Movies Galore

While my "expertise" is more inclined towards music than film, I've seen too many movies recently not to discuss them briefly in some form. In addition, reviewing movies isn't super difficult. Everyone has a opinion, and no one really likes when people get way too technical, so hopefully I'll spare the few ultra-technicalities that I rudimentarily know. This is quite long, soooo.....good luck and enjoy

Michael Clayton
Who doesn't love George Clooney on some level? If I wanted to be different I could say he's over-rated and has questionable taste in scripts. But, for my limited knowledge he's pretty excellent 90% of the time. Michael Clayton tells the story of a "fixer" at one of the largest corporate law firms in NYC. He's the right-hand man of the co-founders and is thrown into a situation where he has to find out why a co-founder seemingly goes crazy and disrupts a multi-million dollar deal. This movie is slow at certain times, but generally kept me entertained. It never really gives a great description of what a "fixer" does, but just that Clooney's character is tired of doing it, so it must be a kinda crappy job to have for a long time. Upon reflection, there were numorous scenes that I questioned the point of after the film ended that would have cut out probably 5-15min. of the film. I guess they were for character development, but I don't think I would have noticed had they been dropped. Overall, it was just alright, but the last ~15 minutes is when you get the real payoff, and Clayton pulls through as the hero you know and want him to be.

American Gangster
Denzel Washington and Russell Crowe should make for an excellent film. After all that's why they're cast together; so they can play off each other's magic. This is really only partially the case. This is a long movie that has surprisingly good pacing. I knew that this flick had been stuck in "development hell" (turnaround) for quite some time. Different casts and directors came and went until Ridley Scott scooped it up to push through and get the film made about Frank Lucas' 1970s drug empire. It also had god knows how many re-writes to the script which shows through on screen. There are scenes and characters that are really superficial and serve virtually no purpose. The other (kinda) infuriating thing is that Washington and Crowe are only in ~4 scenes together. They probably only were on the set at the same time for ~1-2weeks...maybe. This is terribly unfortunate because they actually have pretty good chemistry together, especially in their interrogation scene near the end of the film. This somehow turned out to be a pretty good movie after all the crap that it went through just to get made.

Dan In Real Life
I had been warned or overheard this movie with Steve Carell wasn't good at all. There were a couple people that mention that it was passable, but let's just say I didn't have high expectations for something that also had Dane Cook in a supporting role. Essentially Carell's character - the aforementioned Dan - is in town for the Christmas holidays. He goes out to get the paper, and runs into a lovely woman, Marie, played by Juliette Binoche and they end up talking for quite some time and Dan is smitten. Of course the only problem is that Marie is the new girlfriend of Dan's brother Mitch, played by Dan Cook. It's almost the same plot beats as The Family Stone from a couple years ago, but personally I thought this movie pulled off the themes much better and clearer. Overall, I enjoyed it much more than I expected and it wasn't terrible. In other words, it is what it is.

The Kite Runner
I have to admit I never read this NYT best-selling novel. I know it was on the best-seller list for year(s) and universally loved. I honestly can't say the same about the movie. It was barely 'alright'. It's only ~120 minutes and I was checking to see how much was left less than halfway through. I knew the plot beforehand, so I thought I knew how the movie would unfold. I was wrong. Not in a good way. It seemingly took forever to get to the point or have any forward momentum. I knew Amir had to go back into Taliban occupied Afghanistan and rescue his best friend's son after assimilating in the U.S. The story is heartwarming, but the movie is pretty dreadfully slow. The acting is decent, and the scenery is enjoyable. There is just something lacking, and it's more proof how difficult it is to translate a great book onto the screen, and to do it justice.

Into the Wild
This is another marathon of a movie, but very rewarding. I delayed seeing this in the theater because I wasn't in the mood to feel depressed. I knew the story of Christopher McCandless and how he graduated from Emory and ventured into the wilderness only to be found dead in the Alaskan wilderness. I wasn't in the mood to subject myself to that type of story. Luckily, I was able to watch a screening copy of the film in the comfort of wherever I chose to do so. I suppose it would be grand to see the great landscapes in this film, but it still made for good viewing. The acting and directing are tip-top and Emile Hirsch shrugs of his teeney-bopper suit to actually act (although he can go back to not acting in the upcoming Speed Racer). This is a movie that does a great job of taking you on a journey, and making you feel how Chris is trying to escape from all the shit that teens and young adults usually see in the world. Except most just accept it, and do little more than say "fuck the system." It's a fulfilling movie that really comes together at its conclusion and leaves you satisfied.

No Country for Old Men
This movie has had more hype and critical acclaim than LeBron James on steroids coming out of high school. That is a little bit of a mixed metaphor, but pretty much everyone is flat-out in love with this movie. It is no doubt a great piece of film making. Joel and Ethan Coen are clearly working near the top of their game (and usually do). Their storytelling is superb. The acting is pretty great. They are able to create an enormous amount of tension through the use of silence, which is quite commendable. Everyone that sees the movie has to discuss the last ~20-30min. of the movie. Knowing this before watching the movie I was prepared to hate it or love it, although I didn't know what I was supposed to be looking for. It turns out, I was left kinda indifferent. I was able to rationalize the decisions, and was only partially perturbed. Although, it was more of an artistic choice than bad writing, which they have every right to impose. See the movie and be scared of Javier Bardem. Those are the rules.

There Will Be Blood
I fucking loved this movie (excuse that outburst). I rarely get super excited enough to say something like that, but this movie is great. Daniel Day-Lewis' name is already etched onto the Academy Award for Best Actor, and I don't think anyone can really argue, including his fellow actors. He completely embodies his character Daniel Plainview. The Paul Thomas Anderson script is exceptional as he fictionalizes oil prospecting at the turn of the century with help from Upton Sinclair's novel Oil!. I had read that this was another movie that was years in the making and wouldn't have gotten made if Day-Lewis has turned it down, that's how integral he was to the film. It clearly shows, as he is in 98% of the scenes. He owns this movie. While this is another ~150min movie that doesn't seem too long. It is a journey that deals with greed, spirituality, family, and how business got done (and probably is still done today to some extent). Despite the title, there are only a couple deaths in the film and they aren't exceptionally bloody. I highly recommend seeing this movie.

Sweeney Todd
This movie on the other hand lives up to its R-rating. Jesus, this movie is bloody violent. I've seen it twice in the theaters and have to say it definitely dragged the second time. Arguably one of Stephen Sondheim's greatest musicals (my personal favorite is A Funny Thing Happened On the Way to the Forum) the singing is executed with fair success by Johnny Depp, Helena Bonham Carter, Alan Rickman and even Sacha Baron Cohen. It's kinda like you get what you pay for. They aren't terrible, but they're not going to get cast to sing every night on Broadway either. Let me stress again, this is a violent and bloody movie. Deserving of it's R-rating. Yet, somehow (this may sound odd) the color of the blood is kinda beautiful in the hands of Tim Burton. It's pretty exaggerated in most cases which gives it more of a fantasy feeling and lessens the act of murder, in a manner of speaking. If nothing else, the movie is visually stunning, with some scenes that contrast the dark themes perfectly.

The Diving Bell and the Butterfly
If this film doesn't win the Academy Award for Best Foreign Film, surely the next one on this list will. Here is wonderful summary of this French film: "Elle France editor Jean-Dominique Bauby, who, in 1995 at the age of 43, suffered a stroke that paralyzed his entire body, except his left eye. Using that eye to blink out his memoir, Bauby eloquently described the aspects of his interior world, from the psychological torment of being trapped inside his body to his imagined stories from lands he'd only visited in his mind." Probably the greatest thing about this movie is the cinematography. From the beginning to the end, the camera work makes you feel Bauby's torment, struggle, and heartbreak. Although, at first it makes you a little dizzy, that's the point. He just came out of a coma from having a random and massive stroke. You're not supposed to be ready to run a marathon. The storytelling is also fabulous, and the acting is quite great.

La Vie en Rose
As great a story as this film portrays it suffers from one of my pet peeves; incessantly jumping back and forth through time. Edith Piaf's life was tragically short for a woman with such tremendous talent. With a mother as an alcoholic street singer, and father a circus performer it was no wonder her life was typically dramatic and difficult. After she was discovered on a street corner at the age of 20 by a club owner, he is murdered shortly thereafter. With grit and determination she had incredible highs and crushing lows complicated by alcohol and depression. The final scene is absolutely breathtaking, if you have the patience and emotional wherewithal.

Juno
The true "indie" darling. Written by newly discovered screenwriter Diablo Cody, this movie is slowly taking over the country it seems. While I admit to loving it like everyone else, I've been intrigued by a couple of the dissenting opinions I've read. Namely, one opinion piece that struggles with the idea of why Jason Bateman's character is villainized. The author takes the position, that he has every right to be upset after his wife essentially puts him into the corner of their house. While maybe he should have been more upfront about not wanting a baby at that point, he has been belittled to the point he finally snaps and wants to be free again to be himself. Anyway, I thought it was an interesting view (read it here). The script does many things well, and it's deftly acted by the entire cast. Ellen Page is pretty fantastic, and Michael Cera plays his typical awkward-endearing teen as well as he always does. It's not really groundbreaking except that it presents a new screenwriting voice that is pretty unique and will be heard from again soon and it is going to break the domestic box office record previously held by last years darling Little Miss Sunshine.

Once
Wow. Simply and utterly. Wow. This instantly became a favorite of mine, and still don't know how I missed seeing it multiple times in the theater. This is really and indie movie. Made for about $175k and with a worldwide gross of $15 Million this movie has touched a number of people all over the world. The story of a Guy who lives and works in his father's vacuum repair shop and Girl who sells flowers and cleans houses to support her mom and 2 year old daughter and how they come to meet and make an album together in the span of about a week. The Guy (played by Glen Hansard of The Frames) plays music on Dublin's trendy Grafton Street and is met by the Girl later in the evening when he's playing an original song and they strike up a friendship. She longs for a piano but cannot afford one or fit one reasonably in her apartment. They bond after playing a song ("Falling Slowly") together in a music shop. They reveal their personal lives to each other and open a budding romance of their own. Truly great, considering there are no "real" actors in the film, and all outdoor scenes were shot long-lensed without permits.

Volver
If you have read down this far...Holy shit...and thank you. I know this isn't from this year's crop of best films but it was last year, and I finally got around to seeing it and really enjoyed it. Penelope Cruz steals the show and definitely deserved the nomination she received. While the ending just kinda sits there, the rest of the film does a wonderful job of playing with the idea of Raimunda's (Cruz's character) mother being alive or dead. A well done movie that it ultimately quite touching.



Ratatouille
Finally. Phew. Last one. Brad Bird is a (largely) unheralded genius. Being a roll with The Iron Giant, and The Incredibles. This movie is another great achievement in cartoon storytelling. It's a rather grown-up story with great animation. Which is probably why it has been enjoyed by both parents (adults) and kids. I thought it was cute and exceptionally voiced by Patton Oswalt who is really entertaining as the voice of Remy the Rat Chef who helps young Linguini make his way in a famous French restaurant kitchen.

The Bees - Octopus

A band that has the ability to transport you back in time may sound "vintage" or "old school" or even unoriginal. The Bees (or A Band of Bees as they're marketed in the U.S.) don't feel like they're from this decade, or this generation. Their musical influences are tied closely to 60's rock; incorporating blues patterns, layers of guitar and shuffle rhythms. They can sound like the Kinks or the Beta Band among others. But for all of these '60s influences, the group manages to sound current, yet they're willing to cherry-pick from artists and styles they admire when necessary. The Bees were started around 2001 and hit the ground running; starting with their Mercury Prize-nominated debut Sunshine Hit Me. But in the years since, I would say they remain relatively unknown outside their native U.K. which is somewhat unfortunate.


On their third release Octopus there is nary a bad track. They all range from the enjoyable to almost exceptional. Managing to take the best of their influences and create a wonderfully tasty stew with elements of rock, blues, R&B rhythm, and a dash of psychedelia. Octopus is (thankfully) an album you can put in a just push play. No need to jump from track to track (except for the last track in which they try too hard to be something they're not). Rock music now often has too many lyrics. Meaning, artist feel the need to fill gaps with words rather than showcasing their instrumental skills. Although, maybe all the singing helps disguise the fact they may not have a creative instrumental bone in their body. Of course this isn't always the case, but should be noted that The Bees make sure to leave room for some instrumental gymnastics. Octopus is a great success on many levels. They have matured and sound exceptional, moving from being a multi-instrumental duo to a sextet of great musicians. The reason they don't sound like just another band with similar 60s/70s influences is way their songs are crafted and arranged. The combination of instruments, and the interplay between them gives a freshness to their music that sounds vintage, yet up-to-date and current.

Burial - Untrue

Firstly, I have to apologize to all my loyal readers (close family and friends) who have been missing, and yearning for my return to the written word. Thank you for your loyalty and support. I've been lazy. It's not just writing that goes on here. I listen to the music, let it settle and jingle in my head for a bit, do background reading (so that I sort of know what I'm talking about. or at least give that illusion), read others' reviews (just to see where I fall on the opinion-meter), formulate, and finally try to make sense of it all. Some artists/albums are easier than others and come more naturally and organically. But overall, I've been lazy. Hopefully, I can right the ship. Thanks for your patience. Let's get crackin'.

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Admittedly, I know very little about dubstep but will try to enlighten the small masses. The almighty Wikipedia defines it as being, "distinguished by its dark mood, sparse rhythms, and emphasis on bass." This doesn't help much. Let's try and dig deeper. It's electronic dance music that originated in London out of its garage scene and has been around for less than 10 years. Rhythm and bass are two of the key ingredients for successful dubstep music. The rhythm is usually of the syncopated and/or shuffle variety, and deep bass propels the music with it's quickened tempo. The layers of sound often come from samples on top of each other and repeated and mixed in a variety of ways. For example, you may have a vocal sample that you repeat in a variety of ways, stopping at different points for emphasis and variation. I could go on, but that's a pretty good outline to go on.

Burial (the artist) is an anonymous dude in London making incredible dubstep albums. His debut was released just back in 2006 and was critically praised across the board. He returns (per se) with his equally exceptional (better, actually) follow-up titled Untrue. The album is not something to enter into lightly. You have to open your mind and let the music flow around you (hope that isn't too snobby). But seriously, it's one of those albums where you put it on your stereo and just lay down on a couch or bed, close your eyes, and listen. Imagining how to piece together the various elements and sounds. Some tracks are more up-tempo than others but the albums flows quite well from track to track and doesn't really become monotonous. The way Burial incorporates vocals into the album is really why this is almost on masterpiece level for the genre. The vocals pitches are bent, they're stretched in length and shortened when need be. It feels more real than it actually is. Through these vocal techniques Burial is able to convey more emotion that is typically absent from most dubstep work that is produced for dance purposes. For a more pretentious evaluation check Pitchfork. Sorry for no pictures of the guy, but as he's said in an interview with his label, "only five people know I make tunes." It's got to be kinda cool to be anonymous.

Radio Moscow

Radio Moscow are the real deal. This is the reincarnation of blues-rock. Balls to the wall, heavy guitar riffs, simple lyrics, and heart-pounding rhythms all coming from a power trio straight out of...Ames, Iowa??? Do not adjust your computer screen. Yes; middle of the country, corn fields, Iowa. While groups like the White Stripes or the Black Keys have a modern take on blues-rock, Radio Moscow seem to have forgotten they're making music in 2007 and not 1977. They don't sound exactly like Jimi Hendrix Experience or Cream but they definitely could have opened for them. Radio Moscow's break came after going to a Black Keys concert and giving their demo tape to Dan Auerbach (member of the Black Keys). He was so impressed he invited them to his home studio and offered to produce their debut album. He also managed to get them signed to the same label.

Radio Moscow is a vicious romp through hearty blues rock of both instrumentals and songs with lyrics. While the album isn't very long, it is more than satisfying. This a band that yearns to be heard live. There is plenty of time for guitar solos throughout the tracks, all of which sound focused and ramble just enough to sound completely free-form and improvised. It's incredible to think that guitarist/vocalist Parker Griggs is merely 23 years old. He plays with the precision of someone at least 10 years his senior. While the structure of the songs are simplistic, there is a passion that exudes from the band that sounds effortless. Griggs isn't just trying to recreate past blues guitar heroes he's using them as a starting point. He shows off his chops that range in influence from blues, to rockabilly, to punk, to metal, and back to rock all in one song on occasion.

Sally Shapiro - Disco Romance

From all accounts the vast amount of music classified as 80's Pop is extremely dated and even hard to listen to 20+ years on from the time it was produced. If I had never heard a note of 80's music or watched a minute of VH1 shows like Why I Love the 80's, I would think Sally Shapiro's Disco Romance was the soundtrack to a prom from 1984. Let's back up for a moment. Sally Shapiro is a pseudonym for an anonymous Swedish singer whose main influences are 80s Eurobeat and Italo disco. Shapiro is extremely closed off from any publicity (except for a rare interview with Pitchfork), and rarely performs live. The album was produced by Johan Agebjörn and takes its cues from those previously mentioned genres but mostly stays on a emotionally melancholy level.

Disco Romance is a pretty transparent record that harps on nostalgia and the feelings of having loved and lost. While others have praised this album for its deep meaning, and even its creativity, I must be listening to a different album. While Pitchfork gave it an 8.5 how can anyone decipher meaning from a review that includes sentences like this: "If verbalization is inherently reductive, then writing about music is a way to encode the moment loss-free." Really? C'mon. Just because I'm an English major doesn't mean I want to diagram a sentence and flip through a dictionary to read a music review. I want to know if it's good, what it sounds like, and maybe an analogous mainstream artist. That should be pretty simple. Disco Romance isn't all it's cracked up to be. Is it pleasant to listen to? Yeah, I guess so. Is it terribly creative in its production? No. Does is make me glad I don't live with 80's music now? Certainly. The record is pretty monotonous. It doesn't all sound identical, but it's pretty close. To offer out "standout" tracks would be superfluous. It's 80's music brought back from the dead and slightly modernized to meet Gen X's emotional angst. If that sounds appealing, all the more power to you. Would it make my hypothetical Best of 2007 list, not likely. Will it make most of the other Big Names' lists, probably.

The 1900s - Cold & Kind

Firstly, some of my 8-15 readers may be wondering why certain songs I post are 30 seconds and others are for the full duration of the song. The answer is that IMEEM (mp3 hosting / community) has deals with labels and artists that dictate the length of streaming songs. Some labels let you stream entire songs, while others only want 30 second iTunes-ish clips. If you are like Michael Scott in The Office, 30 seconds may be all you need to get by. On the other hand, if you'd like to hear the song in full...well, I'm working on that....

The 1900s are a self-described "seven piece psychedelic pop group from Chicago." While this may be their term, it's not wholly accurate. Indie/folk pop is probably closer to the mark. All of which can be taken with a grain of salt, as they're all partially true. While they officially formed in 2004, their relationships vary in length, with some going back to grade school. Their debut EP Plume Delivery from the spring of 2006 was recorded before they had played any live gigs together, and news quickly spread around Chicago and further outward. They landed sold-out shows and eventually opened for the likes of Midlake and Iron & Wine, which then got them an invite to play at SXSW, which then begot them an invite to Lollapalooza. While it most certainly was a precipitous rise to acclaim, the journey has only begun.


On their debut full-length album Cold & Kind the band create something special. Their atmospheres, arrangements, melodies, vocal harmonies, and lyrics are hit the right spots. It is an incredibly strong debut that should stand out in a crowd. With seven members, they have 2 main vocalists in Caroline Donovan and Jeanine O'Toole, but occasionally have assistance from Edward Anderson. The manner in which they blend together is warm and inviting. In the same turn, each lady isn't afraid to step out into the spotlight to take her own turn with a solo. Often times when bands have multiple vocalists or complex arrangements (as they do with strings, horns, various keyboards, and tambourines) they can't find balance in their sound, or they forget about the lyrics, or don't pay enough attention to detail. Thankfully, The 1900s manage to avoid those pitfalls to produce a rich album that is equally at home being quiet and thoughtful (the Simon & Garfunkel-esque "City Water") as they are being rollicking and free-flowing ("Two Ways"). One of the most poignant reviews of the record comes from Tim Sendra at AMG who says, "Cold & Kind is the kind of record that will capture the heart of anyone lucky enough to discover it, a glittering jewel of well-written, perfectly recorded, and heartbreakingly honest and true music nestled in the trash heap of product that floods that market each week."

Okkervil River - The Stage Names

If you're a connoisseur of Russian literature and enjoy short stories written by Tatyana Tolstaya you may know where the Okkervil River is in St. Petersburg or you may be familiar with an indie rock band from Austin, TX. The band formed in the late 90's, originally consisting of Will Sheff, Zach Thomas, and Seth Warren. All of whom went to high school together back in New Hampshire but relocated to Austin. After some early shuffling of members the lineup now consists of Patrick Pestorius, Jonathan Meiburg, Will Sheff, Travis Nelsen, Scott Brackett, and Brian Cassidy. While their third full-length album Black Sheep Boy put them on the outskirts of the indie radar it is the follow-up The Stage Names that has successfully planted them as a new fixture to the indie rockstar map.

The Stage Names was released August 7, 2007 and almost immediately received critical acclaim from the likes of Pitchfork and even The New York Times. Make no mistake, this album is a joy to listen to. From front to back there aren't really any throw-away tracks, and by the end actually have you wanting to hear more. Boiled down, Mr. Sheff is the true genius behind the music as he is the writer and arranger of the tunes. He is noted as a smart lyricist, but the music would be far less enjoyable and believable if not for the music the envelops and gives structure to Sheff's message. The sound vacillates between a folk-rock aesthetic and riff-heavy rock but never gets too close to either extreme. Sheff's slower ballads fit nicely in between the tunes that demonstrate the band's full-boar sound. Given their prior trajectory, if this album is any indication of where the band is headed, their next effort should be off the charts.