitar (or at least the bits and pieces I know).
Perhaps you’ve noticed, but I tend to favor the long instrumental songs over the short and sweet ones with soppy lyrics. Of course, then, my first pick would have to be ‘A Saucerful of Secrets’ from the album that shares the songs name. In truth I prefer the live version of the song on the album ‘Ummagumma’ but since I don’t like any other songs on ‘Ummagumma’ I try to pretend the live version is on the original album.
ANYWAYS, ‘A Saucerful of Secrets’ is a lengthy instrumental song with about 7 minutes of random instrumental passages followed by a further 6 minutes of what I consider the true song. Why do I choose a song with 7 minutes of what some people would call garbage? Well, because the 6 minutes at the end are, to me, one of the most moving Floyd melodies (Gilmours agonizing cries at the end, especially). And the base on the song is phenomenal.
My next song is yet ANOTHER instrumental, longer and stranger than the last. The song, ‘Atom Heart Mother’ was also an album-title-track what was released in 1970. I can’t express how much I enjoy the masterful combination of what sounds like an entire symphonic orchestra and the traditional instruments of rock and roll. The song goes through a series of stages (or parts, like many other Pink Floyd songs) all of which are unique, but usually feed off of each other as they slowly roll towards the final countdown where all elements are combined (if you’re not interested in waiting 22 minutes for the climax, I suggest you skip ahead to 19:10).
Third on my list is a lesser-known song by the band, which appeared on an album they created for a French film (La Vallée), called ‘Childhood’s End’. This song is a slightly more traditional rock song: it follows a basic chord prgression, has lyrics, and is only about four and a half minutes long. And oddly enough, I like the song for all of those reasons. It’s got a great main riff, a excellent solo and a nice amount of badass-ness to it.
Returning to my norm, my fourth song is, again, completely instrumental. It’s not that I don’t appreciate Pink Floyd’s lyrics, in fact, I love them, but it’s definitely more about the music to me. Of course people argue that the lyrics complete the music and that they are part of the music, but really, you know what I mean by ‘music.’.
The fourth song appeared on the legendary album ‘Dark Side of the Moon’ which was released in 1973. ‘Any Colour You Like’ stood as the 7th song on the album and its thumpin’ bass line is all I need to get pumped up. Being a lead guitar player, you might find it odd that I enjoy Waters’ bass parts so much. But honestly, I’m desperately and sadly in love with the way he rocked the bass guitar. Its like someone took a gifted guitar player, told him to do the exact same for the bass and just let him at it. What I mean is that he plays the bass with as much variety as many play the guitar. Nowadays you hear songs with melancholy excuses for bass lines that just bore you to death, but with Waters its always unique.
Second to last on my list is, in my opinion, one of the greatest songs ever written. It appeared just one year after ‘Atom Heart Mother’ on the album ‘Meddle’. At more than 20 minutes long, ‘Echoes’ is my favorite Pink Floyd song. It combines a slow minor* melody with a major* bridge and beautiful, psychedelically abstract lyrics to create a musical masterpiece. I particularly enjoy the jam in C# after the first two lyrical verses and before the long period of what sounds like a humpback whale dying,
My final song is, again, from DSOTM and is the first track on that album. ‘Speak To Me/Breathe’ is perhaps the best way to being an album. I can’t explain what it is that makes me like this song, since nearly half of it as silence but for the soft thumps of a beating heart. Maybe is a combination of everything I’ve previously mentioned.
That’s my list. I highly recommend them to anyone looking for good music to try.
Monday, February 9, 2009
Hans Solo
This video does not relate to music in any way. But i love it. It is definitely one of the funniest videos i've seen in a while. Watch it.
Star Wars: Retold (by someone who hasn't seen it) from Joe Nicolosi on Vimeo.
Star Wars: Retold (by someone who hasn't seen it) from Joe Nicolosi on Vimeo.
Thursday, February 5, 2009
Indaba Music
I I was home ill the other day, sitting in my basement and watching a re-run of the Colbert Report. His guest on this particular episode was Dan Zaccagnino, the co-founder of the music sharing site ‘Indaba Music’.
The website was launched February 1, 2007, more than two years ago. I apologize for the delay; until now I wasn’t even aware of the existence of such a wonderful website.
As far as I am aware, the concept behind Indaba is unique to this website; while there are several other websites that allow users to remix preexisting songs, Indaba lets it's patrons lay down tracks to create entirely new songs with people all over the world. A dream-come-true for musicians like me who find they are surrounded by people with no musical talent.
Registering is easy and free and once a member, you have access to all sorts of different goodies.
Probably the greatest draw back is that, at first, the website is difficult to navigate; I think there is just so much to do, that it’s easy to get lost. But once you get past the initial shock of the websites capabilities, finding your way around is relatively easy.
The site allows you to not only create music, but listen to the music of other members or groups, view the records of others (by records, I mean their production history; how many tracks they've layed down, how many were used in songs, ect.), as well as comprehensive profiles.
Once i figure out how, I’m going to be putting tracks on here, both from the website and myself, to demonstrate the usefulness and awesomeness of Indaba Music.
The website was launched February 1, 2007, more than two years ago. I apologize for the delay; until now I wasn’t even aware of the existence of such a wonderful website.
As far as I am aware, the concept behind Indaba is unique to this website; while there are several other websites that allow users to remix preexisting songs, Indaba lets it's patrons lay down tracks to create entirely new songs with people all over the world. A dream-come-true for musicians like me who find they are surrounded by people with no musical talent.
Registering is easy and free and once a member, you have access to all sorts of different goodies.
Probably the greatest draw back is that, at first, the website is difficult to navigate; I think there is just so much to do, that it’s easy to get lost. But once you get past the initial shock of the websites capabilities, finding your way around is relatively easy.
The site allows you to not only create music, but listen to the music of other members or groups, view the records of others (by records, I mean their production history; how many tracks they've layed down, how many were used in songs, ect.), as well as comprehensive profiles.
Once i figure out how, I’m going to be putting tracks on here, both from the website and myself, to demonstrate the usefulness and awesomeness of Indaba Music.
Monday, January 19, 2009
The Ramones
Generally, I like to be open minded about music: obviously I have expectations but I try to at least give new music a few good listens before I judge them. However, when it comes to The Ramones, I am not so lenient.
So many people have told me that the Ramones started the American punk scene and that they really influenced the way American music developed. If either of those statements is true, then I have severe concerns about the where music was when The Ramones ‘influenced it’ and where it is now.
The bands first album, the one bearing the bands name, has 14 songs, of which none are longer than about two minutes and thirty seconds. Dee Dee might have been able to write lyrics for that many songs, but whoever was in charge of writing the rest of the music failed epically. Nearly all the songs are composed of three chord riffs that repeat themselves over and over and over at nearly the same tempo as the song before.
I suppose someone could argue that Rock and Punk are similar in composition, which is true, but you’d be hard pressed to find a rock album with 14 songs that are equally simplistic.
Blitzkrieg Bop is definitely my favorite on the album, although I do enjoy the guitar part in 53rd and 3rd, a song which, if I’m not mistaken, is about hookers and not just any kind of hookers: male hookers. Hoooorayyyyy.
So many people have told me that the Ramones started the American punk scene and that they really influenced the way American music developed. If either of those statements is true, then I have severe concerns about the where music was when The Ramones ‘influenced it’ and where it is now.
The bands first album, the one bearing the bands name, has 14 songs, of which none are longer than about two minutes and thirty seconds. Dee Dee might have been able to write lyrics for that many songs, but whoever was in charge of writing the rest of the music failed epically. Nearly all the songs are composed of three chord riffs that repeat themselves over and over and over at nearly the same tempo as the song before.
I suppose someone could argue that Rock and Punk are similar in composition, which is true, but you’d be hard pressed to find a rock album with 14 songs that are equally simplistic.
Blitzkrieg Bop is definitely my favorite on the album, although I do enjoy the guitar part in 53rd and 3rd, a song which, if I’m not mistaken, is about hookers and not just any kind of hookers: male hookers. Hoooorayyyyy.
Tommy
What constitutes ‘progressive’ rock has always been a mystery to me. But one album to me has always stood out as being among the forerunners in progressive music: Tommy.
Released in 1969, Tommy represented one of, if not, the first albums to be called a ‘rock opera’.
The album tells the story of Tommy Walker, a deaf, dumb, and blind boy. Tommy’s father is a pilot in WWI who is reported dead while Mrs. Walker delivers her boy. Shortly after the war’s end, Mr. Walker returns home to find his wife with another lover. When Mr. Walker confronts the two, he kills the lover, a crime which Tommy witnesses. His parents tell him to forget what he saw and heard, and tell him never to speak of it to anyone. It is this that results in his becoming blind, deaf, and dumb.
Although I’m usually primarily concerned with musicianship, I found that I enjoyed the lyrics a great deal. For this particular album, the lyrics really play a huge part in the creation of the songs themselves (besides, Daltrey can belt it).
While I like many of the songs, I felt the album got a bit bogged down with so many songs. I appreciate that they were telling a story and wanted to make it interesting, but songs like ‘Cousin Kevin’ and ‘Fiddle About’ seemed like they were unnecessary to me.
Likely, the best known song on the album is Pinball Wizard. But, me being me, I find one of the coolest yet simplest songs on the album to be my favorite. ‘Sparks’, which sits at number five on the album, and yes, it is an instrumental. (I’ve included a video of them playing the song live at Leeds.
If you are a fan of the album then I also recommend you check out the movie. It’s like Flash Gordon in that it doesn’t matter how low budget a film is as long as it has a good sound track. Also similar to Flash Gordon, Tommy: The Movie is ridiculously trippy.
Released in 1969, Tommy represented one of, if not, the first albums to be called a ‘rock opera’.
The album tells the story of Tommy Walker, a deaf, dumb, and blind boy. Tommy’s father is a pilot in WWI who is reported dead while Mrs. Walker delivers her boy. Shortly after the war’s end, Mr. Walker returns home to find his wife with another lover. When Mr. Walker confronts the two, he kills the lover, a crime which Tommy witnesses. His parents tell him to forget what he saw and heard, and tell him never to speak of it to anyone. It is this that results in his becoming blind, deaf, and dumb.
Although I’m usually primarily concerned with musicianship, I found that I enjoyed the lyrics a great deal. For this particular album, the lyrics really play a huge part in the creation of the songs themselves (besides, Daltrey can belt it).
While I like many of the songs, I felt the album got a bit bogged down with so many songs. I appreciate that they were telling a story and wanted to make it interesting, but songs like ‘Cousin Kevin’ and ‘Fiddle About’ seemed like they were unnecessary to me.
Likely, the best known song on the album is Pinball Wizard. But, me being me, I find one of the coolest yet simplest songs on the album to be my favorite. ‘Sparks’, which sits at number five on the album, and yes, it is an instrumental. (I’ve included a video of them playing the song live at Leeds.
If you are a fan of the album then I also recommend you check out the movie. It’s like Flash Gordon in that it doesn’t matter how low budget a film is as long as it has a good sound track. Also similar to Flash Gordon, Tommy: The Movie is ridiculously trippy.
Inside In/ Inside Out
I have a friend that lives in England who reads my posts and she recommended that since I’ve covered so many of the old English standbys that I should do some more current English bands.
She gave me the name of a band, The Kooks, and I listened to their album, Inside In/ Inside Out, was the bands debut album released in January of 2006 and has since sold around 2,000,000 units around the world.
I liked that I could hear both the indie influences in their upbeat numbers but and strange lyrics. But it was really comforting for me, someone who appreciates a good guitar solo, to hear the occasion riff on the electric guitar. It made the album feel much more familiar to me and the music more appealing. That isn’t to say that the music is unappealing to begin with: in fact, The Kooks have succeeded in writing, particularly on this album, many good numbers.
Even though I listen to a number of old English bands, I sometimes have trouble hearing their English accents come out in their singing. I don’t know why, but The Kooks have a much more distinguishable singing style and they sound much less like an American band than some of their predecessors.
Among the electric guitars and fast chord progressions, there are some slower acoustic songs, the best of which, I think, is Seaside. These acoustic numbers balance the album well by lightening up what seems to be a strong, primarily electric tone.
To be honest, for the most part, I had absolutely no idea what the lyrics were. I don’t have a particular problem with this because I focus primarily on instrumentation. But for those of you who can’t listen to a song without singing along, I suggest you work on your English accent and look up the lyrics because you’ll be hard pressed to figure them out yourself.
Generally I think the Kooks appeal to an audience with a slightly more refined taste in music however I still recommend giving them a try, as listening to English music never hurt anyone.
She gave me the name of a band, The Kooks, and I listened to their album, Inside In/ Inside Out, was the bands debut album released in January of 2006 and has since sold around 2,000,000 units around the world.
I liked that I could hear both the indie influences in their upbeat numbers but and strange lyrics. But it was really comforting for me, someone who appreciates a good guitar solo, to hear the occasion riff on the electric guitar. It made the album feel much more familiar to me and the music more appealing. That isn’t to say that the music is unappealing to begin with: in fact, The Kooks have succeeded in writing, particularly on this album, many good numbers.
Even though I listen to a number of old English bands, I sometimes have trouble hearing their English accents come out in their singing. I don’t know why, but The Kooks have a much more distinguishable singing style and they sound much less like an American band than some of their predecessors.
Among the electric guitars and fast chord progressions, there are some slower acoustic songs, the best of which, I think, is Seaside. These acoustic numbers balance the album well by lightening up what seems to be a strong, primarily electric tone.
To be honest, for the most part, I had absolutely no idea what the lyrics were. I don’t have a particular problem with this because I focus primarily on instrumentation. But for those of you who can’t listen to a song without singing along, I suggest you work on your English accent and look up the lyrics because you’ll be hard pressed to figure them out yourself.
Generally I think the Kooks appeal to an audience with a slightly more refined taste in music however I still recommend giving them a try, as listening to English music never hurt anyone.
The Mix-Up
I recently came upon one of the best albums I’ve heard in a long time. My sister, who I believe listens to odd but nevertheless good music, was playing a song called ‘Electric Worm’ and I asked her who it was by. ‘The Beastie Boys, of course’ she told me.
Since then I have tried to get my hands on some of the Beastie Boys’ albums and I’ve discovered a sound that is not only unique but well put together. I say ‘not only’ because I’ve heard unique music before which, however, is less diverse and repetitive.
But the Beastie Boys are neither or those things. Their instrumental album The Mix-Up has become one of my favorites.
I imagine, since the album sold 44,000 units in its first week, that an entirely instrumental album still satisfies the Beastie Boys’ audience. I also like to imagine that more people than just those who were already Beasties fans bought the album because even without the lyrics, they managed to produce a very good album.
I’ve heard friends of mine say before that they need good lyrics to like a song. I can’t even express how strongly I disagree with that statement, especially since there are albums like The Mix-Up out there that combine superior musicianship with excellent songwriting.
A good argument can be made against some instrumental albums, and that is that some songs have a tendency to become repetitive so that the listener ends up hearing 10 different variations of one song, leaving them in a state of complete bewilderment. If the listener has to sit there and wonder “I think I’ve heard a song like this before, but I’m not sure where,” then I’d say the album is a failure.
However, The Mix-Up avoids repetition in any form. They utilize increasingly unique instruments to create their songs: I believe at one point what sounds like a coach’s whistle is used to maintain the rhythm.
Overall, the album is definitely worth the asking price. Even if you don’t think you can handle songs without lyrics, I urge you to pick up on The Mix-Up.
Since then I have tried to get my hands on some of the Beastie Boys’ albums and I’ve discovered a sound that is not only unique but well put together. I say ‘not only’ because I’ve heard unique music before which, however, is less diverse and repetitive.
But the Beastie Boys are neither or those things. Their instrumental album The Mix-Up has become one of my favorites.
I imagine, since the album sold 44,000 units in its first week, that an entirely instrumental album still satisfies the Beastie Boys’ audience. I also like to imagine that more people than just those who were already Beasties fans bought the album because even without the lyrics, they managed to produce a very good album.
I’ve heard friends of mine say before that they need good lyrics to like a song. I can’t even express how strongly I disagree with that statement, especially since there are albums like The Mix-Up out there that combine superior musicianship with excellent songwriting.
A good argument can be made against some instrumental albums, and that is that some songs have a tendency to become repetitive so that the listener ends up hearing 10 different variations of one song, leaving them in a state of complete bewilderment. If the listener has to sit there and wonder “I think I’ve heard a song like this before, but I’m not sure where,” then I’d say the album is a failure.
However, The Mix-Up avoids repetition in any form. They utilize increasingly unique instruments to create their songs: I believe at one point what sounds like a coach’s whistle is used to maintain the rhythm.
Overall, the album is definitely worth the asking price. Even if you don’t think you can handle songs without lyrics, I urge you to pick up on The Mix-Up.
The Darjeeling Limited Soundtrack
I know; it is odd that I’m reviewing a sound track, especially one that is made up primarily of traditional Indian music.
I can’t explain my obsession with the sitar, but I do know that my favorite Beatles songs including George Harrison strumming away madly on the sitar.
It’ll be tough for those who haven’t seen the movie to understand the significance of any of the songs, so if you haven’t, I recommend first that you go see the movie. It is one of my personal favorites, but I won’t promise that you’ll like it.
You will, however, like the soundtrack. It’s full of beautiful Indian music interlaced with the occasional Kinks song and one from the Rolling Stones.
The Kinks’ songs on the album are some that I haven’t been able to find anywhere else, and not for lack of trying. Strangers, Powerman, and This Time Tomorrow are three of my favorite Kinks songs.
The Stones’ song Play With Fire is also on the album and is one of the reasons I was so set on finding this album.
In the context of the film, the music doesn’t have a particular role in assisting in the telling of the story, but to me, when listened to without the film; the music tells its own story. By that I mean you can watch the movie and the music only adds to the environment of the story. On the other hand, the music on its own creates separate imagery. This alone makes the album worth while to me and is perhaps why I like it so much.
Apart from the three tunes by The Kinks and the one by the Stones, there are only a few others among the 22 songs with lyrics. Probably the strangest of these is Typewritter, Tip, Tip, Tip by Asha Bhosle & Kisore Kumar. Listening to it, I have no idea what would inspire someone to write a song like this. It is perhaps on of the weirdest songs I’ve ever heard.
For the most part though, there are very few lyrics and so once again you need to be prepared for a largely instrumental album.
I can’t explain my obsession with the sitar, but I do know that my favorite Beatles songs including George Harrison strumming away madly on the sitar.
It’ll be tough for those who haven’t seen the movie to understand the significance of any of the songs, so if you haven’t, I recommend first that you go see the movie. It is one of my personal favorites, but I won’t promise that you’ll like it.
You will, however, like the soundtrack. It’s full of beautiful Indian music interlaced with the occasional Kinks song and one from the Rolling Stones.
The Kinks’ songs on the album are some that I haven’t been able to find anywhere else, and not for lack of trying. Strangers, Powerman, and This Time Tomorrow are three of my favorite Kinks songs.
The Stones’ song Play With Fire is also on the album and is one of the reasons I was so set on finding this album.
In the context of the film, the music doesn’t have a particular role in assisting in the telling of the story, but to me, when listened to without the film; the music tells its own story. By that I mean you can watch the movie and the music only adds to the environment of the story. On the other hand, the music on its own creates separate imagery. This alone makes the album worth while to me and is perhaps why I like it so much.
Apart from the three tunes by The Kinks and the one by the Stones, there are only a few others among the 22 songs with lyrics. Probably the strangest of these is Typewritter, Tip, Tip, Tip by Asha Bhosle & Kisore Kumar. Listening to it, I have no idea what would inspire someone to write a song like this. It is perhaps on of the weirdest songs I’ve ever heard.
For the most part though, there are very few lyrics and so once again you need to be prepared for a largely instrumental album.
The B52's at the Waikoloa
It is not often that one finds themselves among a crowd of loud, drunken, aging hippies. And yet there I was, on a bus with 20 of them heading towards the Waikoloa Marriot on the Big Island in Hawaii where, in an hour, a massive gathering of middle-aged B 52’s fans would be converging to ring in the New Year.
I was amazed but not surprised that many on the bus were already inebriated. I watched as two women staggered towards the bus stop, drinks in hand, and saw them trip over each other as they both attempted to enter the bus, simultaneously. The tiny door was clearly not big enough for both of them and this was made clear when both became trapped and dropped their drinks on the laps of the couple in the front seat. I expected to see an angry husband leap up and begin shouting at the two drunks; instead, I saw the two begin shaking with laughter as they made room for the women.
We winded our way through the massive Waikoloa Resort complex, the entire bus joined in the butchering of Rock Lobster and Love Shack. We unloaded the bus and journeyed through what seemed like an endless series of lounges and lobbies, joined along the way by larger and larger crowds of loud middle-aged people all heading for the ballroom.
Jostled by hundreds of strangers, we made our way inside the ballroom. My sister and I had been separated from my parents, so we headed for the nearest Waikoloa staff member to be seated. He looked at our tickets, looked at us, smiled and said “Aren’t you the lucky ones.” Subconsciously, I knew what that meant. He led us through the back section and down a short flight of stairs, straight towards the stage. The seating section closest to the stage was lower than the rest of the ballroom which allowed everyone on either side to see my embarrassment as the guide led the two youngest people to the front row, where he indicated two seats.
Generally, I like to think of myself as a fan of classic rock and music from decades past. But I as I looked around the room to see those who shared similar taste, I found I did not like what I saw: hundreds of people, most of them old enough to be my parents, many of whom were holding drinks, drinking, or going to get drinks, all dressed in clothes they wore when they were my age.
The B52’s came out, the music started, and with it, dancing. At first it was just a few odd balls: one lady in particular caught my attention; she was seated far to my right, and was gyrating violently while her arms flailed above her head. She was then joined by three other women and two men, all of whom were shaking madly to the music. I turned around in my chair to see nearly all of the audience on their feet, dancing wildly to the melody of Rock Lobster.
As the strong smell of marijuana reached me, I decided that never again will there be fans of music quite like this; the boomers redefined what it meant to be a fan, what it meant to truly be devoted to music.
We left the concert shortly after midnight and walked back to our car instead of waiting for the bus. We were followed by a group of men with long graying hair kept back by headbands with psychedelic prints on them. What looked to be the oldest man tapped me on the shoulder and asked, “Do you have a light man?” I told him I didn’t smoke and he sighed, saying to his friend, “We’ve got a joint that’ll put you in the stratosphere but no f*****g light.”
I laughed at the appalled expressions on my parent’s faces and thought, ‘Never again.’
I was amazed but not surprised that many on the bus were already inebriated. I watched as two women staggered towards the bus stop, drinks in hand, and saw them trip over each other as they both attempted to enter the bus, simultaneously. The tiny door was clearly not big enough for both of them and this was made clear when both became trapped and dropped their drinks on the laps of the couple in the front seat. I expected to see an angry husband leap up and begin shouting at the two drunks; instead, I saw the two begin shaking with laughter as they made room for the women.
We winded our way through the massive Waikoloa Resort complex, the entire bus joined in the butchering of Rock Lobster and Love Shack. We unloaded the bus and journeyed through what seemed like an endless series of lounges and lobbies, joined along the way by larger and larger crowds of loud middle-aged people all heading for the ballroom.
Jostled by hundreds of strangers, we made our way inside the ballroom. My sister and I had been separated from my parents, so we headed for the nearest Waikoloa staff member to be seated. He looked at our tickets, looked at us, smiled and said “Aren’t you the lucky ones.” Subconsciously, I knew what that meant. He led us through the back section and down a short flight of stairs, straight towards the stage. The seating section closest to the stage was lower than the rest of the ballroom which allowed everyone on either side to see my embarrassment as the guide led the two youngest people to the front row, where he indicated two seats.
Generally, I like to think of myself as a fan of classic rock and music from decades past. But I as I looked around the room to see those who shared similar taste, I found I did not like what I saw: hundreds of people, most of them old enough to be my parents, many of whom were holding drinks, drinking, or going to get drinks, all dressed in clothes they wore when they were my age.
The B52’s came out, the music started, and with it, dancing. At first it was just a few odd balls: one lady in particular caught my attention; she was seated far to my right, and was gyrating violently while her arms flailed above her head. She was then joined by three other women and two men, all of whom were shaking madly to the music. I turned around in my chair to see nearly all of the audience on their feet, dancing wildly to the melody of Rock Lobster.
As the strong smell of marijuana reached me, I decided that never again will there be fans of music quite like this; the boomers redefined what it meant to be a fan, what it meant to truly be devoted to music.
We left the concert shortly after midnight and walked back to our car instead of waiting for the bus. We were followed by a group of men with long graying hair kept back by headbands with psychedelic prints on them. What looked to be the oldest man tapped me on the shoulder and asked, “Do you have a light man?” I told him I didn’t smoke and he sighed, saying to his friend, “We’ve got a joint that’ll put you in the stratosphere but no f*****g light.”
I laughed at the appalled expressions on my parent’s faces and thought, ‘Never again.’
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