For diehard disciples of Chris Carter’s awesomely multifarious chiller “The X-Files,” the latest big-screen adaptation might not be the supernatural recharge they were hoping for. “The X-Files: I Want to Believe” contains almost no mystical commotion outside of a pedophile priest who claims he can see missing people and even he doesn’t offer much in the way of legitimate paranormal aptitude. Instead, Carter strings together a series of spiritual challenges designed to compel Mulder and Scully into a state of full-on personal introspection, while still hot on the trail of an illegal organ harvesting cartel (Now there‘s the horror we’ve come to love!).
As a mild fan of the show’s later seasons, I found the subtle narrative groove here to be a welcomed upgrade over the cloudy meanderings that often dulled the show’s creative edge near the end. Some people may disagree with making the two sullen FBI agents a couple, but I think it only makes sense considering how much the sexual tension has percolated over the years. The fact is that they bring out the best in one another and their love has only grown stronger since the last time they worked a case together.
David Duchovny and Gillian Anderson have these roles so embedded in their system that the chemistry is just as sharp and breezy as it was back in 1993, which, to me, is reason enough to spend your time indulging in this never-ending search for the truth.
Like I said before, the plot couldn’t be further from extraterrestrial territory and Amanda Peet and Xzibit have been brought in as co-stars, so don’t go expecting a spectacular Summer thrill ride. However, the surprising gravity of comedian Billy Connolly as Father Joe is intriguing at every twist and sets the stage for some of the more creepy moments.
If the intensity level doesn’t quite do it for you, may I suggest picking up the first three seasons (Brilliant, to say the least) of the show to witness what pure cinematic fright is made of. Or check them both out and then decide for yourself whether the truth really is out there.
Side Note: Watch for the scene where the picture of George W. Bush is accompanied by the eerie theme music (Nice touch).
- *** out of 4
Thursday, August 14, 2008
Sunday, August 10, 2008
Two Doors Are Better Than None
If I hadn’t been there, I wouldn’t have believed it. It was loud, long, and filled to the brim with the kind of wistfully intoxicated belligerents that make you afraid to leave the house. No, I’m not talking about the 1968 Monterey Pop Festival, although that certainly falls under that distinction. Actually, I’m referring to the Molson Canal Concert Series where, last Friday night, the sultans of psychedelia Robbie Krieger and Ray Manzarek rolled into Lockport for a scintillating two hours of unadulterated musical heaven.
Spearheaded by ex-Fuel warbler Brett Scallions, the Riders On The Storm took the stage around 9:00 p.m. and proceeded to tear into one Doors classic after another. Everything from the twangy groove of “Love Me Two Times” to the oddly anthemic potency of “Peacefrog” made an appearance and as someone who wasn’t fortunate enough to experience the band in its entirety, I was deeply moved by the intimate relationship they seemed to develop with the diehard audience members.
The dull moments were few and far between, because the tautness of the band superseded any of the inevitable comparisons being drawn between Scallions and Jim Morrison. We all know Morrison is a legend, but I thought Scallions did a more than honorable job of injecting his own passion into the material and disagree with people who feel otherwise.
Personally, I think the absence of the Lizard King enabled me to further marvel at the virtuosic prowess of Manzarek and Krieger. It always seemed to me that their contributions were somewhat overlooked due to Jim’s god-like persona, but this time they got their due. Krieger’s soloing is as dazzling and melodic as anybody out there and the instantly identifiable ring of Manzarek’s keyboard is what separated The Doors from the rest of the pack. Together, they’re a living, breathing testament to the “We’re Not Gonna Take It” philosophy of the late 1960’s and still bring the thunder every night regardless of how their age has advanced.
This show is easily among the top five I’ve ever seen and I’ll always remember the night I witnessed these Rock ‘n’ Roll icons up close and personal. However, I feel compelled to address the complete lack of consideration on the part of many concertgoers who believe the Ulrich City Courtyard to be their own personal Bally. I mean, how many drunken buffoons can you fit in one area before agoraphobia sets in?
There were times when all I could think about was how fast the kid in front of me would drop if I gave him a karate chop to back of the neck. I wouldn’t do it of course, but you get the point. I love outdoor concerts as much as anyone, but sometimes I feel that the majority of morons in attendance are there strictly for the party and could give a rat’s behind about what’s happening on stage. If you want a kegger, stay home.
Well, it’s just a thought. I don’t expect the atmosphere to change anytime soon, so if you plan on heading out for a show, make sure the brass knuckles aren’t far behind. I kid, I kid.
Other Set Highlights: “Touch Me,” “L.A. Woman,” “Light My Fire,” “Five to One,” “When the Music’s Over,” “Break on Through,” and, of course, “Riders on the Storm.”
Spearheaded by ex-Fuel warbler Brett Scallions, the Riders On The Storm took the stage around 9:00 p.m. and proceeded to tear into one Doors classic after another. Everything from the twangy groove of “Love Me Two Times” to the oddly anthemic potency of “Peacefrog” made an appearance and as someone who wasn’t fortunate enough to experience the band in its entirety, I was deeply moved by the intimate relationship they seemed to develop with the diehard audience members.
The dull moments were few and far between, because the tautness of the band superseded any of the inevitable comparisons being drawn between Scallions and Jim Morrison. We all know Morrison is a legend, but I thought Scallions did a more than honorable job of injecting his own passion into the material and disagree with people who feel otherwise.
Personally, I think the absence of the Lizard King enabled me to further marvel at the virtuosic prowess of Manzarek and Krieger. It always seemed to me that their contributions were somewhat overlooked due to Jim’s god-like persona, but this time they got their due. Krieger’s soloing is as dazzling and melodic as anybody out there and the instantly identifiable ring of Manzarek’s keyboard is what separated The Doors from the rest of the pack. Together, they’re a living, breathing testament to the “We’re Not Gonna Take It” philosophy of the late 1960’s and still bring the thunder every night regardless of how their age has advanced.
This show is easily among the top five I’ve ever seen and I’ll always remember the night I witnessed these Rock ‘n’ Roll icons up close and personal. However, I feel compelled to address the complete lack of consideration on the part of many concertgoers who believe the Ulrich City Courtyard to be their own personal Bally. I mean, how many drunken buffoons can you fit in one area before agoraphobia sets in?
There were times when all I could think about was how fast the kid in front of me would drop if I gave him a karate chop to back of the neck. I wouldn’t do it of course, but you get the point. I love outdoor concerts as much as anyone, but sometimes I feel that the majority of morons in attendance are there strictly for the party and could give a rat’s behind about what’s happening on stage. If you want a kegger, stay home.
Well, it’s just a thought. I don’t expect the atmosphere to change anytime soon, so if you plan on heading out for a show, make sure the brass knuckles aren’t far behind. I kid, I kid.
Other Set Highlights: “Touch Me,” “L.A. Woman,” “Light My Fire,” “Five to One,” “When the Music’s Over,” “Break on Through,” and, of course, “Riders on the Storm.”
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